2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[quote,fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C
90 @lilypond[quote,fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[quote,verbatim,relative=3]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave
153 @lilypond[quote,fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch
186 @lilypond[quote,fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
209 @lilypond[quote,relative=1]
220 Rests are entered like notes, with the note name @code{r}
222 @lilypond[quote,raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone
236 @lilypond[quote,raggedright,verbatim]
242 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}
255 @lilypond[quote,raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command
262 @lilypond[quote,raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[quote,raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[quote,fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
349 In the following example, the first three notes take up exactly two
350 beats, but no triplet bracket is printed.
351 @lilypond[quote,fragment,relative=3,verbatim]
353 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 This manual: @ref{Tuplets}
374 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
379 Whenever a note is found, a @internalsref{Stem} object is created
380 automatically. For whole notes and rests, they are also created but
385 @cindex @code{\stemUp}
387 @cindex @code{\stemDown}
389 @cindex @code{\stemBoth}
400 A tie connects two adjacent note heads of the same pitch. The tie in
401 effect extends the length of a note. Ties should not be confused with
402 slurs, which indicate articulation, or phrasing slurs, which indicate
403 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
405 @lilypond[quote,fragment,verbatim]
406 e' ~ e' <c' e' g'> ~ <c' e' g'>
409 When a tie is applied to a chord, all note heads whose pitches match
410 are connected. When no note heads match, no ties will be created.
412 In its meaning a tie is just a way of extending a note duration, similar
413 to the augmentation dot; in the following example there are two ways of
414 notating exactly the same concept
416 @lilypond[quote,fragment,raggedright]
417 \time 3/4 c'2. c'2 ~ c'4
419 If you need to tie a lot of notes over bars, it may be easier to use automatic
420 note splitting (see @ref{Automatic note splitting}).
425 @cindex @code{\tieUp}
427 @cindex @code{\tieDown}
429 @cindex @code{\tieBoth}
431 @cindex @code{\tieDotted}
433 @cindex @code{\tieSolid}
438 In this manual: @ref{Automatic note splitting}.
440 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
442 For tying only a subset of the note heads of a pair of chords, see
443 @inputfileref{input/regression,tie-chord-partial.ly}.
448 Switching staves when a tie is active will not produce a slanted tie.
450 Formatting of ties is a difficult subject. The results are often not
460 @cindex @code{\times}
462 Tuplets are made out of a music expression by multiplying all durations
465 @cindex @code{\times}
467 \times @var{fraction} @var{musicexpr}
471 The duration of @var{musicexpr} will be multiplied by the fraction.
472 The fraction's denominator will be printed over the notes, optionally
473 with a bracket. The most common tuplet is the triplet in which 3
474 notes have the length of 2, so the notes are 2/3 of their written
477 @lilypond[quote,fragment,verbatim]
478 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
481 The property @code{tupletSpannerDuration} specifies how long each
482 bracket should last. With this, you can make lots of tuplets while
483 typing @code{\times} only once, saving lots of typing. In the next
484 example, there are two triplets shown, while @code{\times} was only
487 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
488 \set tupletSpannerDuration = #(ly:make-moment 1 4)
489 \times 2/3 { c'8 c c c c c }
492 The format of the number is determined by the property
493 @code{tupletNumberFormatFunction}. The default prints only the
494 denominator, but if it is set to the Scheme function
495 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
499 @cindex @code{tupletNumberFormatFunction}
500 @cindex tuplet formatting
505 @cindex @code{\tupletUp}
507 @cindex @code{\tupletDown}
509 @cindex @code{\tupletBoth}
514 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
516 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
520 Nested tuplets are not formatted automatically. In this case, outer
521 tuplet brackets should be moved manually, which is demonstrated in
522 @inputfileref{input/regression,tuplet-nest.ly}.
526 @node Easier music entry
527 @section Easier music entry
530 This section deals with tricks and features of the input language that
531 were added solely to help entering music, finding and correcting
532 mistakes. There are also external tools that make debugging easier.
533 See @ref{Point and click} for more information.
535 It is also possible to enter and edit music using other programs. For
536 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
537 website for more information.
544 * Skipping corrected music::
545 * Automatic note splitting::
551 @node Relative octaves
552 @subsection Relative octaves
554 @cindex relative octave specification
556 Octaves are specified by adding @code{'} and @code{,} to pitch names.
557 When you copy existing music, it is easy to accidentally put a pitch
558 in the wrong octave and hard to find such an error. The relative
559 octave mode prevents these errors: a single error puts the rest of the
560 piece off by one octave
562 @cindex @code{\relative}
564 \relative @var{startpitch} @var{musicexpr}
567 The octave of notes that appear in @var{musicexpr} are calculated as
568 follows: If no octave changing marks are used, the basic interval
569 between this and the last note is always taken to be a fourth or
570 less. This distance is determined without regarding alterations; a
571 @code{fisis} following a @code{ceses} will be put above the
574 The octave changing marks @code{'} and @code{,} can be added to raise
575 or lower the pitch by an extra octave. Upon entering relative mode,
576 an absolute starting pitch must be specified that will act as the
577 predecessor of the first note of @var{musicexpr}.
579 Here is the relative mode shown in action
580 @lilypond[quote,fragment,raggedright,verbatim]
586 Octave changing marks are used for intervals greater than a fourth
587 @lilypond[quote,fragment,verbatim]
593 If the preceding item is a chord, the first note of the chord is used
594 to determine the first note of the next chord
596 @lilypond[quote,fragment,verbatim]
603 @cindex @code{\notes}
605 The pitch after the @code{\relative} contains a note name. To parse
606 the note name as a pitch, it must surrounded by @code{\notes}
608 The relative conversion will not affect @code{\transpose},
609 @code{\chords} or @code{\relative} sections in its argument. If you
610 want to use relative within transposed music, you must place an
611 additional @code{\relative} inside the @code{\transpose}.
614 @subsection Octave check
617 Octave checks make octave errors easier to correct: a note may be
618 followed by @code{=}@var{quotes} which indicates what its absolute
619 octave should be. In the following example,
621 \relative c'' @{ c='' b=' d,='' @}
625 @c take care with @code, adds confusing quotes.
626 the d will generate a warning, because a d'' is expected, but a d' is
627 found. In the output, the octave is corrected for this and the
632 There is also a syntax that is separate from the notes.
637 This checks that @var{pitch} (without octave) yields @var{pitch} (with
638 octave) in \relative mode. If not, a warning is printed, and the
639 octave is corrected, for example, the first check is passed
640 successfully. The second check fails with an error message. The
641 octave is adjusted so the following notes are in the correct octave
652 The octave of a note following an octave check is determined with
653 respect to the note preceding it. In the next fragment, the last note
654 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
655 be deleted without changing the meaning of the piece.
657 @lilypond[quote,verbatim,fragment]
666 @subsection Bar check
670 @cindex @code{barCheckSynchronize}
673 Bar checks help detect errors in the durations. A bar check is
674 entered using the bar symbol, `@code{|}'. Whenever it is encountered
675 during interpretation, it should fall on a measure boundary. If it
676 does not, a warning is printed. In the next example, the second bar
677 check will signal an error
679 \time 3/4 c2 e4 | g2 |
682 Bar checks can also be used in lyrics, for example
687 Twin -- kle | Twin -- kle
692 @cindex skipTypesetting
694 Failed bar checks are caused by entering incorrect
695 durations. Incorrect durations often completely garble up the score,
696 especially if it is polyphonic, so you should start correcting the
697 score by scanning for failed bar checks and incorrect durations. To
698 speed up this process, you can use @code{skipTypesetting}, described
701 It is also possible to redefine the meaning of @code{|}. This is done
702 by assigning a music expression to @code{pipeSymbol},
705 pipeSymbol = \bar "||"
708 \notes { c'2 c'2 | c'2 c'2 | }
713 @node Skipping corrected music
714 @subsection Skipping corrected music
716 The property @code{Score.skipTypesetting} can be used to switch on and
717 off typesetting completely during the interpretation phase. When
718 typesetting is switched off, the music is processed much more quickly.
719 This can be used to skip over the parts of a score that have already
720 been checked for errors
722 @lilypond[quote,fragment,raggedright,verbatim]
725 \set Score.skipTypesetting = ##t
727 \set Score.skipTypesetting = ##f
731 @node Automatic note splitting
732 @subsection Automatic note splitting
734 Long notes can be converted automatically to tied notes. This is done
735 by replacing the @internalsref{Note_heads_engraver} by the
736 @internalsref{Completion_heads_engraver}.
737 In the following examples, notes crossing the bar line are split and tied.
740 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
742 \remove "Note_heads_engraver"
743 \consists "Completion_heads_engraver"
745 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
749 This engraver splits all running notes at the bar line, and inserts
750 ties. One of its uses is to debug complex scores: if the measures are
751 not entirely filled, then the ties exactly show how much each measure
756 Not all durations (especially those containing tuplets) can be
757 represented exactly; the engraver will not insert tuplets.
761 Examples: @inputfileref{input/regression,completion-heads.ly}.
763 Program reference: @internalsref{Completion_heads_engraver}.
767 @section Staff notation
769 This section describes music notation that occurs on staff level,
770 such as keys, clefs and time signatures.
772 @cindex Staff notation
786 @subsection Staff symbol
788 @cindex adjusting staff symbol
790 Notes, dynamic signs, etc. are grouped
791 with a set of horizontal lines, into a staff (plural `staves'). In our
792 system, these lines are drawn using a separate layout object called
796 @cindex staff lines, setting number of
797 @cindex staff lines, setting thickness of
798 @cindex thickness of staff lines, setting
799 @cindex number of staff lines, setting
803 Program reference: @internalsref{StaffSymbol}.
805 Examples: @inputfileref{input/test,staff-lines.ly},
806 @inputfileref{input/test,staff-size.ly}.
810 If a staff is ended halfway a piece, the staff symbol may not end
811 exactly on the bar line.
815 @subsection Key signature
816 @cindex Key signature
820 The key signature indicates the scale in which a piece is played. It
821 is denoted by a set of alterations (flats or sharps) at the start of
825 Setting or changing the key signature is done with the @code{\key}
828 @code{\key} @var{pitch} @var{type}
831 @cindex @code{\minor}
832 @cindex @code{\major}
833 @cindex @code{\minor}
834 @cindex @code{\ionian}
835 @cindex @code{\locrian}
836 @cindex @code{\aeolian}
837 @cindex @code{\mixolydian}
838 @cindex @code{\lydian}
839 @cindex @code{\phrygian}
840 @cindex @code{\dorian}
842 Here, @var{type} should be @code{\major} or @code{\minor} to get
843 @var{pitch}-major or @var{pitch}-minor, respectively.
844 The standard mode names @code{\ionian},
845 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
846 @code{\phrygian}, and @code{\dorian} are also defined.
848 This command sets the context property
849 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
850 can be specified by setting this property directly.
852 Accidentals and key signatures often confuse new users, because
853 unaltered notes get natural signs depending on the key signature. For
854 more information, see @ref{More about pitches}.
858 The ordering of a key cancellation is wrong when it is combined with
859 repeat bar lines. The cancellation is also printed after a line break.
863 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
865 @cindex @code{keySignature}
872 The clef indicates which lines of the staff correspond to which
876 The clef can be set or changed with the @code{\clef} command
877 @lilypond[quote,fragment,verbatim]
878 \key f\major c''2 \clef alto g'2
881 Supported clef-names include
882 @c Moved standard clefs to the top /MB
886 @item treble, violin, G, G2
899 G clef on 1st line, so-called French violin clef
904 @cindex mezzosoprano clef
907 @cindex baritone clef
910 @cindex varbaritone clef
921 By adding @code{_8} or @code{^8} to the clef name, the clef is
922 transposed one octave down or up, respectively, and @code{_15} and
923 @code{^15} transposes by two octaves. The argument @var{clefname}
924 must be enclosed in quotes when it contains underscores or digits. For
928 @cindex choral tenor clef
929 @lilypond[quote,verbatim,fragment,relative=1]
933 This command is equivalent to setting @code{clefGlyph},
934 @code{clefPosition} (which controls the Y position of the clef),
935 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
936 when any of these properties are changed.
940 Program reference: the object for this symbol is @internalsref{Clef}.
944 @node Ottava brackets
945 @subsection Ottava brackets
947 ``Ottava'' brackets introduce an extra transposition of an octave for
948 the staff. They are created by invoking the function
949 @code{set-octavation}
955 @lilypond[quote,verbatim,fragment]
965 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
966 (for 15ma) as arguments. Internally the function sets the properties
967 @code{ottavation} (e.g. to @code{"8va"}) and
968 @code{centralCPosition}. For overriding the text of the bracket, set
969 @code{ottavation} after invoking @code{set-octavation}, i.e.,
973 \set Staff.ottavation = #"8"
978 Program reference: @internalsref{OttavaBracket}.
980 Examples: @inputfileref{input/regression,ottava.ly},
981 @inputfileref{input/regression,ottava-broken.ly}.
985 @code{set-octavation} will get confused when clef changes happen
986 during an octavation bracket.
989 @subsection Time signature
990 @cindex Time signature
994 Time signature indicates the metrum of a piece: a regular pattern of
995 strong and weak beats. It is denoted by a fraction at the start of the
999 The time signature is set or changed by the @code{\time}
1001 @lilypond[quote,fragment,verbatim]
1002 \time 2/4 c'2 \time 3/4 c'2.
1005 The symbol that is printed can be customized with the @code{style}
1006 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1007 2/2 time. There are many more options for its layout. See
1008 @inputfileref{input/test,time.ly} for more examples.
1011 This command sets the property @code{timeSignatureFraction},
1012 @code{beatLength} and @code{measureLength} in the @code{Timing}
1013 context, which is normally aliased to @internalsref{Score}. The
1014 property @code{measureLength} determines where bar lines should be
1015 inserted, and how automatic beams should be generated. Changing the
1016 value of @code{timeSignatureFraction} also causes the symbol to be
1019 More options are available through the Scheme function
1020 @code{set-time-signature}. In combination with the
1021 @internalsref{Measure_grouping_engraver}, it will create
1022 @internalsref{MeasureGrouping} signs. Such signs ease reading
1023 rhythmically complex modern music. In the following example, the 9/8
1024 measure is subdivided in 2, 2, 2 and 3. This is passed to
1025 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1027 @lilypond[quote,raggedright,verbatim]
1029 \notes \relative c'' {
1030 #(set-time-signature 9 8 '(2 2 2 3))
1031 g8[ g] d[ d] g[ g] a8[( bes g]) |
1032 #(set-time-signature 5 8 '(3 2))
1038 \consists "Measure_grouping_engraver"
1046 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1051 Automatic beaming does not use the measure grouping specified with
1052 @code{set-time-signature}.
1054 @node Partial measures
1055 @subsection Partial measures
1058 @cindex partial measure
1059 @cindex measure, partial
1060 @cindex shorten measures
1061 @cindex @code{\partial}
1063 Partial measures, for example in upsteps, are entered using the
1064 @code{\partial} command
1065 @lilypond[quote,fragment,verbatim,relative=2]
1066 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1069 The syntax for this command is
1071 \partial @var{duration}
1073 This is internally translated into
1075 \set Timing.measurePosition = -@var{length of duration}
1078 The property @code{measurePosition} contains a rational number
1079 indicating how much of the measure has passed at this point.
1081 @node Unmetered music
1082 @subsection Unmetered music
1084 Bar lines and bar numbers are calculated automatically. For unmetered
1085 music (e.g. cadenzas), this is not desirable. By setting
1086 @code{Score.timing} to false, this automatic timing can be switched
1087 off. Empty bar lines,
1094 indicate where line breaks can occur.
1100 @cindex @code{\cadenzaOn}
1102 @cindex @code{\cadenzaOff}
1106 @subsection Bar lines
1110 @cindex measure lines
1114 Bar lines delimit measures, but are also used to indicate repeats.
1115 Normally, they are inserted automatically. Line breaks may only
1116 happen on bar lines.
1118 Special types of bar lines can be forced with the @code{\bar} command
1120 @lilypond[quote,relative=2,fragment,verbatim]
1124 The following bar types are available
1125 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1138 For allowing line breaks, there is a special command,
1142 This will insert an invisible bar line, and allow line breaks at this
1145 In scores with many staves, a @code{\bar} command in one staff is
1146 automatically applied to all staves. The resulting bar lines are
1147 connected between different staves of a @internalsref{StaffGroup}
1149 @lilypond[quote,fragment,verbatim]
1151 \context StaffGroup <<
1157 \new Staff { \clef bass c4 g e g }
1159 \new Staff { \clef bass c2 c2 }
1163 A bar line is created whenever the @code{whichBar} property is set.
1164 At the start of a measure it is set to the contents of
1165 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1166 to override default measure bars.
1168 The command @code{\bar }@var{bartype} is a short cut for doing
1169 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1170 is set to a string, a bar line of that type is created.
1173 @cindex repeatCommands
1174 @cindex defaultBarType
1176 You are encouraged to use @code{\repeat} for repetitions. See
1183 In this manual: @ref{Repeats}.
1186 Program reference: the bar line objects that are created at
1187 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1188 lines that span staves are @internalsref{SpanBar} objects.
1190 @cindex bar lines at start of system
1191 @cindex start of system
1193 The bar lines at the start of each system are
1194 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1195 @internalsref{SystemStartBracket}. Only one of these types is created
1196 in every context, and that type is determined by the property
1197 @code{systemStartDelimiter}.
1199 Examples: @inputfileref{input/test,bar-lines.ly},
1205 The easiest way to enter fragments with more than one voice on a staff
1206 is to split chords using the separator @code{\\}. You can use it for
1207 small, short-lived voices or for single chords
1209 @lilypond[quote,verbatim,fragment]
1210 \context Staff \relative c'' {
1211 c4 << { f d e } \\ { b c2 } >>
1212 c4 << g' \\ b, \\ f' \\ d >>
1216 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1217 voices are sometimes called "layers" other notation packages}
1219 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1220 each of these contexts, vertical direction of slurs, stems, etc. is set
1223 @cindex @code{\voiceOne}
1224 @cindex @code{\voiceFour}
1226 This can also be done by instantiating @internalsref{Voice} contexts
1227 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1228 a stem directions and horizontal shift for each part
1231 @lilypond[quote,raggedright,verbatim]
1234 \new Voice { \voiceOne cis2 b }
1235 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1236 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1240 The command @code{\oneVoice} will revert back to the normal setting.
1241 @cindex @code{\oneVoice}
1244 Normally, note heads with a different number of dots are not merged, but
1245 when the object property @code{merge-differently-dotted} is set in
1246 the @internalsref{NoteCollision} object, they are merged
1247 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1250 \override Staff.NoteCollision
1251 #'merge-differently-dotted = ##t
1253 } \\ { g8.[ f16] g8.[ f16] } >>
1256 Similarly, you can merge half note heads with eighth notes, by setting
1257 @code{merge-differently-headed}
1258 @lilypond[quote,fragment,relative=2,verbatim]
1261 \override Staff.NoteCollision
1262 #'merge-differently-headed = ##t
1263 c8 c4. } \\ { c2 c2 } >>
1266 LilyPond also vertically shifts rests that are opposite of a stem
1269 @lilypond[quote,raggedright,fragment,verbatim]
1270 \context Voice << c''4 \\ r4 >>
1278 @cindex @code{\oneVoice}
1280 @cindex @code{\voiceOne}
1282 @cindex @code{\voiceTwo}
1284 @cindex @code{\voiceThree}
1286 @cindex @code{\voiceFour}
1290 The following commands specify in what chords of the current voice
1291 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1292 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1295 @cindex @code{\shiftOn}
1297 @cindex @code{\shiftOnn}
1299 @cindex @code{\shiftOnnn}
1301 @cindex @code{\shiftOff}
1308 Program reference: the objects responsible for resolving collisions are
1309 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1311 Examples: See also example files
1312 @inputfileref{input/regression,collision-dots.ly},
1313 @inputfileref{input/regression,collision-head-chords.ly},
1314 @inputfileref{input/regression,collision-heads.ly},
1315 @inputfileref{input/regression,collision-mesh.ly}, and
1316 @inputfileref{input/regression,collisions.ly}.
1321 Resolving collisions is a intricate subject, and only a few situations
1322 are handled. When LilyPond cannot cope, the @code{force-hshift}
1323 property of the @internalsref{NoteColumn} object and pitched rests can
1324 be used to override typesetting decisions.
1326 When using @code{merge-differently-headed} with an upstem eighth or a
1327 shorter note, and a downstem half note, the eighth note gets the wrong
1330 There is no support for clusters where the same note occurs with
1331 different accidentals in the same chord. In this case, it is
1332 recommended to use enharmonic transcription, or to use special cluster
1333 notation (see @ref{Clusters}).
1338 Beams are used to group short notes into chunks that are aligned with
1339 the metrum. They are inserted automatically
1341 @lilypond[quote,fragment,verbatim,relative=2]
1342 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1345 When these automatic decisions are not good enough, beaming can be
1346 entered explicitly. It is also possible to define beaming patterns
1347 that differ from the defaults.
1349 Individual notes may be marked with @code{\noBeam}, to prevent them
1352 @lilypond[quote,fragment,verbatim,relative=2]
1353 \time 2/4 c8 c\noBeam c c
1359 Program reference: @internalsref{Beam}.
1362 @cindex Automatic beams
1365 * Setting automatic beam behavior::
1369 @subsection Manual beams
1370 @cindex beams, manual
1374 In some cases it may be necessary to override the automatic beaming
1375 algorithm. For example, the autobeamer will not put beams over rests
1376 or bar lines. Such beams are specified by manually: the begin and end
1377 point are marked with @code{[} and @code{]}
1379 @lilypond[quote,fragment,relative=1,verbatim]
1381 r4 r8[ g' a r8] r8 g[ | a] r8
1385 @cindex @code{stemLeftBeamCount}
1387 Normally, beaming patterns within a beam are determined automatically.
1388 If necessary, the properties @code{stemLeftBeamCount} and
1389 @code{stemRightBeamCount} can be used to override the defaults. If
1390 either property is set, its value will be used only once, and then it
1393 @lilypond[quote,fragment,relative=1,verbatim]
1396 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1399 @cindex @code{stemRightBeamCount}
1402 The property @code{subdivideBeams} can be set in order to subdivide
1403 all 16th or shorter beams at beat positions, as defined by the
1404 @code{beatLength} property.
1407 @lilypond[quote,relative=2,verbatim,noindent]
1409 \set subdivideBeams = ##t
1411 \set Score.beatLength = #(ly:make-moment 1 8)
1414 @cindex subdivideBeams
1416 Kneed beams are inserted automatically, when a large gap is detected
1417 between the note heads. This behavior can be tuned through the object
1418 property @code{auto-knee-gap}.
1420 Normally, line breaks are forbidden when beams cross bar lines. This
1421 behavior can be changed by setting @code{allowBeamBreak}.
1423 @cindex @code{allowBeamBreak}
1424 @cindex beams and line breaks
1426 @cindex beams, kneed
1428 @cindex auto-knee-gap
1434 @cindex Frenched staves
1436 Automatically kneed cross-staff beams cannot be used together with
1439 Beams do not avoid collisions with symbols around the notes, such as
1440 texts and accidentals.
1444 @node Setting automatic beam behavior
1445 @subsection Setting automatic beam behavior
1447 @cindex @code{autoBeamSettings}
1448 @cindex @code{(end * * * *)}
1449 @cindex @code{(begin * * * *)}
1450 @cindex automatic beams, tuning
1451 @cindex tuning automatic beaming
1453 @c [TODO: use \applycontext]
1455 In normal time signatures, automatic beams can start on any note but can
1456 only end in a few positions within the measure: beams can end on a beat,
1457 or at durations specified by the properties in
1458 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1459 are defined in @file{scm/auto-beam.scm}.
1461 The value of @code{autoBeamSettings} is changed with two functions,
1463 #(override-auto-beam-setting
1464 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1466 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1468 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1469 @var{context} is an optional context (default: @code{'Voice}). It
1470 determines whether the rule applies to begin or end-points. The
1471 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1472 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1473 to a time signature (wildcards `@code{* *}' may be entered to
1474 designate all time signatures), @var{a}/@var{b} is a duration. By
1475 default, this command changes settings for the current voice. It is
1476 also possible to adjust settings at higher contexts, by adding a
1477 @var{context} argument.
1479 For example, if automatic beams should end on every quarter note, use
1482 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1484 Since the duration of a quarter note is 1/4 of a whole note, it is
1485 entered as @code{(ly:make-moment 1 4)}.
1487 The same syntax can be used to specify beam starting points. In this
1488 example, automatic beams can only end on a dotted quarter note
1490 #(override-auto-beam-setting '(end * * * *) 3 8)
1492 In 4/4 time signature, this means that automatic beams could end only on
1493 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1494 3/8, has passed within the measure).
1496 Rules can also be restricted to specific time signatures. A rule that
1497 should only be applied in @var{N}/@var{M} time signature is formed by
1498 replacing the second asterisks by @var{N} and @var{M}. For example, a
1499 rule for 6/8 time exclusively looks like
1501 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1504 If a rule should be to applied only to certain types of beams, use the
1505 first pair of asterisks. Beams are classified according to the
1506 shortest note they contain. For a beam ending rule that only applies
1507 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1510 @cindex automatic beam generation
1512 @cindex @code{autoBeaming}
1515 If beams are used to indicate melismata in songs, then automatic
1516 beaming should be switched off. This is done by setting
1517 @code{autoBeaming} to @code{#f}.
1521 @cindex @code{\autoBeamOff}
1522 @code{\autoBeamOff},
1523 @cindex @code{\autoBeamOn}
1529 If a score ends while an automatic beam has not been ended and is
1530 still accepting notes, this last beam will not be typeset at all. The
1531 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1532 >>}. If a polyphonic voice ends while an automatic beam is still
1533 accepting notes, it is not typeset.
1535 The rules for ending a beam depend on the shortest note in a beam.
1536 So, while it is possible to have different ending rules for eight
1537 beams and sixteenth beams, a beam that contains both eight and
1538 sixteenth notes will use the rules for the sixteenth beam.
1540 In the example below, the autobeamer makes eight beams and sixteenth
1541 end at 3 eights; the third beam can only be corrected by specifying
1544 @lilypond[quote,raggedright,fragment,relative=1]
1545 #(override-auto-beam-setting '(end * * * *) 3 8)
1546 % rather show case where it goes wrong
1547 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1548 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1550 It is not possible to specify beaming parameters that act differently in
1551 different parts of a measure. This means that it is not possible to use
1552 automatic beaming in irregular meters such as @code{5/8}.
1555 @section Accidentals
1558 This section describes how to change the way that accidentals are
1559 inserted automatically before the running notes.
1561 Common rules for typesetting accidentals have been canned in a
1562 function. This function is called as follows
1564 @cindex @code{set-accidental-style}
1566 #(set-accidental-style 'modern 'Voice)
1569 The function takes two arguments: a symbol that denotes the style (in
1570 the example, @code{modern}), and another symbol that denotes the
1571 context name (in this example, @code{Voice}). If no context name is
1572 supplied, @code{Staff} is the default.
1574 The following styles are supported
1577 This is the default typesetting behavior. It should correspond
1578 to 18th century common practice: Accidentals are
1579 remembered to the end of the measure in which they occur and
1580 only on their own octave.
1584 The normal behavior is to remember the accidentals on
1585 Staff-level. This variable, however, typesets accidentals
1586 individually for each voice. Apart from that, the rule is similar to
1589 This leads to some weird and often unwanted results
1590 because accidentals from one voice do not get canceled in other
1592 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1594 #(set-accidental-style 'voice)
1600 Hence you should only use @code{voice} if the voices
1601 are to be read solely by individual musicians. If the staff is to be
1602 used by one musician (e.g. a conductor) then you use
1603 @code{modern} or @code{modern-cautionary}
1607 @cindex @code{modern} style accidentals
1608 This rule corresponds to the common practice in the 20th
1610 This rule prints the same accidentals as @code{default}, but temporary
1611 accidentals also are canceled in other octaves. Furthermore,
1612 in the same octave, they also get canceled in the following
1615 @lilypond[quote,raggedright,fragment,verbatim]
1616 #(set-accidental-style 'modern)
1617 cis' c'' cis'2 | c'' c'
1620 @item @code{modern-cautionary}
1621 @cindex @code{modern-cautionary}
1622 This rule is similar to @code{modern}, but the
1623 ``extra'' accidentals (the ones not typeset by
1624 @code{default}) are typeset as cautionary accidentals.
1625 They are printed in reduced size or with parentheses
1626 @lilypond[quote,raggedright,fragment,verbatim]
1627 #(set-accidental-style 'modern-cautionary)
1628 cis' c'' cis'2 | c'' c'
1631 @cindex @code{modern-voice}
1633 This rule is used for multivoice accidentals to be read both by musicians
1634 playing one voice and musicians playing all voices. Accidentals are
1635 typeset for each voice, but they @emph{are} canceled across voices in
1636 the same @internalsref{Staff}.
1638 @cindex @code{modern-voice-cautionary}
1639 @item modern-voice-cautionary
1640 This rule is the same as @code{modern-voice}, but with the extra
1641 accidentals (the ones not typeset by @code{voice}) typeset
1642 as cautionaries. Even though all accidentals typeset by
1643 @code{default} @emph{are} typeset by this variable then
1644 some of them are typeset as cautionaries.
1647 @cindex @code{piano} accidentals
1648 This rule reflects 20th century practice for piano notation. Very similar to
1649 @code{modern} but accidentals also get canceled
1650 across the staves in the same @internalsref{GrandStaff} or
1651 @internalsref{PianoStaff}.
1653 @item piano-cautionary
1654 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1655 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1656 typeset as cautionaries.
1659 @cindex @code{no-reset} accidental style
1661 This is the same as @code{default} but with accidentals lasting
1662 ``forever'' and not only until the next measure
1663 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1664 #(set-accidental-style 'no-reset)
1669 This is sort of the opposite of @code{no-reset}: Accidentals
1670 are not remembered at all---and hence all accidentals are
1671 typeset relative to the key signature, regardless of what was
1674 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1675 #(set-accidental-style 'forget)
1676 \key d\major c4 c cis cis d d dis dis
1683 Program reference: @internalsref{Accidental_engraver},
1684 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1689 Simultaneous notes are considered to be entered in sequential
1690 mode. This means that in a chord the accidentals are typeset as if the
1691 notes in the chord happened once at a time - in the order in which
1692 they appear in the input file.
1694 This is only a problem when accidentals in a chord depend on each
1695 other. This problem can be solved by manually inserting @code{!} and
1696 @code{?} for the problematic notes.
1698 In the default scheme, accidentals only depend on other
1699 accidentals with the same pitch on the same staff, so no conflicts are
1702 @node Expressive marks
1703 @section Expressive marks
1706 @c todo: should change ordering
1707 @c where to put text spanners, metronome marks,
1716 * Analysis brackets::
1718 * Fingering instructions::
1729 A slur indicates that notes are to be played bound or @emph{legato}.
1732 They are entered using parentheses
1733 @lilypond[quote,relative=2,fragment,verbatim]
1734 f( g)( a) a8 b( a4 g2 f4)
1739 @c TODO: should explain that ^( and _( set directions
1740 @c should set attachments with ^ and _ ?
1742 Slurs avoid crossing stems, and are generally attached to note heads.
1743 However, in some situations with beams, slurs may be attached to stem
1744 ends. If you want to override this layout you can do this through the
1745 object property @code{attachment} of @internalsref{Slur}. Its value
1746 is a pair of symbols, specifying the attachment type of the left and
1749 @lilypond[quote,fragment,relative=1,verbatim]
1751 \override Stem #'length = #5.5
1753 \override Slur #'attachment = #'(stem . stem)
1757 If a slur would strike through a stem or beam, the slur will be moved
1758 away upward or downward. If this happens, attaching the slur to the
1759 stems might look better
1761 @lilypond[quote,fragment,relative=1,verbatim]
1764 \override Slur #'attachment = #'(stem . stem)
1771 @cindex @code{\slurUp}
1773 @cindex @code{\slurDown}
1775 @cindex @code{\slurBoth}
1777 @cindex @code{\slurDotted}
1779 @cindex @code{\slurSolid}
1784 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1789 Producing nice slurs is a difficult problem, and LilyPond
1790 uses a simple, empiric method to produce slurs. In some cases, its
1794 @cindex Adjusting slurs
1796 @node Phrasing slurs
1797 @subsection Phrasing slurs
1799 @cindex phrasing slurs
1800 @cindex phrasing marks
1802 A phrasing slur (or phrasing mark) connects chords and is used to
1803 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1806 @lilypond[quote,fragment,verbatim,relative=1]
1807 \time 6/4 c'\( d( e) f( e) d\)
1810 Typographically, the phrasing slur behaves almost exactly like a
1811 normal slur. However, they are treated as different objects. A
1812 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1813 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1814 @code{\phrasingSlurBoth}.
1816 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1817 will only affect normal slurs and not phrasing slurs.
1821 @cindex @code{\phrasingSlurUp}
1822 @code{\phrasingSlurUp},
1823 @cindex @code{\phrasingSlurDown}
1824 @code{\phrasingSlurDown},
1825 @cindex @code{\phrasingSlurBoth}
1826 @code{\phrasingSlurBoth}.
1830 Program reference: see also @internalsref{PhrasingSlur}, and
1831 @internalsref{PhrasingSlurEvent}.
1835 Phrasing slurs have the same limitations in their formatting as normal
1836 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1839 @subsection Breath marks
1841 Breath marks are entered using @code{\breathe}
1844 @lilypond[quote,fragment,relative=1,verbatim]
1848 The glyph of the breath mark can be tuned by overriding the
1849 @code{text} property of the @code{BreathingSign} layout object with
1850 any markup text. For example,
1851 @lilypond[quote,fragment,verbatim,relative=1]
1853 \override BreathingSign #'text
1854 = #(make-musicglyph-markup "scripts-rvarcomma")
1861 Program reference: @internalsref{BreathingSign},
1862 @internalsref{BreathingSignEvent}.
1864 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1867 @node Metronome marks
1868 @subsection Metronome marks
1871 @cindex beats per minute
1872 @cindex metronome marking
1874 Metronome settings can be entered as follows
1876 \tempo @var{duration} = @var{per-minute}
1879 In the MIDI output, they are interpreted as a tempo change, and in the
1880 paper output, a metronome marking is printed
1881 @cindex @code{\tempo}
1882 @lilypond[quote,fragment,verbatim]
1888 Program reference: @internalsref{MetronomeChangeEvent}.
1893 @subsection Text spanners
1894 @cindex Text spanners
1896 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1897 are written as texts, and extended over many measures with dotted
1898 lines. You can create such texts using text spanners: attach
1899 @code{\startTextSpan} and @code{\stopTextSpan} to the
1900 start and ending note of the spanner.
1902 The string to be printed, as well as the style, is set through object
1905 @lilypond[quote,fragment,relative=1,verbatim]
1908 \override TextSpanner #'direction = #-1
1909 \override TextSpanner #'edge-text = #'("rall " . "")
1910 c2\startTextSpan b c\stopTextSpan a
1917 Internals @internalsref{TextSpanEvent},
1918 @internalsref{TextSpanner}.
1920 Examples: @inputfileref{input/regression,text-spanner.ly}.
1923 @node Analysis brackets
1924 @subsection Analysis brackets
1926 @cindex phrasing brackets
1927 @cindex musicological analysis
1928 @cindex note grouping bracket
1930 Brackets are used in musical analysis to indicate structure in musical
1931 pieces. LilyPond supports a simple form of nested horizontal brackets.
1932 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1933 @internalsref{Staff} context. A bracket is started with
1934 @code{\startGroup} and closed with @code{\stopGroup}
1936 @lilypond[quote,raggedright,verbatim]
1938 \notes \relative c'' {
1939 c4\startGroup\startGroup
1942 c4\stopGroup\stopGroup
1946 \StaffContext \consists "Horizontal_bracket_engraver"
1952 Program reference: @internalsref{HorizontalBracket},
1953 @internalsref{NoteGroupingEvent}.
1955 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1959 @subsection Articulations
1960 @cindex Articulations
1962 @cindex articulations
1966 A variety of symbols can appear above and below notes to indicate
1967 different characteristics of the performance. They are added to a note
1968 by adding a dash and the character signifying the
1969 articulation. They are demonstrated here
1971 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1973 The meanings of these shorthands can be changed. See
1974 @file{ly/script-init.ly} for examples.
1977 The script is automatically placed, but if you need to force
1978 directions, you can use @code{_} to force them down, or @code{^} to
1980 @lilypond[quote,fragment,verbatim]
1984 Other symbols can be added using the syntax
1985 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1986 can be forced up or down using @code{^} and @code{_},
1989 @lilypond[quote,verbatim,fragment,relative=3]
1990 c\fermata c^\fermata c_\fermata
1997 @cindex staccatissimo
2006 @cindex organ pedal marks
2015 @cindex prallmordent
2019 @cindex thumb marking
2024 @lilypondfile[quote,raggedright]{script-chart.ly}
2028 @cindex @code{\scriptUp}
2030 @cindex @code{\scriptDown}
2032 @cindex @code{\scriptBoth}
2037 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2041 These note ornaments appear in the printed output but have no
2042 effect on the MIDI rendering of the music.
2045 @node Fingering instructions
2046 @subsection Fingering instructions
2050 Fingering instructions can be entered using
2052 @var{note}-@var{digit}
2054 For finger changes, use markup texts
2056 @lilypond[quote,verbatim,raggedright,fragment]
2057 c'4-1 c'4-2 c'4-3 c'4-4
2058 c'^\markup { \finger "2-3" }
2061 @cindex finger change
2066 You can use the thumb-script to indicate that a note should be
2067 played with the thumb (e.g. in cello music)
2069 @lilypond[quote,verbatim,raggedright,fragment]
2070 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2073 Fingerings for chords can also be added to individual notes
2074 of the chord by adding them after the pitches
2075 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2076 < c-1 e-2 g-3 b-5 >4
2080 iIn this case, setting @code{fingeringOrientations} will put fingerings next
2083 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2084 \set fingeringOrientations = #'(left down)
2085 <c-1 es-2 g-4 bes-5 > 4
2086 \set fingeringOrientations = #'(up right down)
2087 <c-1 es-2 g-4 bes-5 > 4
2088 \set fingeringOrientations = #'(right)
2092 The last note demonstrates how fingering instructions can be put close
2093 to note heads in monophonic music, using this feature.
2097 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2099 Examples: @inputfileref{input/regression,finger-chords.ly}.
2102 @subsection Text scripts
2103 @cindex Text scripts
2105 @cindex text items, non-empty
2106 @cindex non-empty texts
2108 It is possible to place arbitrary strings of text or markup text (see
2109 @ref{Text markup}) above or below notes by using a string
2110 @code{c^"text"}. By default, these indications do not influence the
2111 note spacing, but by using the command @code{\fatText}, the widths
2112 will be taken into account
2114 @lilypond[quote,fragment,raggedright,verbatim]
2116 c4^"longtext" \fatText c4_"longlongtext" c4
2120 It is possible to use @TeX{} commands in the strings, but this should
2121 be avoided because the exact dimensions of the string can then no
2126 @cindex @code{\fatText}
2128 @cindex @code{\emptyText}
2133 In this manual: @ref{Text markup}.
2135 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2141 @subsection Grace notes
2144 @c should have blurb about accaciatura / appogiatura
2146 @cindex @code{\grace}
2150 Grace notes are ornaments that are written out. The most common ones
2151 are acciaccatura, which should be played as very short. It is denoted
2152 by a slurred small note with a slashed stem. The appoggiatura is a
2153 grace note that takes a fixed fraction of the main note, is and
2154 denoted as a slurred note in small print without a slash.
2155 They are entered with the commands @code{\acciaccatura} and
2156 @code{\appoggiatura}, as demonstrated in the following example
2159 @cindex appoggiatura
2160 @cindex acciaccatura
2162 @lilypond[quote,relative=2,verbatim,fragment]
2163 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2164 \acciaccatura { g16[ f] } e4
2167 Both are special forms of the @code{\grace} command. By prefixing this
2168 keyword to a music expression, a new one is formed, which will be
2169 printed in a smaller font and takes up no logical time in a measure.
2171 @lilypond[quote,relative=2,verbatim,fragment]
2173 \grace { c16[ d16] } c2 c4
2177 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2178 @code{\grace} command does not start a slur.
2180 Internally, timing for grace notes is done using a second, `grace'
2181 time. Every point in time consists of two rational numbers: one
2182 denotes the logical time, one denotes the grace timing. The above
2183 example is shown here with timing tuples
2185 @lilypond[quote,raggedright]
2188 c4 \grace c16 c4 \grace {
2191 \new Lyrics \lyrics {
2194 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2195 \markup { (\fraction 1 4 , 0 ) } 4
2197 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2198 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2200 \markup { ( \fraction 2 4 , 0 ) }
2206 The placement of grace notes is synchronized between different staves.
2207 In the following example, there are two sixteenth graces notes for
2208 every eighth grace note
2210 @lilypond[quote,relative=2,verbatim,fragment]
2211 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2212 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2217 If you want to end a note with a grace, the standard trick is to put
2218 the grace notes after a ``space note''
2220 @lilypond[quote,fragment,verbatim,relative=2]
2223 { s2 \grace { c16[ d] } } >>
2229 By adjusting the duration of the skip note (here it is a half-note),
2230 the space between the main-note and the grace is adjusted.
2233 A @code{\grace} section will introduce special typesetting settings,
2234 for example, to produce smaller type, and set directions. Hence, when
2235 introducing layout tweaks, they should be inside the grace section,
2237 @lilypond[quote,fragment,verbatim,relative=2]
2240 \override Stem #'direction = #-1
2242 \revert Stem #'direction
2249 The overrides should also be reverted inside the grace section.
2251 If the layout of grace sections must be changed throughout the music,
2252 then this can be accomplished through the function
2253 @code{add-grace-property}. The following example undefines the Stem
2254 direction for this grace, so stems do not always point up.
2258 #(add-grace-property 'Voice 'Stem 'direction '())
2264 Another option is to change the variables @code{startGraceMusic},
2265 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2266 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2267 @code{stopAppoggiaturaMusic}. More information is in the file
2268 @file{ly/grace-init.ly}.
2273 Program reference: @internalsref{GraceMusic}.
2277 A score that starts with an @code{\grace} section needs an explicit
2278 @code{\context Voice} declaration, otherwise the main note and grace
2279 note end up on different staves.
2281 Grace note synchronization can also lead to surprises. Staff notation,
2282 such as key signatures, bar lines, etc. are also synchronized. Take
2283 care when you mix staves with grace notes and staves without, for example,
2285 @lilypond[quote,relative=2,verbatim,fragment]
2286 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2287 \new Staff { c4 \bar "|:" d4 } >>
2291 This can be remedied by inserting grace skips, for the above example
2294 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2297 Grace sections should only be used within sequential music
2298 expressions. Nesting or juxtaposing grace sections is not supported,
2299 and might produce crashes or other errors.
2303 @subsection Glissando
2306 @cindex @code{\glissando}
2308 A glissando is a smooth change in pitch. It is denoted by a line or a
2309 wavy line between two notes.
2312 A glissando line can be requested by attaching a @code{\glissando} to
2315 @lilypond[quote,fragment,relative=1,verbatim]
2321 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2323 Example files: @file{input/regression,glissando.ly}
2329 Printing text over the line (such as @emph{gliss.}) is not supported.
2333 @subsection Dynamics
2346 @cindex @code{\ffff}
2356 Absolute dynamic marks are specified using a command after a note
2357 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2358 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2359 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2360 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2362 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2363 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2373 A crescendo mark is started with @code{\<} and terminated with
2374 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2375 with @code{\!}. Because these marks are bound to notes, if you must
2376 use spacer notes if multiple marks during one note are needed
2378 @lilypond[quote,fragment,verbatim]
2379 c''\< c''\! d''\> e''\!
2380 << f''1 { s4 s4\< s4\! \> s4\! } >>
2382 This may give rise to very short hairpins. Use @code{minimum-length}
2383 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2387 \override Staff.Hairpin #'minimum-length = #5
2390 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2391 is an example how to do it
2393 @lilypond[quote,fragment,relative=2,verbatim]
2403 You can also supply your own texts
2404 @lilypond[quote,fragment,relative=1,verbatim]
2406 \set crescendoText = \markup { \italic "cresc. poco" }
2407 \set crescendoSpanner = #'dashed-line
2417 @cindex @code{\dynamicUp}
2419 @cindex @code{\dynamicDown}
2420 @code{\dynamicDown},
2421 @cindex @code{\dynamicBoth}
2422 @code{\dynamicBoth}.
2424 @cindex direction, of dynamics
2428 Program reference: @internalsref{CrescendoEvent},
2429 @internalsref{DecrescendoEvent}, and
2430 @internalsref{AbsoluteDynamicEvent}.
2432 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2433 objects. Vertical positioning of these symbols is handled by the
2434 @internalsref{DynamicLineSpanner} object.
2442 @cindex @code{\repeat}
2445 Repetition is a central concept in music, and multiple notations exist
2446 for repetitions. In LilyPond, most of these notations can be captured
2447 in a uniform syntax. One of the advantages is that they can be
2448 rendered in MIDI accurately.
2450 The following types of repetition are supported
2454 Repeated music is fully written (played) out. Useful for MIDI
2455 output, and entering repetitive music.
2458 This is the normal notation: Repeats are not written out, but
2459 alternative endings (volte) are printed, left to right.
2463 Alternative endings are written stacked. This has limited use but may be
2464 used to typeset two lines of lyrics in songs with repeats, see
2465 @inputfileref{input,star-spangled-banner.ly}.
2473 Make beat or measure repeats. These look like percent signs.
2479 * Repeats and MIDI::
2480 * Manual repeat commands::
2482 * Tremolo subdivisions::
2487 @subsection Repeat syntax
2490 LilyPond has one syntactic construct for specifying different types of
2491 repeats. The syntax is
2494 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2497 If you have alternative endings, you may add
2498 @cindex @code{\alternative}
2500 \alternative @code{@{} @var{alternative1}
2502 @var{alternative3} @dots{} @code{@}}
2504 where each @var{alternative} is a music expression. If you do not
2505 give enough alternatives for all of the repeats, the first alternative
2506 is assumed to be played more than once.
2508 Normal notation repeats are used like this
2509 @lilypond[quote,fragment,verbatim,relative=2]
2511 \repeat volta 2 { c4 d e f }
2512 \repeat volta 2 { f e d c }
2515 With alternative endings
2516 @lilypond[quote,fragment,verbatim,relative=2]
2518 \repeat volta 2 {c4 d e f}
2519 \alternative { {d2 d} {f f,} }
2523 @lilypond[quote,fragment,verbatim,relative=2]
2526 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2527 \alternative { { g4 g g } { a | a a a a | b2. } }
2533 A nested repeat like
2542 is ambiguous, since it is is not clear to which @code{\repeat} the
2543 @code{\alternative} belongs. This ambiguity is resolved by always
2544 having the @code{\alternative} belong to the inner @code{\repeat}.
2545 For clarity, it is advisable to use braces in such situations.
2548 @node Repeats and MIDI
2549 @subsection Repeats and MIDI
2551 @cindex expanding repeats
2553 For instructions on how to expand repeats for MIDI output, see the
2554 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2559 Timing information is not remembered at the start of an alternative,
2560 so after a repeat timing information must be reset by hand, for
2561 example by setting @code{Score.measurePosition} or entering
2562 @code{\partial}. Similarly, slurs or ties are also not repeated.
2565 @node Manual repeat commands
2566 @subsection Manual repeat commands
2568 @cindex @code{repeatCommands}
2570 The property @code{repeatCommands} can be used to control the layout of
2571 repeats. Its value is a Scheme list of repeat commands, where each repeat
2575 @item the symbol @code{start-repeat},
2576 which prints a @code{|:} bar line,
2577 @item the symbol @code{end-repeat},
2578 which prints a @code{:|} bar line,
2579 @item the list @code{(volta @var{text})},
2580 which prints a volta bracket saying @var{text}: The text can be specified as
2581 a text string or as a markup text, see @ref{Text markup}. Do not
2582 forget to change the font, as the default number font does not contain
2583 alphabetic characters. Or,
2584 @item the list @code{(volta #f)}, which
2585 stops a running volta bracket
2588 @lilypond[quote,verbatim,fragment,relative=2]
2590 \set Score.repeatCommands = #'((volta "93") end-repeat)
2592 \set Score.repeatCommands = #'((volta #f))
2599 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2600 @internalsref{VoltaRepeatedMusic},
2601 @internalsref{UnfoldedRepeatedMusic}, and
2602 @internalsref{FoldedRepeatedMusic}.
2604 @node Tremolo repeats
2605 @subsection Tremolo repeats
2606 @cindex tremolo beams
2608 To place tremolo marks between notes, use @code{\repeat} with tremolo
2610 @lilypond[quote,verbatim,raggedright]
2612 \context Voice \notes\relative c' {
2613 \repeat "tremolo" 8 { c16 d16 }
2614 \repeat "tremolo" 4 { c16 d16 }
2615 \repeat "tremolo" 2 { c16 d16 }
2620 Tremolo marks can also be put on a single note. In this case, the
2621 note should not be surrounded by braces.
2622 @lilypond[quote,verbatim,raggedright]
2623 \repeat "tremolo" 4 c'16
2626 A similar mechanism is the tremolo subdivision, described in
2627 @ref{Tremolo subdivisions}.
2631 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2633 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2634 tremolos are @internalsref{StemTremolo} objects. The music expression is
2635 @internalsref{TremoloEvent}.
2637 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2638 @inputfileref{input/regression,stem-tremolo.ly}.
2640 @node Tremolo subdivisions
2641 @subsection Tremolo subdivisions
2642 @cindex tremolo marks
2643 @cindex @code{tremoloFlags}
2645 Tremolo marks can be printed on a single note by adding
2646 `@code{:}[@var{length}]' after the note. The length must be at least
2647 8. A @var{length} value of 8 gives one line across the note stem. If
2648 the length is omitted, the last value (stored in @code{tremoloFlags})
2651 @lilypond[quote,verbatim,fragment]
2652 c'2:8 c':32 | c': c': |
2655 @c [TODO : stok is te kort bij 32en]
2659 Tremolos entered in this way do not carry over into the MIDI output.
2663 In this manual: @ref{Tremolo repeats}.
2665 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2667 @node Measure repeats
2668 @subsection Measure repeats
2670 @cindex percent repeats
2671 @cindex measure repeats
2673 In the @code{percent} style, a note pattern can be repeated. It is
2674 printed once, and then the pattern is replaced with a special sign.
2675 Patterns of a one and two measures are replaced by percent-like signs,
2676 patterns that divide the measure length are replaced by slashes
2678 @lilypond[quote,verbatim,raggedright]
2679 \repeat "percent" 4 { c'4 }
2680 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2685 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2686 @internalsref{PercentRepeatedMusic}, and
2687 @internalsref{DoublePercentRepeat}.
2691 @node Rhythmic music
2692 @section Rhythmic music
2696 * Showing melody rhythms::
2697 * Entering percussion::
2698 * Percussion staves::
2702 @node Showing melody rhythms
2703 @subsection Showing melody rhythms
2705 Sometimes you might want to show only the rhythm of a melody. This
2706 can be done with the rhythmic staff. All pitches of notes on such a
2707 staff are squashed, and the staff itself has a single line
2709 @lilypond[quote,fragment,relative=1,verbatim]
2710 \context RhythmicStaff {
2712 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2718 Program reference: @internalsref{RhythmicStaff}.
2720 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2723 @node Entering percussion
2724 @subsection Entering percussion
2730 Percussion notes may be entered in @code{\drums} mode, which is
2731 similar to @code{notes}. Each piece of percussion has a full name and
2732 an abbreviated name, and both be used in input files
2735 hihat hh bassdrum bd
2737 @lilypond[quote,raggedright]
2738 \new DrumStaff \drums { hihat hh bassdrum bd }
2741 The complete list of drum names is in the init file
2742 @file{ly/drumpitch-init.ly}.
2743 @c TODO: properly document this.
2747 Program reference: @internalsref{DrumNoteEvent}.
2749 @node Percussion staves
2750 @subsection Percussion staves
2754 A percussion part for more than one instrument typically uses a
2755 multiline staff where each position in the staff refers to one piece
2759 To typeset the music, the notes must be interpreted in a
2760 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2763 @lilypond[quote,raggedright,verbatim]
2764 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2765 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2768 \new DrumVoice { \voiceOne \up }
2769 \new DrumVoice { \voiceTwo \down }
2774 The above example shows verbose polyphonic notation. The short
2775 polyphonic notation, described in @ref{Polyphony}, can also be used if
2776 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2778 @lilypond[quote,fragment,verbatim]
2780 \context DrumVoice = "1" { s1 *2 }
2781 \context DrumVoice = "2" { s1 *2 }
2785 { \repeat unfold 16 hh16 }
2794 There are also other layout possibilities. To use these, set the
2795 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2796 The following variables have been predefined
2800 is the default. It typesets a typical drum kit on a five-line staff
2802 @lilypond[quote,noindent]
2803 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2804 bd sn ss tomh tommh tomml toml tomfh tomfl }
2805 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2806 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2808 << \new DrumStaff\with {
2809 \remove Bar_engraver
2810 \remove Time_signature_engraver
2811 \override Stem #'transparent = ##t
2812 \override Stem #'Y-extent-callback = ##f
2813 minimumVerticalExtent = #'(-4.0 . 5.0)
2815 \context Lyrics \nam
2818 %% need to do this, because of indented @itemize
2820 \context { \ScoreContext
2821 \override LyricText #'font-family = #'typewriter
2822 \override BarNumber #'transparent =##T
2826 The drum scheme supports six different toms. When there fewer toms, simply
2827 select the toms that produce the desired result, i.e. to get toms on
2828 the three middle lines you use @code{tommh}, @code{tomml} and
2831 @item timbales-style
2832 to typeset timbales on a two line staff
2834 @lilypond[quote,raggedright]
2835 nam = \lyrics { timh ssh timl ssl cb }
2836 mus = \drums { timh ssh timl ssl cb s16 }
2839 \context DrumStaff \with {
2840 \remove Bar_engraver
2841 \remove Time_signature_engraver
2842 \override Stem #'transparent = ##t
2843 \override Stem #'Y-extent-callback = ##f
2844 \override StaffSymbol #'line-count = #2
2845 \override StaffSymbol #'staff-space = #2
2846 minimumVerticalExtent = #'(-3.0 . 4.0)
2847 drumStyleTable = #timbales-style
2850 \override LyricText #'font-family = #'typewriter
2857 to typeset congas on a two line staff
2859 @lilypond[quote,raggedright]
2860 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2861 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2864 \context DrumStaff\with {
2865 \remove Bar_engraver
2866 \remove Time_signature_engraver
2867 drumStyleTable = #congas-style
2868 \override StaffSymbol #'line-count = #2
2870 %% this sucks; it will lengthen stems.
2871 \override StaffSymbol #'staff-space = #2
2872 \override Stem #'transparent = ##t
2873 \override Stem #'Y-extent-callback = ##f
2876 \override LyricText #'font-family = #'typewriter
2882 to typeset bongos on a two line staff
2884 @lilypond[quote,raggedright]
2885 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2886 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2889 \context DrumStaff\with {
2890 \remove Bar_engraver
2891 \remove Time_signature_engraver
2892 \override StaffSymbol #'line-count = #2
2893 drumStyleTable = #bongos-style
2895 %% this sucks; it will lengthen stems.
2896 \override StaffSymbol #'staff-space = #2
2897 \override Stem #'transparent = ##t
2898 \override Stem #'Y-extent-callback = ##f
2901 \override LyricText #'font-family = #'typewriter
2907 @item percussion-style
2908 to typeset all kinds of simple percussion on one line staves
2909 @lilypond[quote,raggedright]
2910 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2911 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2914 \context DrumStaff\with{
2915 \remove Bar_engraver
2916 drumStyleTable = #percussion-style
2917 \override StaffSymbol #'line-count = #1
2918 \remove Time_signature_engraver
2919 \override Stem #'transparent = ##t
2920 \override Stem #'Y-extent-callback = ##f
2924 \override LyricText #'font-family = #'typewriter
2931 If you do not like any of the predefined lists you can define your own
2932 list at the top of your file
2934 @lilypond[quote,raggedright,verbatim]
2936 (bassdrum default #f -1)
2937 (snare default #f 0)
2939 (pedalhihat xcircle "stopped" 2)
2940 (lowtom diamond #f 3)))
2941 up = \drums { hh8 hh hh hh hhp4 hhp }
2942 down = \drums { bd4 sn bd toml8 toml }
2945 \set DrumStaff.drumStyleTable
2946 = #(alist->hash-table mydrums)
2947 \new DrumVoice { \voiceOne \up }
2948 \new DrumVoice { \voiceTwo \down }
2956 Init files: @file{ly/drumpitch-init.ly}.
2958 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2962 Because general MIDI does not contain rim shots, the sidestick is used
2963 for this purpose instead.
2966 @section Piano music
2968 Piano staves are two normal staves coupled with a brace. The staves
2969 are largely independent, but sometimes voices can cross between the
2970 two staves. The same notation is also used for harps and other key
2971 instruments. The @internalsref{PianoStaff} is especially built to
2972 handle this cross-staffing behavior. In this section we discuss the
2973 @internalsref{PianoStaff} and some other pianistic peculiarities.
2977 * Automatic staff changes::
2978 * Manual staff switches::
2981 * Staff switch lines::
2986 There is no support for putting chords across staves. You can get
2987 this result by increasing the length of the stem in the lower stave so
2988 it reaches the stem in the upper stave, or vice versa. An example is
2989 included with the distribution as
2990 @inputfileref{input/test,stem-cross-staff.ly}.
2992 Dynamics are not centered, but kludges do exist. See
2993 @inputfileref{input/template,piano-dynamics.ly}.
2995 @cindex cross staff stem
2996 @cindex stem, cross staff
2997 @cindex distance between staves in piano music
2999 The distance between the two staves is normally fixed across the
3000 entire score. It is possible to tune this per system, but it does
3001 require arcane command incantations. See
3002 @inputfileref{input/test,piano-staff-distance.ly}.
3005 @node Automatic staff changes
3006 @subsection Automatic staff changes
3007 @cindex Automatic staff changes
3009 Voices can switch automatically between the top and the bottom
3010 staff. The syntax for this is
3014 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3019 The two staves of the piano staff must be named @code{up} and
3022 A @code{\relative} section that is outside of @code{\autochange} has
3023 no effect on the pitches of @var{music}, so, if necessary, put
3024 @code{\relative} inside @code{\autochange} like
3028 \autochange \relative @dots{} \new Voice @dots{}
3033 The autochanger switches on basis of pitch (middle C is the turning
3034 point), and it looks ahead skipping over rests to switch in
3035 advance. Here is a practical example
3037 @lilypond[quote,verbatim,raggedright]
3038 \score { \notes \context PianoStaff <<
3039 \context Staff = "up" {
3040 \autochange \new Voice \relative c' {
3041 g4 a b c d r4 a g } }
3042 \context Staff = "down" {
3049 In this example, spacer rests are used to prevent the bottom staff from
3050 terminating too soon.
3055 In this manual: @ref{Manual staff switches}.
3057 Program reference: @internalsref{AutoChangeMusic}.
3063 The staff switches often do not end up in optimal places. For high
3064 quality output, staff switches should be specified manually.
3067 @code{\autochange} cannot be inside @code{\times}.
3069 Internally, the @code{\partcombine} interprets both arguments as
3070 @code{Voice}s named @code{one} and @code{two}, and then decides when
3071 the parts can be combined. Consequently, if the arguments switch to
3072 differently named @internalsref{Voice} contexts, the events in those
3076 @node Manual staff switches
3077 @subsection Manual staff switches
3079 @cindex manual staff switches
3080 @cindex staff switch, manual
3082 Voices can be switched between staves manually, using the following command
3084 \change Staff = @var{staffname} @var{music}
3088 The string @var{staffname} is the name of the staff. It switches the
3089 current voice from its current staff to the Staff called
3090 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3091 @code{"down"}. The @context{Staff} referred to must already exist, so
3092 usually the setup for a score will start with a setup of the staves,
3096 \context Staff = up @{
3097 \skip 1 * 10 %@emph{ keep staff alive}
3099 \context Staff = down @{
3100 \skip 1 * 10 %@emph{idem}
3106 and the @context{Voice} is inserted afterwards
3109 \context Staff = down
3110 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3118 Pianos have pedals that alter the way sound are produced. Generally, a
3119 piano has three pedals, sustain, una corda, and sostenuto.
3122 Piano pedal instruction can be expressed by attaching
3123 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3124 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3127 @lilypond[quote,fragment,verbatim]
3128 c'4\sustainDown c'4\sustainUp
3131 What is printed can be modified by setting @code{pedal@var{X}Strings},
3132 where @var{X} is one of the pedal types: @code{Sustain},
3133 @code{Sostenuto} or @code{UnaCorda}. Refer to
3134 @internalsref{SustainPedal} in the program reference for more
3137 Pedals can also be indicated by a sequence of brackets, by setting the
3138 @code{pedalSustainStyle} property to @code{bracket} objects
3140 @lilypond[quote,fragment,verbatim,relative=2]
3141 \set Staff.pedalSustainStyle = #'bracket
3143 b\sustainUp\sustainDown
3144 b g \sustainUp a \sustainDown \bar "|."
3147 A third style of pedal notation is a mixture of text and brackets,
3148 obtained by setting the @code{pedalSustainStyle} style property to
3151 @lilypond[quote,fragment,verbatim,relative=2]
3152 \set Staff.pedalSustainStyle = #'mixed
3154 b\sustainUp\sustainDown
3155 b g \sustainUp a \sustainDown \bar "|."
3158 The default `*Ped.' style for sustain and damper pedals corresponds to
3159 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3162 @lilypond[quote,fragment,verbatim,relative=2]
3163 c\sostenutoDown d e c, f g a\sostenutoUp
3166 For fine-tuning of the appearance of a pedal bracket, the properties
3167 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3168 @code{PianoPedalBracket} objects (see
3169 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3170 bracket may be extended to the end of the note head
3172 @lilypond[quote,fragment,verbatim,relative=2]
3173 \override Staff.PianoPedalBracket
3174 #'shorten-pair = #'(0 . -1.0)
3175 c\sostenutoDown d e c, f g a\sostenutoUp
3179 @subsection Arpeggio
3182 @cindex broken arpeggio
3183 @cindex @code{\arpeggio}
3185 You can specify an arpeggio sign on a chord by attaching an
3186 @code{\arpeggio} to a chord
3189 @lilypond[quote,fragment,relative=1,verbatim]
3193 When an arpeggio crosses staves, you attach an arpeggio to the chords
3194 in both staves, and set
3195 @internalsref{PianoStaff}.@code{connectArpeggios}
3197 @lilypond[quote,fragment,relative=1,verbatim]
3198 \context PianoStaff <<
3199 \set PianoStaff.connectArpeggios = ##t
3200 \new Staff { <c' e g c>\arpeggio }
3201 \new Staff { \clef bass <c,, e g>\arpeggio }
3205 The direction of the arpeggio is sometimes denoted by adding an
3206 arrowhead to the wiggly line
3208 @lilypond[quote,fragment,relative=1,verbatim]
3217 A square bracket on the left indicates that the player should not
3218 arpeggiate the chord
3220 @lilypond[quote,fragment,relative=1,verbatim]
3227 @cindex @code{\arpeggio}
3229 @cindex @code{\arpeggioUp}
3231 @cindex @code{\arpeggioDown}
3233 @cindex @code{\arpeggioBoth}
3234 @code{\arpeggioBoth},
3235 @cindex @code{\arpeggioBracket}
3236 @code{\arpeggioBracket}.
3240 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3241 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3242 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3246 It is not possible to mix connected arpeggios and unconnected
3247 arpeggios in one @internalsref{PianoStaff} at the same time.
3249 @node Staff switch lines
3250 @subsection Staff switch lines
3253 @cindex follow voice
3254 @cindex staff switching
3257 @cindex @code{followVoice}
3259 Whenever a voice switches to another staff a line connecting the notes
3260 can be printed automatically. This is enabled if the property
3261 @code{PianoStaff.followVoice} is set to true
3263 @lilypond[quote,fragment,relative=1,verbatim]
3264 \context PianoStaff <<
3265 \set PianoStaff.followVoice = ##t
3266 \context Staff \context Voice {
3271 \context Staff=two { \clef bass \skip 1*2 }
3277 The associated object is @internalsref{VoiceFollower}.
3281 @cindex @code{\showStaffSwitch}
3282 @code{\showStaffSwitch},
3283 @cindex @code{\hideStaffSwitch}
3284 @code{\hideStaffSwitch}.
3288 @section Vocal music
3290 This section discusses how to enter and print lyrics.
3294 * The Lyrics context::
3299 @node Entering lyrics
3300 @subsection Entering lyrics
3304 @cindex @code{\lyrics}
3307 Lyrics are entered in a special input mode. This mode is is introduced
3308 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3309 punctuation and accents without any hassle. Syllables are entered like
3310 notes, but with pitches replaced by text. For example,
3312 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3315 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3316 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3317 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3318 any 8-bit character with ASCII code over 127, or a two-character
3319 combination of a backslash followed by one of @code{`}, @code{'},
3320 @code{"}, or @code{^}.
3322 Subsequent characters of a word can be any character that is not a digit
3323 and not white space. One important consequence of this is that a word
3324 can end with @code{@}}. The following example is usually a bug. The
3325 syllable includes a @code{@}}, and hence the opening brace is not balanced
3327 \lyrics @{ twinkle@}
3330 @cindex @code{\property}, in @code{\lyrics}
3331 Similarly, a period following a alphabetic sequence, is included in
3332 the resulting string. As a consequence, spaces must be inserted around
3335 \override Score . LyricText #'font-shape = #'italic
3339 @cindex spaces, in lyrics
3340 @cindex quotes, in lyrics
3342 Any @code{_} character which appears in an unquoted word is converted
3343 to a space. This provides a mechanism for introducing spaces into words
3344 without using quotes. Quoted words can also be used in Lyrics mode to
3345 specify words that cannot be written with the above rules
3348 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3350 However, at least for english texts, you should use
3352 \lyrics @{ He said: ``Let my peo ple go'' @}
3354 to get the correct shape of the starting and ending quote.
3358 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3359 The hyphen will have variable length depending on the space between
3360 the syllables and it will be centered between the syllables.
3365 When a lyric is sung over many notes (this is called a melisma), this is
3366 indicated with a horizontal line centered between a syllable and the
3367 next one. Such a line is called an extender line, and it is entered as
3372 Program reference: events @internalsref{LyricEvent},
3373 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3374 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3375 @internalsref{LyricText}.
3377 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3381 The definition of lyrics mode is too complex.
3385 @node The Lyrics context
3386 @subsection The Lyrics context
3389 @c TODO: document \newlyrics
3391 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3393 \context Lyrics \lyrics @dots{}
3396 @cindex automatic syllable durations
3397 @cindex @code{\lyricsto}
3398 @cindex lyrics and melodies
3400 This will place the lyrics according to the durations that were
3401 entered. The lyrics can also be aligned under a given melody
3402 automatically. In this case, it is no longer necessary to enter the
3403 correct duration for each syllable. This is achieved by combining the
3404 melody and the lyrics with the @code{\lyricsto} expression
3406 \lyricsto @var{name} \new Lyrics \lyrics @dots{}
3409 This aligns the lyrics to the
3411 notes of the @internalsref{Voice} context called @var{name}, which has
3412 to exist. Therefore, normally the @code{Voice} is specified first, and
3413 then the lyrics are specified with @code{\lyricsto}.
3415 For different or more complex orderings, the best way is to setup the
3416 hierarchy of staves and lyrics first, e.g.
3418 \context ChoirStaff \notes <<
3419 \context Lyrics = sopranoLyrics @{ s1 @}
3420 \context Voice = soprano @{ @emph{music} @}
3421 \context Lyrics = tenorLyrics @{ s1 @}
3422 \context Voice = tenor @{ @emph{music} @}
3425 and then combine the appropriate melodies and lyric lines
3427 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3432 The final input would resemble
3435 << \context ChoirStaff \notes << @emph{setup the music} >>
3436 \lyricsto "soprano" @emph{etc}
3437 \lyricsto "alto" @emph{etc}
3443 The @code{\lyricsto} command detects melismata: it only puts one
3444 syllable under a tied or slurred group of notes. If you want to force
3445 an unslurred group of notes to be a melisma, insert @code{\melisma}
3446 after the first note of the group, and @code{\melismaEnd} after the
3449 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3451 \context Voice = "lala" {
3459 \lyricsto "lala" \new Lyrics \lyrics {
3465 In addition, notes are considered a melisma if they are manually
3466 beamed, and automatic beaming (see @ref{Setting automatic beam
3467 behavior}) is switched off. The criteria for deciding melismata can
3468 be tuned with the property @code{melismaBusyProperties}. See
3469 @internalsref{Melisma_translator} in the program reference for more
3472 Lyrics can also be entered without @code{\lyricsto}. In this case the
3473 durations of each syllable must be entered explicitly, for example,
3480 Alignment to a melody can be specified with the @code{associatedVoice}
3484 \set associatedVoice = #"melody"
3487 Here is an example demonstrating manual lyric durations,
3489 @lilypond[relative=1,verbatim,fragment]
3490 << \context Voice = melody {
3494 \new Lyrics \lyrics {
3495 \set associatedVoice = #"melody"
3503 When multiple stanzas are put on the same melody, it can happen that
3504 two stanzas have melismata in different locations. This can be
3505 remedied by switching off melismata for one
3506 @internalsref{Lyrics}. This is achieved by setting
3507 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3508 in @inputfileref{input/regression,lyric-combine-new.ly}.
3511 @cindex choral score
3513 A complete example of a SATB score setup is in the file
3514 @inputfileref{input/template,satb.ly}.
3519 @code{\melisma}, @code{\melismaEnd}
3520 @cindex @code{\melismaEnd}
3521 @cindex @code{\melisma}
3525 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3526 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3528 Examples: @inputfileref{input/template,satb.ly},
3529 @inputfileref{input/regression,lyric-combine-new.ly}.
3533 Melismata are not detected automatically, and extender lines must be
3537 For proper processing of extender lines, the
3538 @internalsref{Lyrics} and @internalsref{Voice} should be
3539 linked. This can be achieved either by using @code{\lyricsto} or by
3540 setting corresponding names for both contexts. The latter is explained
3541 in @ref{More stanzas}.
3544 @subsection More stanzas
3546 @cindex phrasing, in lyrics
3549 The lyrics should be aligned with the note heads of the melody. To
3550 achieve this, each line of lyrics should be marked to correspond with
3551 the melodic line. This is done automatically when @code{\lyricsto},
3552 but it can also be done manually.
3554 To this end, give the @internalsref{Voice} context an identity
3556 \context Voice = duet @{
3561 Then set the @internalsref{Lyrics} contexts to names starting with
3562 that identity followed by a dash. In the preceding example, the
3563 @internalsref{Voice} identity is @code{duet}, so the identities of the
3564 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3566 \context Lyrics = "duet-1" @{
3567 Hi, my name is Bert. @}
3568 \context Lyrics = "duet-2" @{
3569 Ooooo, ch\'e -- ri, je t'aime. @}
3572 The complete example is shown here
3573 @lilypond[quote,raggedright,verbatim]
3576 \notes \relative c'' \context Voice = duet {
3580 \lyricsto "duet" \new Lyrics \lyrics {
3581 \set vocalName = "Bert"
3582 Hi, my name is Bert. }
3583 \lyricsto "duet" \new Lyrics \lyrics {
3584 \set vocalName = "Ernie"
3585 Ooooo, ch\'e -- ri, je t'aime. }
3591 @cindex stanza number
3592 @cindex singer's names
3593 @cindex name of singer
3595 Stanza numbers can be added by setting @code{stanza}, e.g.
3597 @lilypond[quote,verbatim,relative=2]
3599 \context Voice = duet {
3600 \time 3/4 g2 e4 a2 f4 g2. }
3601 \lyricsto "duet" \new Lyrics \lyrics {
3603 Hi, my name is Bert. }
3607 This example also demonstrates how names of the singers can be added
3608 using @code{vocalName} analogous to instrument annotations for staves.
3609 A short version may be entered as @code{vocNam}.
3611 To make empty spaces in lyrics, use @code{\skip}.
3616 Program reference: Layout objects @internalsref{LyricText} and
3617 @internalsref{VocalName}. Music expressions
3618 @internalsref{LyricEvent}.
3624 Input for lyrics introduces a syntactical ambiguity
3631 is interpreted as assigning a string identifier @code{\foo} such that
3632 it contains @code{"bar"}. However, it could also be interpreted as
3633 making or a music identifier @code{\foo} containing the syllable
3634 `bar'. The force the latter interpretation, use
3644 The term @emph{ambitus} denotes a range of pitches for a given voice
3645 in a part of music. It also may denote the pitch range that a musical
3646 instrument is capable of playing. Ambituses are printed on vocal
3647 parts, so singers can easily determine if it meets his or her
3650 It denoted at the beginning of a piece near the initial clef. The
3651 range is graphically specified by two note heads, that represent the
3652 minimum and maximum pitch. To print such ambituses, add the
3653 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3660 \consists Ambitus_engraver
3665 This results in the following output
3667 @lilypond[quote,raggedright]
3670 \notes \relative c' <<
3681 \consists Ambitus_engraver
3687 If you have multiple voices in a single staff, and you want a single
3688 ambitus per staff rather than per each voice, add the
3689 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3690 rather than to the @internalsref{Voice} context.
3692 It is possible to tune individual ambituses for multiple voices on a
3693 single staff, for example by erasing or shifting them horizontally. An
3694 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3698 Program reference: @internalsref{Ambitus}.
3700 Examples: @inputfileref{input/regression,ambitus.ly},
3701 @inputfileref{input/test,ambitus-mixed.ly}.
3705 There is no collision handling in the case of multiple per-voice
3711 Tablature notation is used for notating music for plucked string
3712 instruments. It notates pitches not by using note heads, but by
3713 indicating on which string and fret a note must be played. LilyPond
3714 offers limited support for tablature.
3717 * Tablatures basic::
3718 * Non-guitar tablatures::
3721 @node Tablatures basic
3722 @subsection Tablatures basic
3723 @cindex Tablatures basic
3725 The string number associated to a note is given as a backslash
3726 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3727 string. By default, string 1 is the highest one, and the tuning
3728 defaults to the standard guitar tuning (with 6 strings). The notes
3729 are printed as tablature, by using @internalsref{TabStaff} and
3730 @internalsref{TabVoice} contexts
3732 @lilypond[quote,fragment,verbatim]
3733 \notes \context TabStaff {
3741 When no string is specified, the first string that does not give a
3742 fret number less than @code{minimumFret} is selected. The default
3743 value for @code{minimumFret} is 0
3748 \set TabStaff.minimumFret = #8
3751 @lilypond[quote,noindent,raggedright]
3755 \set TabStaff.minimumFret = #8
3759 \context StaffGroup <<
3760 \context Staff { \clef "G_8" \frag }
3761 \context TabStaff { \frag }
3768 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3769 @internalsref{StringNumberEvent}.
3773 Chords are not handled in a special way, and hence the automatic
3774 string selector may easily select the same string to two notes in a
3778 @node Non-guitar tablatures
3779 @subsection Non-guitar tablatures
3780 @cindex Non-guitar tablatures
3782 You can change the number of strings, by setting the number of lines
3783 in the @internalsref{TabStaff}.
3785 You can change the tuning of the strings. A string tuning is given as
3786 a Scheme list with one integer number for each string, the number
3787 being the pitch (measured in semitones relative to middle C) of an
3788 open string. The numbers specified for @code{stringTuning} are the
3789 numbers of semitones to subtract or add, starting the specified pitch
3790 by default middle C, in string order. Thus, the notes are e, a, d, and
3793 @lilypond[quote,fragment,verbatim]
3794 \context TabStaff <<
3795 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3798 a,4 c' a e' e c' a e'
3805 No guitar special effects have been implemented.
3809 Program reference: @internalsref{Tab_note_heads_engraver}.
3813 @section Chord names
3816 LilyPond has support for both printing chord names. Chords may be
3817 entered in musical chord notation, i.e. @code{< .. >}, but they can
3818 also be entered by name. Internally, the chords are represented as a
3819 set of pitches, so they can be transposed
3822 @lilypond[quote,verbatim,raggedright]
3823 twoWays = \notes \transpose c c' {
3833 << \context ChordNames \twoWays
3834 \context Voice \twoWays >> }
3837 This example also shows that the chord printing routines do not try to
3838 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3844 * Printing chord names::
3849 @subsection Chords mode
3852 Chord mode is a mode where you can input sets of pitches using common
3853 names. It is introduced by the keyword @code{\chords}.
3854 In chords mode, a chord is entered by the root, which is entered
3856 @lilypond[quote,fragment,verbatim,relative=2]
3857 \chords { es4. d8 c2 }
3862 Other chords may be entered by suffixing a colon, and introducing a
3863 modifier, and optionally, a number
3865 @lilypond[quote,fragment,verbatim]
3866 \chords { e1:m e1:7 e1:m7 }
3868 The first number following the root is taken to be the `type' of the
3869 chord, thirds are added to the root until it reaches the specified
3871 @lilypond[quote,fragment,verbatim]
3872 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3875 @cindex root of chord
3876 @cindex additions, in chords
3877 @cindex removals, in chords
3879 More complex chords may also be constructed adding separate steps
3880 to a chord. Additions are added after the number following
3881 the colon, and are separated by dots
3883 @lilypond[quote,verbatim,fragment]
3884 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3886 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3888 @lilypond[quote,verbatim,fragment]
3889 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3891 Removals are specified similarly, and are introduced by a caret. They
3892 must come after the additions
3893 @lilypond[quote,verbatim,fragment]
3894 \chords { c^3 c:7^5 c:9^3.5 }
3897 Modifiers can be used to change pitches. The following modifiers are
3901 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3903 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3906 is the augmented chord. This modifier raises the 5th step.
3908 is the major 7th chord. This modifier raises the 7th step if present.
3910 is the suspended 4th or 2nd. This modifier removes the 3rd
3911 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3914 Modifiers can be mixed with additions
3915 @lilypond[quote,verbatim,fragment]
3916 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3919 @cindex modifiers, in chords.
3926 Since an unaltered 11 does not sound good when combined with an
3927 unaltered 3, the 11 is removed in this case (unless it is added
3930 @lilypond[quote,fragment,verbatim]
3931 \chords { c:13 c:13.11 c:m13 }
3936 An inversion (putting one pitch of the chord on the bottom), as well
3937 as bass notes, can be specified by appending
3938 @code{/}@var{pitch} to the chord
3939 @lilypond[quote,fragment,verbatim]
3940 \chords { c1 c/g c/f }
3944 A bass note can be added instead of transposed out of the chord,
3945 by using @code{/+}@var{pitch}.
3947 @lilypond[quote,fragment,verbatim]
3948 \chords { c1 c/+g c/+f }
3951 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3952 of the commands continue to work, for example, @code{r} and
3953 @code{\skip} can be used to insert rests and spaces, and property
3954 commands may be used to change various settings.
3960 Each step can only be present in a chord once. The following
3961 simply produces the augmented chord, since @code{5+} is interpreted
3964 @lilypond[quote,verbatim,fragment]
3965 \chords { c:5.5-.5+ }
3969 @node Printing chord names
3970 @subsection Printing chord names
3972 @cindex printing chord names
3976 For displaying printed chord names, use the @internalsref{ChordNames} context.
3977 The chords may be entered either using the notation
3978 described above, or directly using @code{<} and @code{>}
3980 @lilypond[quote,verbatim,raggedright]
3982 \chords {a1 b c} <d' f' a'> <e' g' b'>
3986 \context ChordNames \scheme
3987 \context Staff \scheme
3992 You can make the chord changes stand out by setting
3993 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3994 display chord names when there is a change in the chords scheme and at
3995 the start of a new line
3997 @lilypond[quote,verbatim,linewidth=9\cm]
3999 c1:m c:m \break c:m c:m d
4003 \context ChordNames {
4004 \set chordChanges = ##t
4006 \context Staff \transpose c c' \scheme
4011 The default chord name layout is a system for Jazz music, proposed by
4012 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4013 following properties
4016 @cindex chordNameExceptions
4017 @item chordNameExceptions
4018 This is a list that contains the chords that have special formatting.
4020 @inputfileref{input/regression,chord-name-exceptions.ly}.
4021 @cindex exceptions, chord names.
4024 @cindex majorSevenSymbol
4025 @item majorSevenSymbol
4026 This property contains the markup object used for the 7th step, when
4027 it is major. Predefined options are @code{whiteTriangleMarkup} and
4028 @code{blackTriangleMarkup}. See
4029 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4031 @cindex chordNameSeparator
4032 @item chordNameSeparator
4033 Different parts of a chord name are normally separated by a
4034 slash. By setting @code{chordNameSeparator}, you can specify other
4036 @lilypond[quote,fragment,verbatim]
4037 \context ChordNames \chords {
4039 \set chordNameSeparator
4040 = \markup { \typewriter "|" }
4045 @cindex chordRootNamer
4046 @item chordRootNamer
4047 The root of a chord is usually printed as a letter with an optional
4048 alteration. The transformation from pitch to letter is done by this
4049 function. Special note names (for example, the German ``H'' for a
4050 B-chord) can be produced by storing a new function in this property.
4052 The predefined variables @code{\germanChords},
4053 @code{\semiGermanChords} set these variables.
4056 @cindex chordNoteNamer
4057 @item chordNoteNamer
4058 The default is to print single pitch, e.g. the bass note, using the
4059 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4060 to a specialized function to change this behavior. For example, the
4061 base can be printed in lower case.
4066 There are also two other chord name schemes implemented: an alternate
4067 Jazz chord notation, and a systematic scheme called Banter chords. The
4068 alternate jazz notation is also shown on the chart in @ref{Chord name
4069 chart}. Turning on these styles is described in the input file
4070 @inputfileref{input/test,chord-names-jazz.ly}.
4074 @cindex chords, jazz
4079 @cindex @code{\germanChords}
4080 @code{\germanChords},
4081 @cindex @code{\semiGermanChords}
4082 @code{\semiGermanChords}.
4089 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4090 @inputfileref{input/regression,chord-name-exceptions.ly},
4091 @inputfileref{input/test,chord-names-jazz.ly},
4092 @inputfileref{input/test,chord-names-german.ly}.
4094 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4099 Chord names are determined solely from the list of pitches. Chord
4100 inversions are not identified, and neither are added bass notes. This
4101 may result in strange chord names when chords are entered with the
4102 @code{< .. >} syntax.
4107 @node Orchestral music
4108 @section Orchestral music
4110 @cindex Writing parts
4112 Orchestral music involves some special notation, both in the full
4113 score and the individual parts. This section explains how to tackle
4114 some common problems in orchestral music.
4119 * Multiple staff contexts::
4122 * Instrument names::
4124 * Instrument transpositions::
4125 * Multi measure rests::
4126 * Automatic part combining::
4128 * Different editions from one source::
4129 * Quoting other voices::
4132 @node Multiple staff contexts
4133 @subsection Multiple staff contexts
4135 Polyphonic scores consist of many staves. These staves can be
4136 constructed in three different ways
4138 @item The group is started with a brace at the left, and bar lines are
4139 connected. This is done with the @internalsref{GrandStaff} context.
4141 @item The group is started with a bracket, and bar lines are connected. This is done with the
4142 @internalsref{StaffGroup} context
4145 @item The group is started with a vertical line. Bar lines are not
4146 connected. This is the default for the score.
4150 @cindex Staff, multiple
4151 @cindex bracket, vertical
4152 @cindex brace, vertical
4159 @node Rehearsal marks
4160 @subsection Rehearsal marks
4161 @cindex Rehearsal marks
4163 @cindex @code{\mark}
4165 To print a rehearsal mark, use the @code{\mark} command
4166 @lilypond[quote,fragment,verbatim]
4177 (The letter I is skipped in accordance with engraving traditions.)
4179 The mark is incremented automatically if you use @code{\mark
4180 \default}, but you can also use an integer argument to set the mark
4181 manually. The value to use is stored in the property
4182 @code{rehearsalMark}.
4184 The style is defined by the property @code{markFormatter}. It is a
4185 function taking the current mark (an integer) and the current context
4186 as argument. It should return a markup object. In the following
4187 example, @code{markFormatter} is set to a canned procedure. After a
4188 few measures, it is set to function that produces a boxed number.
4190 @lilypond[quote,verbatim,fragment,relative=2]
4191 \set Score.markFormatter = #format-mark-numbers
4194 \set Score.markFormatter
4195 = #(lambda (mark context)
4196 (make-bold-markup (make-box-markup (number->string mark))))
4201 The file @file{scm/translation-functions.scm} contains the definitions
4202 of @code{format-mark-numbers} (the default format) and
4203 @code{format-mark-letters}. They can be used as inspiration for other
4204 formatting functions.
4207 @cindex coda on bar line
4208 @cindex segno on bar line
4209 @cindex fermata on bar line
4210 @cindex bar lines, symbols on
4212 The @code{\mark} command can also be used to put signs like coda,
4213 segno and fermatas on a bar line. Use @code{\markup} to
4214 to access the appropriate symbol
4216 @lilypond[quote,fragment,verbatim,relative=2]
4217 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4221 In the case of a line break, marks must also be printed at the end of
4222 the line, and not at the beginning. Use the following to force that
4225 \override Score.RehearsalMark
4226 #'break-visibility = #begin-of-line-invisible
4232 @cindex bar lines, putting symbols on
4236 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4238 Init files: @file{scm/translation-functions.scm} contains the
4239 definition of @code{format-mark-numbers} and
4240 @code{format-mark-letters}. They can be used as inspiration for other
4241 formatting functions.
4243 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4244 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4248 @subsection Bar numbers
4252 @cindex measure numbers
4253 @cindex currentBarNumber
4255 Bar numbers are printed by default at the start of the line. The
4256 number itself is stored in the
4257 @code{currentBarNumber} property,
4258 which is normally updated automatically for every measure.
4260 Bar numbers can be typeset at regular intervals instead of at the
4261 beginning of each line. This is illustrated in the following example,
4262 whose source is available as
4263 @inputfileref{input/test,bar-number-regular-interval.ly}
4265 @lilypondfile[quote]{bar-number-regular-interval.ly}
4269 Program reference: @internalsref{BarNumber}.
4271 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4272 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4276 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4277 there is one at the top. To solve this, the
4278 @code{padding} property of @internalsref{BarNumber} can be
4279 used to position the number correctly.
4281 @node Instrument names
4282 @subsection Instrument names
4284 In an orchestral score, instrument names are printed left side of the
4287 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4288 and @internalsref{Staff}.@code{instr}. This will print a string before
4289 the start of the staff. For the first start, @code{instrument} is
4290 used, for the next ones @code{instr} is used.
4292 @lilypond[quote,verbatim,raggedright,relative=1]
4293 \set Staff.instrument = "Ploink "
4294 \set Staff.instr = "Plk "
4300 You can also use markup texts to construct more complicated instrument
4303 @lilypond[quote,fragment,verbatim,raggedright]
4305 \set Staff.instrument = \markup {
4306 \column < "Clarinetti" { "in B"
4307 \smaller \flat } > }
4314 Program reference: @internalsref{InstrumentName}.
4318 When you put a name on a grand staff or piano staff the width of the
4319 brace is not taken into account. You must add extra spaces to the end of
4320 the name to avoid a collision.
4323 @subsection Transpose
4325 @cindex transposition of pitches
4326 @cindex @code{\transpose}
4328 A music expression can be transposed with @code{\transpose}. The
4331 \transpose @var{from} @var{to} @var{musicexpr}
4334 This means that @var{musicexpr} is transposed by the interval between
4335 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4336 is changed to @code{to}.
4339 For example, consider a piece written in the key of D major. If
4340 this piece is a little too low for its performer, it can be
4341 transposed up to E major with
4343 \transpose d e @dots{}
4346 Consider a part written for violin (a C instrument). If
4347 this part is to be played on the A clarinet, the following
4348 transposition will produce the appropriate part
4351 \transpose a c @dots{}
4354 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4355 inside a @code{\notes} section. @code{\transpose} distinguishes
4356 between enharmonic pitches: both @code{\transpose c cis} or
4357 @code{\transpose c des} will transpose up half a tone. The first
4358 version will print sharps and the second version will print flats
4360 @lilypond[quote,raggedright,verbatim]
4361 mus =\notes { \key d \major cis d fis g }
4362 \score { \notes \context Staff {
4365 \transpose c g' \mus
4366 \transpose c f' \mus
4373 Program reference: @internalsref{TransposedMusic}, and
4374 @internalsref{UntransposableMusic}.
4378 If you want to use both @code{\transpose} and @code{\relative},
4379 you must put @code{\transpose} outside of @code{\relative}, since
4380 @code{\relative} will have no effect music that appears inside a
4383 @node Instrument transpositions
4384 @subsection Instrument transpositions
4386 The key of a transposing instrument can also be specified. This
4387 applies to many wind instruments, for example, clarinets (B-flat, A and
4388 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4391 The transposition is entered after the keyword @code{\transposition}
4394 \transposition bes %% B-flat clarinet
4397 This command sets the property @code{instrumentTuning}. The value of
4398 this property is used for MIDI output and quotations. It does not
4399 affect how notes are printed in the current staff.
4401 @cindex transposition, MIDI
4402 @cindex transposition, instrument
4405 @node Multi measure rests
4406 @subsection Multi measure rests
4407 @cindex multi measure rests
4408 @cindex Rests, multi measure
4412 Multi measure rests are entered using `@code{R}'. It is specifically
4413 meant for full bar rests and for entering parts: the rest can expand
4414 to fill a score with rests, or it can be printed as a single
4415 multimeasure rest. This expansion is controlled by the property
4416 @code{Score.skipBars}. If this is set to true, empty measures will not
4417 be expanded, and the appropriate number is added automatically
4419 @lilypond[quote,fragment,verbatim]
4420 \time 4/4 r1 | R1 | R1*2
4421 \set Score.skipBars = ##t R1*17 R1*4
4424 The @code{1} in @code{R1} is similar to the duration notation used for
4425 notes. Hence, for time signatures other than 4/4, you must enter other
4426 durations. This can be done with augmentation dots or fractions
4428 @lilypond[quote,fragment,verbatim]
4429 \set Score.skipBars = ##t
4437 An @code{R} spanning a single measure is printed as either a whole rest
4438 or a breve, centered in the measure regardless of the time signature.
4440 @cindex text on multi-measure rest
4441 @cindex script on multi-measure rest
4442 @cindex fermata on multi-measure rest
4444 Texts can be added to multi-measure rests by using the
4445 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4446 replaced. If you need both texts and the number, you must add the
4447 number by hand. A variable (@code{\fermataMarkup}) is provided for
4451 @lilypond[quote,verbatim,fragment]
4453 R2._\markup { "Ad lib" }
4457 If you want to have a text on the left end of a multi-measure rest,
4458 attach the text to a zero-length skip note, i.e.
4466 @cindex whole rests for a full measure
4470 Program reference: @internalsref{MultiMeasureRestEvent},
4471 @internalsref{MultiMeasureTextEvent},
4472 @internalsref{MultiMeasureRestMusicGroup}, and
4473 @internalsref{MultiMeasureRest}.
4475 The layout object @internalsref{MultiMeasureRestNumber} is for the
4476 default number, and @internalsref{MultiMeasureRestText} for user
4481 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4482 over multi-measure rests.
4484 @cindex condensing rests
4486 There is no way to automatically condense multiple rests into a single
4487 multimeasure rest. Multi measure rests do not take part in rest
4490 Be careful when entering multimeasure rests followed by whole
4491 notes. The following will enter two notes lasting four measures each
4495 When @code{skipBars} is set, the result will look OK, but the bar
4496 numbering will be off.
4498 @node Automatic part combining
4499 @subsection Automatic part combining
4500 @cindex automatic part combining
4501 @cindex part combiner
4504 Automatic part combining is used to merge two parts of music onto a
4505 staff. It is aimed at typesetting orchestral scores. When the two
4506 parts are identical for a period of time, only one is shown. In
4507 places where the two parts differ, they are typeset as separate
4508 voices, and stem directions are set automatically. Also, solo and
4509 @emph{a due} parts are identified and can be marked.
4511 The syntax for part combining is
4514 \partcombine @var{musicexpr1} @var{musicexpr2}
4517 The music expressions will be interpreted as @internalsref{Voice}
4518 contexts. If using relative octaves, @code{\relative} should be
4519 specified for both music expressions, i.e.
4522 \partcombine \relative @dots{} @var{musicexpr1}
4523 \relative @dots{} @var{musicexpr2}
4527 A @code{\relative} section that is outside of @code{\partcombine} has
4528 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
4531 The following example demonstrates the basic functionality of the part
4532 combiner: putting parts on one staff, and setting stem directions and
4535 @lilypond[quote,verbatim,raggedright,fragment]
4536 \new Staff \partcombine
4537 \relative g' { g g a( b) c c r r }
4538 \relative g' { g g r4 r e e g g }
4541 The first @code{g} appears only once, although it was
4542 specified twice (once in each part). Stem, slur and tie directions are
4543 set automatically, depending whether there is a solo or unisono. The
4544 first part (with context called @code{one}) always gets up stems, and
4545 `solo', while the second (called @code{two}) always gets down stems and
4548 If you just want the merging parts, and not the textual markings, you
4549 may set the property @code{soloADue} to false
4551 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4553 \set Staff.soloADue = ##f
4555 \relative g' { g a( b) r }
4556 \relative g' { g r4 r f }
4562 Program reference: @internalsref{PartCombineMusic},
4563 @internalsref{SoloOneEvent}, and
4564 @internalsref{SoloTwoEvent}, and
4565 @internalsref{UnisonoEvent}.
4569 In @code{soloADue} mode, when the two voices play the same notes on and
4570 off, the part combiner may typeset @code{a2} more than once in a
4573 @code{\partcombine} cannot be inside @code{\times}.
4575 @code{\partcombine} cannot be inside @code{\relative}.
4577 Internally, the @code{\partcombine} interprets both arguments as
4578 @code{Voice}s named @code{one} and @code{two}, and then decides when
4579 the parts can be combined. Consequently, if the arguments switch to
4580 differently named @internalsref{Voice} contexts, the events in those
4584 @subsection Hiding staves
4586 @cindex Frenched scores
4587 @cindex Hiding staves
4589 In orchestral scores, staff lines that only have rests are usually
4590 removed. This saves some space. This style is called `French Score'.
4591 For @internalsref{Lyrics},
4592 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4593 switched on by default. When these line of these contexts turn out
4594 empty after the line-breaking process, they are removed.
4596 For normal staves, a specialized @internalsref{Staff} context is
4597 available, which does the same: staves containing nothing (or only
4598 multi measure rests) are removed. The context definition is stored in
4599 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4600 in this example disappears in the second line
4603 @lilypond[quote,verbatim]
4605 \notes \relative c' <<
4606 \new Staff { e4 f g a \break c1 }
4607 \new Staff { c4 d e f \break R1 }
4611 \context { \RemoveEmptyStaffContext }
4616 The first page shows all staves in full. If empty staves should be
4617 removed from the first page too, set @code{remove-first} to false in
4618 @internalsref{RemoveEmptyVerticalGroup}.
4620 Another application is making ossia sections, i.e. alternative
4621 melodies on a separate piece of staff, with help of a Frenched
4622 staff. See @inputfileref{input/test,ossia.ly} for an example.
4625 @node Different editions from one source
4626 @subsection Different editions from one source
4628 The @code{\tag} command marks music expressions with a name. These
4629 tagged expressions can be filtered out later. With this mechanism it
4630 is possible to make different versions of the same music source.
4632 In the following example, we see two versions of a piece of music, one
4633 for the full score, and one with cue notes for the instrumental part
4649 The same can be applied to articulations, texts, etc.: they are
4652 -\tag #@var{your-tag}
4654 to an articulation, for example,
4659 This defines a note with a conditional fingering indication.
4661 By applying the @code{remove-tag} function, tagged expressions can be
4662 filtered. For example,
4666 \applymusic #(remove-tag 'score) @var{the music}
4667 \applymusic #(remove-tag 'part) @var{the music}
4672 @lilypondfile[quote]{tag-filter.ly}
4674 The argument of the @code{\tag} command should be a symbol, or a list
4675 of symbols, for example,
4677 \tag #'(original-part transposed-part) @dots{}
4682 Examples: @inputfileref{input/regression,tag-filter.ly}.
4685 @node Quoting other voices
4686 @subsection Quoting other voices
4688 With quotations, fragments of other parts can be inserted into a part
4689 directly. Before a part can be quoted, it must be marked especially as
4690 quotable. This is done with code @code{\addquote} command. The
4691 quotation may then be done with @code{\quote}
4694 \addquote @var{name} @var{music}
4695 \quote @var{name} @var{duration}
4700 Here, @var{name} is an identifying string. The @var{music} is any kind
4701 of music. This is an example of @code{\addquote}
4704 \addquote clarinet \notes\relative c' {
4709 During a part, a piece of music can be quoted with the @code{\quote}
4716 This would cite 3 quarter notes (a dotted half note) of the previously
4717 added clarinet voice.
4719 Quotations take into account the transposition both source and target
4720 instruments, if they are specified using the @code{\transposition} command.
4722 @lilypond[quote,raggedright,verbatim]
4723 \addquote clarinet \notes\relative c' {
4729 e'8 f'8 \quote clarinet 2
4735 Only the contents of the first @internalsref{Voice} occurring in an
4736 @code{\addquote} command will be considered for quotation, so
4737 @var{music} can not contain @code{\new} and @code{\context Voice}
4738 statements that would switch to a different Voice.
4743 In this manual: @ref{Instrument transpositions}.
4745 Examples: @inputfileref{input/regression,quote.ly}
4746 @inputfileref{input/regression,quote-transposition.ly}
4748 Program reference: @internalsref{QuoteMusic}.
4750 @node Ancient notation
4751 @section Ancient notation
4753 @cindex Vaticana, Editio
4754 @cindex Medicaea, Editio
4759 Support for ancient notation includes features for mensural notation
4760 and Gregorian Chant notation. There is also limited support for
4761 figured bass notation.
4763 Many graphical objects provide a @code{style} property, see
4764 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4765 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4766 signatures}. By manipulating such a grob property, the typographical
4767 appearance of the affected graphical objects can be accommodated for a
4768 specific notation flavor without need for introducing any new
4771 Other aspects of ancient notation can not that easily be expressed as
4772 in terms of just changing a style property of a graphical object.
4773 Therefore, some notational concepts are introduced specifically for
4774 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4775 @ref{Ligatures}, and @ref{Figured bass}.
4779 * Ancient note heads::
4780 * Ancient accidentals::
4784 * Ancient time signatures::
4789 * Vaticana style contexts::
4792 If this all is way too much of documentation for you, and you just
4793 want to dive into typesetting without worrying too much about the
4794 details on how to customize a context, you may have a look at the
4795 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4796 set up predefined style-specific voice and staff contexts, and
4797 directly go ahead with the note entry.
4801 Ligatures need special spacing that has not yet been implemented. As
4802 a result, there is too much space between ligatures most of the time,
4803 and line breaking often is unsatisfactory. Also, lyrics do not
4804 correctly align with ligatures.
4806 Accidentals must not be printed within a ligature, but instead need to
4807 be collected and printed in front of it.
4809 Augmentum dots within ligatures are not handled correctly.
4812 @node Ancient note heads
4813 @subsection Ancient note heads
4818 For ancient notation, a note head style other than the @code{default}
4819 style may be chosen. This is accomplished by setting the @code{style}
4820 property of the NoteHead object to the desired value (@code{baroque},
4821 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4822 differs from the @code{default} style only in using a square shape for
4823 @code{\breve} note heads. The @code{neo_mensural} style differs from
4824 the @code{baroque} style in that it uses rhomboidal heads for whole
4825 notes and all smaller durations. Stems are centered on the note
4826 heads. This style is in particular useful when transcribing mensural
4827 music, e.g. for the incipit. The @code{mensural} style finally
4828 produces note heads that mimic the look of note heads in historic
4829 printings of the 16th century.
4831 The following example demonstrates the @code{neo_mensural} style
4833 @lilypond[quote,fragment,raggedright,verbatim]
4834 \override NoteHead #'style = #'neo_mensural
4835 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4838 When typesetting a piece in Gregorian Chant notation, a Gregorian
4839 ligature engraver will automatically select the proper note heads,
4840 such there is no need to explicitly set the note head style. Still,
4841 the note head style can be set e.g. to @code{vaticana_punctum} to
4842 produce punctum neumes. Similarly, a mensural ligature engraver is
4843 used to automatically assemble mensural ligatures. See
4844 @ref{Ligatures} for how ligature engravers work.
4849 @ref{Percussion staves} use note head styles of their own that are
4850 frequently used in contemporary music notation.
4852 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4853 overview over all available note head styles.
4856 @node Ancient accidentals
4857 @subsection Ancient accidentals
4862 Use the @code{style} property of grob @internalsref{Accidental} to
4863 select ancient accidentals. Supported styles are
4864 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4866 @lilypond[quote,raggedright,staffsize=26]
4874 { " " \musicglyph #"accidentals-vaticana-1"
4875 " " \musicglyph #"accidentals-vaticana0" }
4879 { " " \musicglyph #"accidentals-medicaea-1" }
4883 { " " \musicglyph #"accidentals-hufnagel-1" }
4887 { " " \musicglyph #"accidentals-mensural-1"
4888 " " \musicglyph #"accidentals-mensural1" }
4897 \remove "Bar_number_engraver"
4901 \remove "Clef_engraver"
4902 \remove "Key_engraver"
4903 \remove "Time_signature_engraver"
4904 \remove "Staff_symbol_engraver"
4905 minimumVerticalExtent = ##f
4911 As shown, not all accidentals are supported by each style. When
4912 trying to access an unsupported accidental, LilyPond will switch to a
4913 different style, as demonstrated in
4914 @inputfileref{input/test,ancient-accidentals.ly}.
4916 Similarly to local accidentals, the style of the key signature can be
4917 controlled by the @code{style} property of the
4918 @internalsref{KeySignature} grob.
4922 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4923 @ref{Accidentals} give a general introduction into the use of
4924 accidentals. @ref{Key signature} gives a general introduction into
4925 the use of key signatures.
4927 Program reference: @internalsref{KeySignature}.
4929 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4932 @subsection Ancient rests
4937 Use the @code{style} property of grob @internalsref{Rest} to select
4938 ancient accidentals. Supported styles are @code{classical},
4939 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4940 from the @code{default} style only in that the quarter rest looks like
4941 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4942 well for e.g. the incipit of a transcribed mensural piece of music.
4943 The @code{mensural} style finally mimics the appearance of rests as
4944 in historic prints of the 16th century.
4946 The following example demonstrates the @code{neo_mensural} style
4948 @lilypond[quote,fragment,raggedright,verbatim]
4949 \override Rest #'style = #'neo_mensural
4950 r\longa r\breve r1 r2 r4 r8 r16
4953 There are no 32th and 64th rests specifically for the mensural or
4954 neo-mensural style. Instead, the rests from the default style will be
4955 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4958 There are no rests in Gregorian Chant notation; instead, it uses
4963 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4967 @subsection Ancient clefs
4972 LilyPond supports a variety of clefs, many of them ancient.
4974 The following table shows all ancient clefs that are supported via the
4975 @code{\clef} command. Some of the clefs use the same glyph, but
4976 differ only with respect to the line they are printed on. In such
4977 cases, a trailing number in the name is used to enumerate these clefs.
4978 Still, you can manually force a clef glyph to be typeset on an
4979 arbitrary line, as described in @ref{Clef}. The note printed to the
4980 right side of each clef in the example column denotes the @code{c'}
4981 with respect to that clef.
4983 @multitable @columnfractions .3 .3 .3 .1
4987 @b{Description} @tab
4988 @b{Supported Clefs} @tab
4992 @code{clefs-neo_mensural_c} @tab
4993 modern style mensural C clef @tab
4994 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4995 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4996 @lilypond[quote,relative=1,notime]
4997 \override Staff.TimeSignature #'transparent = ##t
4998 \clef "neo_mensural_c2" c
5002 @code{clefs-petrucci_c1}
5003 @code{clefs-petrucci_c2}
5004 @code{clefs-petrucci_c3}
5005 @code{clefs-petrucci_c4}
5006 @code{clefs-petrucci_c5}
5009 petrucci style mensural C clefs, for use on different staff lines
5010 (the examples shows the 2nd staff line C clef).
5020 @lilypond[quote,relative=1,notime]
5021 \override Staff.TimeSignature #'transparent = ##t
5022 \clef "petrucci_c2" c
5026 @code{clefs-petrucci_f} @tab
5027 petrucci style mensural F clef @tab
5028 @code{petrucci_f} @tab
5029 @lilypond[quote,relative=1,notime]
5030 \override Staff.TimeSignature #'transparent = ##t
5031 \clef "petrucci_f" c
5035 @code{clefs-petrucci_g} @tab
5036 petrucci style mensural G clef @tab
5037 @code{petrucci_g} @tab
5038 @lilypond[quote,relative=1,notime]
5039 \override Staff.TimeSignature #'transparent = ##t
5040 \clef "petrucci_g" c
5044 @code{clefs-mensural_c} @tab
5045 historic style mensural C clef @tab
5046 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5047 @code{mensural_c4} @tab
5048 @lilypond[quote,relative=1,notime]
5049 \override Staff.TimeSignature #'transparent = ##t
5050 \clef "mensural_c2" c
5054 @code{clefs-mensural_f} @tab
5055 historic style mensural F clef @tab
5056 @code{mensural_f} @tab
5057 @lilypond[quote,relative=1,notime]
5058 \override Staff.TimeSignature #'transparent = ##t
5059 \clef "mensural_f" c
5063 @code{clefs-mensural_g} @tab
5064 historic style mensural G clef @tab
5065 @code{mensural_g} @tab
5066 @lilypond[quote,relative=1,notime]
5067 \override Staff.TimeSignature #'transparent = ##t
5068 \clef "mensural_g" c
5072 @code{clefs-vaticana_do} @tab
5073 Editio Vaticana style do clef @tab
5074 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5075 @lilypond[quote,relative=1,notime]
5076 \override Staff.StaffSymbol #'line-count = #4
5077 \override Staff.TimeSignature #'transparent = ##t
5078 \clef "vaticana_do2" c
5082 @code{clefs-vaticana_fa} @tab
5083 Editio Vaticana style fa clef @tab
5084 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5085 @lilypond[quote,relative=1,notime]
5086 \override Staff.StaffSymbol #'line-count = #4
5087 \override Staff.TimeSignature #'transparent = ##t
5088 \clef "vaticana_fa2" c
5092 @code{clefs-medicaea_do} @tab
5093 Editio Medicaea style do clef @tab
5094 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5095 @lilypond[quote,relative=1,notime]
5096 \override Staff.StaffSymbol #'line-count = #4
5097 \override Staff.TimeSignature #'transparent = ##t
5098 \clef "medicaea_do2" c
5102 @code{clefs-medicaea_fa} @tab
5103 Editio Medicaea style fa clef @tab
5104 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5105 @lilypond[quote,relative=1,notime]
5106 \override Staff.StaffSymbol #'line-count = #4
5107 \override Staff.TimeSignature #'transparent = ##t
5108 \clef "medicaea_fa2" c
5112 @code{clefs-hufnagel_do} @tab
5113 historic style hufnagel do clef @tab
5114 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5115 @lilypond[quote,relative=1,notime]
5116 \override Staff.StaffSymbol #'line-count = #4
5117 \override Staff.TimeSignature #'transparent = ##t
5118 \clef "hufnagel_do2" c
5122 @code{clefs-hufnagel_fa} @tab
5123 historic style hufnagel fa clef @tab
5124 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5125 @lilypond[quote,relative=1,notime]
5126 \override Staff.StaffSymbol #'line-count = #4
5127 \override Staff.TimeSignature #'transparent = ##t
5128 \clef "hufnagel_fa2" c
5132 @code{clefs-hufnagel_do_fa} @tab
5133 historic style hufnagel combined do/fa clef @tab
5134 @code{hufnagel_do_fa} @tab
5135 @lilypond[quote,relative=1,notime]
5136 \override Staff.TimeSignature #'transparent = ##t
5137 \clef "hufnagel_do_fa" c
5144 @emph{Modern style} means ``as is typeset in contemporary editions of
5145 transcribed mensural music''.
5147 @emph{Petrucci style} means ``inspired by printings published by the
5148 famous engraver Petrucci (1466-1539)''.
5150 @emph{Historic style} means ``as was typeset or written in historic
5151 editions (other than those of Petrucci)''.
5153 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5155 Petrucci used C clefs with differently balanced left-side vertical
5156 beams, depending on which staff line it is printed.
5160 In this manual: see @ref{Clef}.
5164 The mensural g clef is mapped to the Petrucci g clef, until a new
5165 mensural g clef is implemented.
5170 @subsection Ancient flags
5175 Use the @code{flag-style} property of grob @internalsref{Stem} to
5176 select ancient flags. Besides the @code{default} flag style,
5177 only @code{mensural} style is supported
5179 @lilypond[quote,fragment,raggedright,verbatim]
5180 \override Stem #'flag-style = #'mensural
5181 \override Stem #'thickness = #1.0
5182 \override NoteHead #'style = #'mensural
5184 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
5185 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5188 Note that the innermost flare of each mensural flag always is
5189 vertically aligned with a staff line. If you do not like this
5190 behavior, you can set the @code{adjust-if-on-staffline} property of
5191 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5192 of the end of each flare is different between notes on staff lines and
5193 notes between staff lines
5195 @lilypond[quote,fragment,raggedright]
5196 \override Stem #'flag-style = #'mensural
5197 \override Stem #'thickness = #1.0
5198 \override Stem #'adjust-if-on-staffline = ##f
5199 \override NoteHead #'style = #'mensural
5201 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
5202 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5205 There is no particular flag style for neo-mensural notation. Hence,
5206 when typesetting e.g. the incipit of a transcribed piece of mensural
5207 music, the default flag style should be used. There are no flags in
5208 Gregorian Chant notation.
5211 @node Ancient time signatures
5212 @subsection Ancient time signatures
5214 @cindex time signatures
5217 There is limited support for mensural time signatures. The
5218 glyphs are hard-wired to particular time fractions. In other words,
5219 to get a particular mensural signature glyph with the @code{\time n/m}
5220 command, @code{n} and @code{m} have to be chosen according to the
5226 \set Score.timing = ##f
5227 \set Score.barAlways = ##t
5228 s_\markup { "$\\backslash$time 4/4" }
5229 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5231 s_\markup { "$\\backslash$time 2/2" }
5232 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5234 s_\markup { "$\\backslash$time 6/4" }
5235 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5237 s_\markup { "$\\backslash$time 6/8" }
5238 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5240 s_\markup { "$\\backslash$time 3/2" }
5241 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5243 s_\markup { "$\\backslash$time 3/4" }
5244 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5246 s_\markup { "$\\backslash$time 9/4" }
5247 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5249 s_\markup { "$\\backslash$time 9/8" }
5250 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5252 s_\markup { "$\\backslash$time 4/8" }
5253 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5255 s_\markup { "$\\backslash$time 2/4" }
5256 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5264 \remove Staff_symbol_engraver
5265 \remove Clef_engraver
5266 \remove Time_signature_engraver
5272 Use the @code{style} property of grob @internalsref{TimeSignature} to
5273 select ancient time signatures. Supported styles are
5274 @code{neo_mensural} and @code{mensural}. The above table uses the
5275 @code{neo_mensural} style. This style is appropriate e.g. for the
5276 incipit of transcriptions of mensural pieces. The @code{mensural}
5277 style mimics the look of historical printings of the 16th century.
5279 @inputfileref{input/test,time.ly} gives an overview over all available
5280 ancient and modern styles.
5284 Program reference: @ref{Time signature} gives a general introduction into the use of time
5289 Mensural signature glyphs are mapped to time fractions in a hard-wired
5290 way. This mapping is sensible, but still arbitrary: given a mensural
5291 time signature, the time fraction represents a modern meter that
5292 usually will be a good choice when transcribing a mensural piece of
5293 music. For a particular piece of mensural music, however, the mapping
5294 may be unsatisfactory. In particular, the mapping assumes a fixed
5295 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5296 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5297 accessible through the @code{\time} command.
5299 Mensural time signatures are supported typographically, but not yet
5300 musically. The internal representation of durations is
5301 based on a purely binary system; a ternary division such as 1 brevis =
5302 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5303 prolatione maiori) is not correctly handled: event times in ternary
5304 modes will be badly computed, resulting e.g. in horizontally
5305 misaligned note heads, and bar checks are likely to erroneously fail.
5307 The syntax and semantics of the @code{\time} command for mensural
5308 music is subject to change.
5311 @subsection Custodes
5316 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5317 symbol that appears at the end of a staff. It anticipates the pitch
5318 of the first note(s) of the following line and thus helps the player
5319 or singer to manage line breaks during performance, thus enhancing
5320 readability of a score.
5322 Custodes were frequently used in music notation until the 17th
5323 century. Nowadays, they have survived only in a few particular forms
5324 of musical notation such as contemporary editions of Gregorian chant
5325 like the @emph{editio vaticana}. There are different custos glyphs
5326 used in different flavors of notational style.
5328 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5329 @internalsref{Staff} context when declaring the @code{\paper} block,
5330 as shown in the following example
5336 \consists Custos_engraver
5337 Custos \override #'style = #'mensural
5342 The result looks like this
5344 @lilypond[quote,raggedright]
5348 \override Staff.Custos #'style = #'mensural
5355 \consists Custos_engraver
5361 The custos glyph is selected by the @code{style} property. The styles
5362 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5363 @code{mensural}. They are demonstrated in the following fragment
5367 \new Lyrics \lyrics {
5371 { " " \musicglyph #"custodes-vaticana-u0" }
5375 { " " \musicglyph #"custodes-medicaea-u0" }
5380 { " " \musicglyph #"custodes-hufnagel-u0" }
5385 { " " \musicglyph #"custodes-mensural-u0" }
5397 Program reference: @internalsref{Custos}.
5399 Examples: @inputfileref{input/regression,custos.ly}.
5403 @subsection Divisiones
5409 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5410 `division') is a staff context symbol that is used to structure
5411 Gregorian music into phrases and sections. The musical meaning of
5412 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5413 can be characterized as short, medium and long pause, somewhat like
5414 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5415 a chant, but is also frequently used within a single
5416 antiphonal/responsorial chant to mark the end of each section.
5419 To use divisiones, include the file @code{gregorian-init.ly}. It
5420 contains definitions that you can apply by just inserting
5421 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5422 and @code{\finalis} at proper places in the input. Some editions use
5423 @emph{virgula} or @emph{caesura} instead of divisio minima.
5424 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5427 @lilypondfile[quote,raggedright]{divisiones.ly}
5431 @cindex @code{\virgula}
5433 @cindex @code{\caesura}
5435 @cindex @code{\divisioMinima}
5436 @code{\divisioMinima},
5437 @cindex @code{\divisioMaior}
5438 @code{\divisioMaior},
5439 @cindex @code{\divisioMaxima}
5440 @code{\divisioMaxima},
5441 @cindex @code{\finalis}
5446 In this manual: @ref{Breath marks}.
5448 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5450 Examples: @inputfileref{input/test,divisiones.ly}.
5453 @subsection Ligatures
5457 @c TODO: Should double check if I recalled things correctly when I wrote
5458 @c down the following paragraph by heart.
5460 A ligature is a coherent graphical symbol that represents at least two
5461 distinct notes. Ligatures originally appeared in the manuscripts of
5462 Gregorian chant notation roughly since the 9th century to denote
5463 ascending or descending sequences of notes.
5465 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5466 Some ligature styles may need additional input syntax specific for
5467 this particular type of ligature. By default, the
5468 @internalsref{LigatureBracket} engraver just puts a square bracket
5471 @lilypond[quote,raggedright,verbatim]
5473 \notes \transpose c c' {
5481 To select a specific style of ligatures, a proper ligature engraver
5482 has to be added to the @internalsref{Voice} context, as explained in
5483 the following subsections. Only white mensural ligatures
5484 are supported with certain limitations.
5487 * White mensural ligatures::
5488 * Gregorian square neumes ligatures::
5491 @node White mensural ligatures
5492 @subsubsection White mensural ligatures
5494 @cindex Mensural ligatures
5495 @cindex White mensural ligatures
5497 There is limited support for white mensural ligatures.
5499 To engrave white mensural ligatures, in the paper block the
5500 @internalsref{Mensural_ligature_engraver} has to be put into the
5501 @internalsref{Voice} context, and remove the
5502 @internalsref{Ligature_bracket_engraver}
5508 \remove Ligature_bracket_engraver
5509 \consists Mensural_ligature_engraver
5514 There is no additional input language to describe the shape of a
5515 white mensural ligature. The shape is rather determined solely from
5516 the pitch and duration of the enclosed notes. While this approach may
5517 take a new user a while to get accustomed, it has the great advantage
5518 that the full musical information of the ligature is known internally.
5519 This is not only required for correct MIDI output, but also allows for
5520 automatic transcription of the ligatures.
5525 \set Score.timing = ##f
5526 \set Score.defaultBarType = "empty"
5527 \override NoteHead #'style = #'neo_mensural
5528 \override Staff.TimeSignature #'style = #'neo_mensural
5530 \[ g\longa c\breve a\breve f\breve d'\longa \]
5532 \[ e1 f1 a\breve g\longa \]
5534 @lilypond[quote,raggedright]
5536 \notes \transpose c c' {
5537 \set Score.timing = ##f
5538 \set Score.defaultBarType = "empty"
5539 \override NoteHead #'style = #'neo_mensural
5540 \override Staff.TimeSignature #'style = #'neo_mensural
5542 \[ g\longa c\breve a\breve f\breve d'\longa \]
5544 \[ e1 f1 a\breve g\longa \]
5549 \remove Ligature_bracket_engraver
5550 \consists Mensural_ligature_engraver
5556 Without replacing @internalsref{Ligature_bracket_engraver} with
5557 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5560 @lilypond[quote,raggedright]
5562 \notes \transpose c c' {
5563 \set Score.timing = ##f
5564 \set Score.defaultBarType = "empty"
5565 \override NoteHead #'style = #'neo_mensural
5566 \override Staff.TimeSignature #'style = #'neo_mensural
5568 \[ g\longa c\breve a\breve f\breve d'\longa \]
5570 \[ e1 f1 a\breve g\longa \]
5577 The implementation is experimental; it may output strange warnings or
5578 even crash in some cases or produce weird results on more complex
5581 @node Gregorian square neumes ligatures
5582 @subsubsection Gregorian square neumes ligatures
5584 @cindex Square neumes ligatures
5585 @cindex Gregorian square neumes ligatures
5587 Gregorian square neumes notation (following the style of the Editio
5588 Vaticana) is under heavy development, but not yet really usable for
5589 production purposes. Core ligatures can already be typeset, but
5590 essential issues for serious typesetting are still under development,
5591 such as (among others) horizontal alignment of multiple ligatures,
5592 lyrics alignment and proper accidentals handling. Still, this section
5593 gives a sneak preview of what Gregorian chant may look like once it
5596 The following table contains the extended neumes table of the 2nd
5597 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5598 1983 by the monks of Solesmes.
5600 @multitable @columnfractions .4 .2 .2 .2
5603 @b{Neuma aut@*Neumarum Elementa} @tab
5604 @b{Figurae@*Rectae} @tab
5605 @b{Figurae@*Liquescentes Auctae} @tab
5606 @b{Figurae@*Liquescentes Deminutae}
5608 @c TODO: \paper block is identical in all of the below examples.
5609 @c Therefore, it should somehow be included rather than duplicated all
5612 @c why not make identifiers in ly/engraver-init.ly? --hwn
5614 @c Because it's just used to typeset plain notes without
5615 @c a staff for demonstration purposes rather than something
5616 @c special of Gregorian chant notation. --jr
5621 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5622 \include "gregorian-init.ly"
5624 \notes \transpose c c' {
5627 \noBreak s^\markup {"a"} \noBreak
5629 % Punctum Inclinatum
5631 \noBreak s^\markup {"b"}
5637 \remove "Bar_number_engraver"
5641 \remove "Clef_engraver"
5642 \remove "Key_engraver"
5643 \override StaffSymbol #'transparent = ##t
5644 \remove "Time_signature_engraver"
5645 \remove "Bar_engraver"
5646 minimumVerticalExtent = ##f
5650 \remove Ligature_bracket_engraver
5651 \consists Vaticana_ligature_engraver
5652 \override NoteHead #'style = #'vaticana_punctum
5653 \override Stem #'transparent = ##t
5659 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5660 \include "gregorian-init.ly"
5662 \notes \transpose c c' {
5663 % Punctum Auctum Ascendens
5664 \[ \auctum \ascendens b \]
5665 \noBreak s^\markup {"c"} \noBreak
5667 % Punctum Auctum Descendens
5668 \[ \auctum \descendens b \]
5669 \noBreak s^\markup {"d"} \noBreak
5671 % Punctum Inclinatum Auctum
5672 \[ \inclinatum \auctum b \]
5673 \noBreak s^\markup {"e"}
5679 \remove "Bar_number_engraver"
5683 \remove "Clef_engraver"
5684 \remove "Key_engraver"
5685 \override StaffSymbol #'transparent = ##t
5686 \remove "Time_signature_engraver"
5687 \remove "Bar_engraver"
5688 minimumVerticalExtent = ##f
5692 \remove Ligature_bracket_engraver
5693 \consists Vaticana_ligature_engraver
5694 \override NoteHead #'style = #'vaticana_punctum
5695 \override Stem #'transparent = ##t
5701 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5702 \include "gregorian-init.ly"
5704 \notes \transpose c c' {
5705 % Punctum Inclinatum Parvum
5706 \[ \inclinatum \deminutum b \]
5707 \noBreak s^\markup {"f"}
5713 \remove "Bar_number_engraver"
5717 \remove "Clef_engraver"
5718 \remove "Key_engraver"
5719 \override StaffSymbol #'transparent = ##t
5720 \remove "Time_signature_engraver"
5721 \remove "Bar_engraver"
5722 minimumVerticalExtent = ##f
5726 \remove Ligature_bracket_engraver
5727 \consists Vaticana_ligature_engraver
5728 \override NoteHead #'style = #'vaticana_punctum
5729 \override Stem #'transparent = ##t
5738 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5739 \include "gregorian-init.ly"
5741 \notes \transpose c c' {
5744 \noBreak s^\markup {"g"}
5750 \remove "Bar_number_engraver"
5754 \remove "Clef_engraver"
5755 \remove "Key_engraver"
5756 \override StaffSymbol #'transparent = ##t
5757 \remove "Time_signature_engraver"
5758 \remove "Bar_engraver"
5759 minimumVerticalExtent = ##f
5763 \remove Ligature_bracket_engraver
5764 \consists Vaticana_ligature_engraver
5765 \override NoteHead #'style = #'vaticana_punctum
5766 \override Stem #'transparent = ##t
5775 @code{3. Apostropha vel Stropha}
5777 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5778 \include "gregorian-init.ly"
5780 \notes \transpose c c' {
5783 \noBreak s^\markup {"h"}
5789 \remove "Bar_number_engraver"
5793 \remove "Clef_engraver"
5794 \remove "Key_engraver"
5795 \override StaffSymbol #'transparent = ##t
5796 \remove "Time_signature_engraver"
5797 \remove "Bar_engraver"
5798 minimumVerticalExtent = ##f
5802 \remove Ligature_bracket_engraver
5803 \consists Vaticana_ligature_engraver
5804 \override NoteHead #'style = #'vaticana_punctum
5805 \override Stem #'transparent = ##t
5811 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5812 \include "gregorian-init.ly"
5814 \notes \transpose c c' {
5816 \[ \stropha \auctum b \]
5817 \noBreak s^\markup {"i"}
5823 \remove "Bar_number_engraver"
5827 \remove "Clef_engraver"
5828 \remove "Key_engraver"
5829 \override StaffSymbol #'transparent = ##t
5830 \remove "Time_signature_engraver"
5831 \remove "Bar_engraver"
5832 minimumVerticalExtent = ##f
5836 \remove Ligature_bracket_engraver
5837 \consists Vaticana_ligature_engraver
5838 \override NoteHead #'style = #'vaticana_punctum
5839 \override Stem #'transparent = ##t
5849 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5850 \include "gregorian-init.ly"
5852 \notes \transpose c c' {
5855 \noBreak s^\markup {"j"}
5861 \remove "Bar_number_engraver"
5865 \remove "Clef_engraver"
5866 \remove "Key_engraver"
5867 \override StaffSymbol #'transparent = ##t
5868 \remove "Time_signature_engraver"
5869 \remove "Bar_engraver"
5870 minimumVerticalExtent = ##f
5874 \remove Ligature_bracket_engraver
5875 \consists Vaticana_ligature_engraver
5876 \override NoteHead #'style = #'vaticana_punctum
5877 \override Stem #'transparent = ##t
5886 @code{5. Clivis vel Flexa}
5888 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5889 \include "gregorian-init.ly"
5891 \notes \transpose c c' {
5900 \remove "Bar_number_engraver"
5904 \remove "Clef_engraver"
5905 \remove "Key_engraver"
5906 \override StaffSymbol #'transparent = ##t
5907 \remove "Time_signature_engraver"
5908 \remove "Bar_engraver"
5909 minimumVerticalExtent = ##f
5913 \remove Ligature_bracket_engraver
5914 \consists Vaticana_ligature_engraver
5915 \override NoteHead #'style = #'vaticana_punctum
5916 \override Stem #'transparent = ##t
5922 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5923 \include "gregorian-init.ly"
5925 \notes \transpose c c' {
5926 % Clivis Aucta Descendens
5927 \[ b \flexa \auctum \descendens g \]
5928 \noBreak s^\markup {"l"} \noBreak
5930 % Clivis Aucta Ascendens
5931 \[ b \flexa \auctum \ascendens g \]
5932 \noBreak s^\markup {"m"}
5938 \remove "Bar_number_engraver"
5942 \remove "Clef_engraver"
5943 \remove "Key_engraver"
5944 \override StaffSymbol #'transparent = ##t
5945 \remove "Time_signature_engraver"
5946 \remove "Bar_engraver"
5947 minimumVerticalExtent = ##f
5951 \remove Ligature_bracket_engraver
5952 \consists Vaticana_ligature_engraver
5953 \override NoteHead #'style = #'vaticana_punctum
5954 \override Stem #'transparent = ##t
5960 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5961 \include "gregorian-init.ly"
5963 \notes \transpose c c' {
5965 \[ b \flexa \deminutum g \]
5972 \remove "Bar_number_engraver"
5976 \remove "Clef_engraver"
5977 \remove "Key_engraver"
5978 \override StaffSymbol #'transparent = ##t
5979 \remove "Time_signature_engraver"
5980 \remove "Bar_engraver"
5981 minimumVerticalExtent = ##f
5985 \remove Ligature_bracket_engraver
5986 \consists Vaticana_ligature_engraver
5987 \override NoteHead #'style = #'vaticana_punctum
5988 \override Stem #'transparent = ##t
5995 @code{6. Podatus vel Pes}
5997 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5998 \include "gregorian-init.ly"
6000 \notes \transpose c c' {
6009 \remove "Bar_number_engraver"
6013 \remove "Clef_engraver"
6014 \remove "Key_engraver"
6015 \override StaffSymbol #'transparent = ##t
6016 \remove "Time_signature_engraver"
6017 \remove "Bar_engraver"
6018 minimumVerticalExtent = ##f
6022 \remove Ligature_bracket_engraver
6023 \consists Vaticana_ligature_engraver
6024 \override NoteHead #'style = #'vaticana_punctum
6025 \override Stem #'transparent = ##t
6031 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6032 \include "gregorian-init.ly"
6034 \notes \transpose c c' {
6035 % Pes Auctus Descendens
6036 \[ g \pes \auctum \descendens b \]
6037 \noBreak s^\markup {"p"} \noBreak
6039 % Pes Auctus Ascendens
6040 \[ g \pes \auctum \ascendens b \]
6041 \noBreak s^\markup {"q"}
6047 \remove "Bar_number_engraver"
6051 \remove "Clef_engraver"
6052 \remove "Key_engraver"
6053 \override StaffSymbol #'transparent = ##t
6054 \remove "Time_signature_engraver"
6055 \remove "Bar_engraver"
6056 minimumVerticalExtent = ##f
6060 \remove Ligature_bracket_engraver
6061 \consists Vaticana_ligature_engraver
6062 \override NoteHead #'style = #'vaticana_punctum
6063 \override Stem #'transparent = ##t
6069 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6070 \include "gregorian-init.ly"
6072 \notes \transpose c c' {
6074 \[ g \pes \deminutum b \]
6081 \remove "Bar_number_engraver"
6085 \remove "Clef_engraver"
6086 \remove "Key_engraver"
6087 \override StaffSymbol #'transparent = ##t
6088 \remove "Time_signature_engraver"
6089 \remove "Bar_engraver"
6090 minimumVerticalExtent = ##f
6094 \remove Ligature_bracket_engraver
6095 \consists Vaticana_ligature_engraver
6096 \override NoteHead #'style = #'vaticana_punctum
6097 \override Stem #'transparent = ##t
6104 @code{7. Pes Quassus}
6106 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6107 \include "gregorian-init.ly"
6109 \notes \transpose c c' {
6111 \[ \oriscus g \pes \virga b \]
6118 \remove "Bar_number_engraver"
6122 \remove "Clef_engraver"
6123 \remove "Key_engraver"
6124 \override StaffSymbol #'transparent = ##t
6125 \remove "Time_signature_engraver"
6126 \remove "Bar_engraver"
6127 minimumVerticalExtent = ##f
6131 \remove Ligature_bracket_engraver
6132 \consists Vaticana_ligature_engraver
6133 \override NoteHead #'style = #'vaticana_punctum
6134 \override Stem #'transparent = ##t
6140 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6141 \include "gregorian-init.ly"
6143 \notes \transpose c c' {
6144 % Pes Quassus Auctus Descendens
6145 \[ \oriscus g \pes \auctum \descendens b \]
6152 \remove "Bar_number_engraver"
6156 \remove "Clef_engraver"
6157 \remove "Key_engraver"
6158 \override StaffSymbol #'transparent = ##t
6159 \remove "Time_signature_engraver"
6160 \remove "Bar_engraver"
6161 minimumVerticalExtent = ##f
6165 \remove Ligature_bracket_engraver
6166 \consists Vaticana_ligature_engraver
6167 \override NoteHead #'style = #'vaticana_punctum
6168 \override Stem #'transparent = ##t
6176 @code{8. Quilisma Pes}
6178 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6179 \include "gregorian-init.ly"
6181 \notes \transpose c c' {
6183 \[ \quilisma g \pes b \]
6190 \remove "Bar_number_engraver"
6194 \remove "Clef_engraver"
6195 \remove "Key_engraver"
6196 \override StaffSymbol #'transparent = ##t
6197 \remove "Time_signature_engraver"
6198 \remove "Bar_engraver"
6199 minimumVerticalExtent = ##f
6203 \remove Ligature_bracket_engraver
6204 \consists Vaticana_ligature_engraver
6205 \override NoteHead #'style = #'vaticana_punctum
6206 \override Stem #'transparent = ##t
6212 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6213 \include "gregorian-init.ly"
6215 \notes \transpose c c' {
6216 % Quilisma Pes Auctus Descendens
6217 \[ \quilisma g \pes \auctum \descendens b \]
6224 \remove "Bar_number_engraver"
6228 \remove "Clef_engraver"
6229 \remove "Key_engraver"
6230 \override StaffSymbol #'transparent = ##t
6231 \remove "Time_signature_engraver"
6232 \remove "Bar_engraver"
6233 minimumVerticalExtent = ##f
6237 \remove Ligature_bracket_engraver
6238 \consists Vaticana_ligature_engraver
6239 \override NoteHead #'style = #'vaticana_punctum
6240 \override Stem #'transparent = ##t
6248 @code{9. Podatus Initio Debilis}
6250 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6251 \include "gregorian-init.ly"
6253 \notes \transpose c c' {
6254 % Pes Initio Debilis
6255 \[ \deminutum g \pes b \]
6262 \remove "Bar_number_engraver"
6266 \remove "Clef_engraver"
6267 \remove "Key_engraver"
6268 \override StaffSymbol #'transparent = ##t
6269 \remove "Time_signature_engraver"
6270 \remove "Bar_engraver"
6271 minimumVerticalExtent = ##f
6275 \remove Ligature_bracket_engraver
6276 \consists Vaticana_ligature_engraver
6277 \override NoteHead #'style = #'vaticana_punctum
6278 \override Stem #'transparent = ##t
6284 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6285 \include "gregorian-init.ly"
6287 \notes \transpose c c' {
6288 % Pes Auctus Descendens Initio Debilis
6289 \[ \deminutum g \pes \auctum \descendens b \]
6296 \remove "Bar_number_engraver"
6300 \remove "Clef_engraver"
6301 \remove "Key_engraver"
6302 \override StaffSymbol #'transparent = ##t
6303 \remove "Time_signature_engraver"
6304 \remove "Bar_engraver"
6305 minimumVerticalExtent = ##f
6309 \remove Ligature_bracket_engraver
6310 \consists Vaticana_ligature_engraver
6311 \override NoteHead #'style = #'vaticana_punctum
6312 \override Stem #'transparent = ##t
6322 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6323 \include "gregorian-init.ly"
6325 \notes \transpose c c' {
6327 \[ a \pes b \flexa g \]
6334 \remove "Bar_number_engraver"
6338 \remove "Clef_engraver"
6339 \remove "Key_engraver"
6340 \override StaffSymbol #'transparent = ##t
6341 \remove "Time_signature_engraver"
6342 \remove "Bar_engraver"
6343 minimumVerticalExtent = ##f
6347 \remove Ligature_bracket_engraver
6348 \consists Vaticana_ligature_engraver
6349 \override NoteHead #'style = #'vaticana_punctum
6350 \override Stem #'transparent = ##t
6356 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6357 \include "gregorian-init.ly"
6359 \notes \transpose c c' {
6360 % Torculus Auctus Descendens
6361 \[ a \pes b \flexa \auctum \descendens g \]
6368 \remove "Bar_number_engraver"
6372 \remove "Clef_engraver"
6373 \remove "Key_engraver"
6374 \override StaffSymbol #'transparent = ##t
6375 \remove "Time_signature_engraver"
6376 \remove "Bar_engraver"
6377 minimumVerticalExtent = ##f
6381 \remove Ligature_bracket_engraver
6382 \consists Vaticana_ligature_engraver
6383 \override NoteHead #'style = #'vaticana_punctum
6384 \override Stem #'transparent = ##t
6390 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6391 \include "gregorian-init.ly"
6393 \notes \transpose c c' {
6394 % Torculus Deminutus
6395 \[ a \pes b \flexa \deminutum g \]
6402 \remove "Bar_number_engraver"
6406 \remove "Clef_engraver"
6407 \remove "Key_engraver"
6408 \override StaffSymbol #'transparent = ##t
6409 \remove "Time_signature_engraver"
6410 \remove "Bar_engraver"
6411 minimumVerticalExtent = ##f
6415 \remove Ligature_bracket_engraver
6416 \consists Vaticana_ligature_engraver
6417 \override NoteHead #'style = #'vaticana_punctum
6418 \override Stem #'transparent = ##t
6425 @code{11. Torculus Initio Debilis}
6427 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6428 \include "gregorian-init.ly"
6430 \notes \transpose c c' {
6431 % Torculus Initio Debilis
6432 \[ \deminutum a \pes b \flexa g \]
6439 \remove "Bar_number_engraver"
6443 \remove "Clef_engraver"
6444 \remove "Key_engraver"
6445 \override StaffSymbol #'transparent = ##t
6446 \remove "Time_signature_engraver"
6447 \remove "Bar_engraver"
6448 minimumVerticalExtent = ##f
6452 \remove Ligature_bracket_engraver
6453 \consists Vaticana_ligature_engraver
6454 \override NoteHead #'style = #'vaticana_punctum
6455 \override Stem #'transparent = ##t
6461 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6462 \include "gregorian-init.ly"
6464 \notes \transpose c c' {
6465 % Torculus Auctus Descendens Initio Debilis
6466 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6473 \remove "Bar_number_engraver"
6477 \remove "Clef_engraver"
6478 \remove "Key_engraver"
6479 \override StaffSymbol #'transparent = ##t
6480 \remove "Time_signature_engraver"
6481 \remove "Bar_engraver"
6482 minimumVerticalExtent = ##f
6486 \remove Ligature_bracket_engraver
6487 \consists Vaticana_ligature_engraver
6488 \override NoteHead #'style = #'vaticana_punctum
6489 \override Stem #'transparent = ##t
6495 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6496 \include "gregorian-init.ly"
6498 \notes \transpose c c' {
6499 % Torculus Deminutus Initio Debilis
6500 \[ \deminutum a \pes b \flexa \deminutum g \]
6507 \remove "Bar_number_engraver"
6511 \remove "Clef_engraver"
6512 \remove "Key_engraver"
6513 \override StaffSymbol #'transparent = ##t
6514 \remove "Time_signature_engraver"
6515 \remove "Bar_engraver"
6516 minimumVerticalExtent = ##f
6520 \remove Ligature_bracket_engraver
6521 \consists Vaticana_ligature_engraver
6522 \override NoteHead #'style = #'vaticana_punctum
6523 \override Stem #'transparent = ##t
6530 @code{12. Porrectus}
6532 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6533 \include "gregorian-init.ly"
6535 \notes \transpose c c' {
6537 \[ a \flexa g \pes b \]
6544 \remove "Bar_number_engraver"
6548 \remove "Clef_engraver"
6549 \remove "Key_engraver"
6550 \override StaffSymbol #'transparent = ##t
6551 \remove "Time_signature_engraver"
6552 \remove "Bar_engraver"
6553 minimumVerticalExtent = ##f
6557 \remove Ligature_bracket_engraver
6558 \consists Vaticana_ligature_engraver
6559 \override NoteHead #'style = #'vaticana_punctum
6560 \override Stem #'transparent = ##t
6566 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6567 \include "gregorian-init.ly"
6569 \notes \transpose c c' {
6570 % Porrectus Auctus Descendens
6571 \[ a \flexa g \pes \auctum \descendens b \]
6578 \remove "Bar_number_engraver"
6582 \remove "Clef_engraver"
6583 \remove "Key_engraver"
6584 \override StaffSymbol #'transparent = ##t
6585 \remove "Time_signature_engraver"
6586 \remove "Bar_engraver"
6587 minimumVerticalExtent = ##f
6591 \remove Ligature_bracket_engraver
6592 \consists Vaticana_ligature_engraver
6593 \override NoteHead #'style = #'vaticana_punctum
6594 \override Stem #'transparent = ##t
6600 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6601 \include "gregorian-init.ly"
6603 \notes \transpose c c' {
6604 % Porrectus Deminutus
6605 \[ a \flexa g \pes \deminutum b \]
6612 \remove "Bar_number_engraver"
6616 \remove "Clef_engraver"
6617 \remove "Key_engraver"
6618 \override StaffSymbol #'transparent = ##t
6619 \remove "Time_signature_engraver"
6620 \remove "Bar_engraver"
6621 minimumVerticalExtent = ##f
6625 \remove Ligature_bracket_engraver
6626 \consists Vaticana_ligature_engraver
6627 \override NoteHead #'style = #'vaticana_punctum
6628 \override Stem #'transparent = ##t
6637 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6638 \include "gregorian-init.ly"
6640 \notes \transpose c c' {
6642 \[ \virga b \inclinatum a \inclinatum g \]
6649 \remove "Bar_number_engraver"
6653 \remove "Clef_engraver"
6654 \remove "Key_engraver"
6655 \override StaffSymbol #'transparent = ##t
6656 \remove "Time_signature_engraver"
6657 \remove "Bar_engraver"
6658 minimumVerticalExtent = ##f
6662 \remove Ligature_bracket_engraver
6663 \consists Vaticana_ligature_engraver
6664 \override NoteHead #'style = #'vaticana_punctum
6665 \override Stem #'transparent = ##t
6671 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6672 \include "gregorian-init.ly"
6674 \notes \transpose c c' {
6676 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6683 \remove "Bar_number_engraver"
6687 \remove "Clef_engraver"
6688 \remove "Key_engraver"
6689 \override StaffSymbol #'transparent = ##t
6690 \remove "Time_signature_engraver"
6691 \remove "Bar_engraver"
6692 minimumVerticalExtent = ##f
6696 \remove Ligature_bracket_engraver
6697 \consists Vaticana_ligature_engraver
6698 \override NoteHead #'style = #'vaticana_punctum
6699 \override Stem #'transparent = ##t
6705 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6706 \include "gregorian-init.ly"
6708 \notes \transpose c c' {
6709 % Climacus Deminutus
6710 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6717 \remove "Bar_number_engraver"
6721 \remove "Clef_engraver"
6722 \remove "Key_engraver"
6723 \override StaffSymbol #'transparent = ##t
6724 \remove "Time_signature_engraver"
6725 \remove "Bar_engraver"
6726 minimumVerticalExtent = ##f
6730 \remove Ligature_bracket_engraver
6731 \consists Vaticana_ligature_engraver
6732 \override NoteHead #'style = #'vaticana_punctum
6733 \override Stem #'transparent = ##t
6740 @code{14. Scandicus}
6742 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6743 \include "gregorian-init.ly"
6745 \notes \transpose c c' {
6747 \[ g \pes a \virga b \]
6754 \remove "Bar_number_engraver"
6758 \remove "Clef_engraver"
6759 \remove "Key_engraver"
6760 \override StaffSymbol #'transparent = ##t
6761 \remove "Time_signature_engraver"
6762 \remove "Bar_engraver"
6763 minimumVerticalExtent = ##f
6767 \remove Ligature_bracket_engraver
6768 \consists Vaticana_ligature_engraver
6769 \override NoteHead #'style = #'vaticana_punctum
6770 \override Stem #'transparent = ##t
6776 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6777 \include "gregorian-init.ly"
6779 \notes \transpose c c' {
6780 % Scandicus Auctus Descendens
6781 \[ g \pes a \pes \auctum \descendens b \]
6788 \remove "Bar_number_engraver"
6792 \remove "Clef_engraver"
6793 \remove "Key_engraver"
6794 \override StaffSymbol #'transparent = ##t
6795 \remove "Time_signature_engraver"
6796 \remove "Bar_engraver"
6797 minimumVerticalExtent = ##f
6801 \remove Ligature_bracket_engraver
6802 \consists Vaticana_ligature_engraver
6803 \override NoteHead #'style = #'vaticana_punctum
6804 \override Stem #'transparent = ##t
6810 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6811 \include "gregorian-init.ly"
6813 \notes \transpose c c' {
6814 % Scandicus Deminutus
6815 \[ g \pes a \pes \deminutum b \]
6822 \remove "Bar_number_engraver"
6826 \remove "Clef_engraver"
6827 \remove "Key_engraver"
6828 \override StaffSymbol #'transparent = ##t
6829 \remove "Time_signature_engraver"
6830 \remove "Bar_engraver"
6831 minimumVerticalExtent = ##f
6835 \remove Ligature_bracket_engraver
6836 \consists Vaticana_ligature_engraver
6837 \override NoteHead #'style = #'vaticana_punctum
6838 \override Stem #'transparent = ##t
6847 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6848 \include "gregorian-init.ly"
6850 \notes \transpose c c' {
6852 \[ g \oriscus a \pes \virga b \]
6859 \remove "Bar_number_engraver"
6863 \remove "Clef_engraver"
6864 \remove "Key_engraver"
6865 \override StaffSymbol #'transparent = ##t
6866 \remove "Time_signature_engraver"
6867 \remove "Bar_engraver"
6868 minimumVerticalExtent = ##f
6872 \remove Ligature_bracket_engraver
6873 \consists Vaticana_ligature_engraver
6874 \override NoteHead #'style = #'vaticana_punctum
6875 \override Stem #'transparent = ##t
6881 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6882 \include "gregorian-init.ly"
6884 \notes \transpose c c' {
6885 % Salicus Auctus Descendens
6886 \[ g \oriscus a \pes \auctum \descendens b \]
6893 \remove "Bar_number_engraver"
6897 \remove "Clef_engraver"
6898 \remove "Key_engraver"
6899 \override StaffSymbol #'transparent = ##t
6900 \remove "Time_signature_engraver"
6901 \remove "Bar_engraver"
6902 minimumVerticalExtent = ##f
6906 \remove Ligature_bracket_engraver
6907 \consists Vaticana_ligature_engraver
6908 \override NoteHead #'style = #'vaticana_punctum
6909 \override Stem #'transparent = ##t
6919 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6920 \include "gregorian-init.ly"
6922 \notes \transpose c c' {
6924 \[ \stropha b \stropha b \stropha a \]
6931 \remove "Bar_number_engraver"
6935 \remove "Clef_engraver"
6936 \remove "Key_engraver"
6937 \override StaffSymbol #'transparent = ##t
6938 \remove "Time_signature_engraver"
6939 \remove "Bar_engraver"
6940 minimumVerticalExtent = ##f
6944 \remove Ligature_bracket_engraver
6945 \consists Vaticana_ligature_engraver
6946 \override NoteHead #'style = #'vaticana_punctum
6947 \override Stem #'transparent = ##t
6958 Unlike most other neumes notation systems, the input language for
6959 neumes does not necessarily reflect directly the typographical
6960 appearance, but is designed to solely focuse on musical meaning. For
6961 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6962 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6963 a Porrectus with a curved flexa shape and only a single Punctum head.
6964 There is no command to explicitly typeset the curved flexa shape; the
6965 decision of when to typeset a curved flexa shape is purely taken from
6966 the musical input. The idea of this approach is to separate the
6967 musical aspects of the input from the notation style of the output.
6968 This way, the same input can be reused to typeset the same music in a
6969 different style of Gregorian chant notation.
6971 The following table shows the code fragments that produce the
6972 ligatures in the above neumes table. The letter in the first column
6973 in each line of the below table indicates to which ligature in the
6974 above table it refers. The second column gives the name of the
6975 ligature. The third column shows the code fragment that produces this
6976 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6978 @multitable @columnfractions .1 .4 .5
6992 Punctum Inclinatum @tab
6993 @code{\[ \inclinatum b \]}
6997 Punctum Auctum Ascendens @tab
6998 @code{\[ \auctum \ascendens b \]}
7002 Punctum Auctum Descendens @tab
7003 @code{\[ \auctum \descendens b \]}
7007 Punctum Inclinatum Auctum @tab
7008 @code{\[ \inclinatum \auctum b \]}
7012 Punctum Inclinatum Parvum @tab
7013 @code{\[ \inclinatum \deminutum b \]}
7018 @code{\[ \virga b \]}
7023 @code{\[ \stropha b \]}
7028 @code{\[ \stropha \auctum b \]}
7033 @code{\[ \oriscus b \]}
7037 Clivis vel Flexa @tab
7038 @code{\[ b \flexa g \]}
7042 Clivis Aucta Descendens @tab
7043 @code{\[ b \flexa \auctum \descendens g \]}
7047 Clivis Aucta Ascendens @tab
7048 @code{\[ b \flexa \auctum \ascendens g \]}
7053 @code{\[ b \flexa \deminutum g \]}
7057 Podatus vel Pes @tab
7058 @code{\[ g \pes b \]}
7062 Pes Auctus Descendens @tab
7063 @code{\[ g \pes \auctum \descendens b \]}
7067 Pes Auctus Ascendens @tab
7068 @code{\[ g \pes \auctum \ascendens b \]}
7073 @code{\[ g \pes \deminutum b \]}
7078 @code{\[ \oriscus g \pes \virga b \]}
7082 Pes Quassus Auctus Descendens @tab
7083 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7088 @code{\[ \quilisma g \pes b \]}
7092 Quilisma Pes Auctus Descendens @tab
7093 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7097 Pes Initio Debilis @tab
7098 @code{\[ \deminutum g \pes b \]}
7102 Pes Auctus Descendens Initio Debilis @tab
7103 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7108 @code{\[ a \pes b \flexa g \]}
7112 Torculus Auctus Descendens @tab
7113 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7117 Torculus Deminutus @tab
7118 @code{\[ a \pes b \flexa \deminutum g \]}
7122 Torculus Initio Debilis @tab
7123 @code{\[ \deminutum a \pes b \flexa g \]}
7127 Torculus Auctus Descendens Initio Debilis @tab
7128 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7132 Torculus Deminutus Initio Debilis @tab
7133 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7138 @code{\[ a \flexa g \pes b \]}
7142 Porrectus Auctus Descendens @tab
7143 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7147 Porrectus Deminutus @tab
7148 @code{\[ a \flexa g \pes \deminutum b \]}
7153 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7157 Climacus Auctus @tab
7158 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7162 Climacus Deminutus @tab
7163 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7168 @code{\[ g \pes a \virga b \]}
7172 Scandicus Auctus Descendens @tab
7173 @code{\[ g \pes a \pes \auctum \descendens b \]}
7177 Scandicus Deminutus @tab
7178 @code{\[ g \pes a \pes \deminutum b \]}
7183 @code{\[ g \oriscus a \pes \virga b \]}
7187 Salicus Auctus Descendens @tab
7188 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7193 @code{\[ \stropha b \stropha b \stropha a \]}
7199 The following head prefixes are supported
7201 @cindex @code{\virga}
7203 @cindex @code{\stropha}
7205 @cindex @code{\inclinatum}
7207 @cindex @code{\auctum}
7209 @cindex @code{\descendens}
7211 @cindex @code{\ascendens}
7213 @cindex @code{\oriscus}
7215 @cindex @code{\quilisma}
7217 @cindex @code{\deminutum}
7220 Head prefixes can be accumulated, though restrictions apply. For
7221 example, either @code{\descendens} or @code{\ascendens} can be applied
7222 to a head, but not both to the same head.
7225 @cindex @code{\flexa}
7226 Two adjacent heads can be tied together with the @code{\pes} and
7227 @code{\flexa} infix commands for a rising and falling line of melody,
7232 @node Vaticana style contexts
7233 @subsection Vaticana style contexts
7235 @cindex VaticanaVoiceContext
7236 @cindex VaticanaStaffContext
7238 The predefined @code{VaticanaVoiceContext} and
7239 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7240 Gregorian Chant in the style of the Editio Vaticana. These contexts
7241 initialize all relevant context properties and grob properties to
7242 proper values. With these contexts, you can immediately go ahead
7243 entering the chant, as the following short excerpt demonstrates
7245 @lilypond[quote,raggedright,verbatim,noindent]
7246 \include "gregorian-init.ly"
7249 \context VaticanaVoice = "cantus" {
7250 \override Score.BarNumber #'transparent = ##t
7252 \[ c'\melisma c' \flexa a \]
7253 \[ a \flexa \deminutum g\melismaEnd \]
7255 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7256 c' \divisioMinima \break
7257 \[ c'\melisma c' \flexa a \]
7258 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7261 \lyricsto "cantus" \new Lyrics \lyrics {
7262 San- ctus, San- ctus, San- ctus
7269 @subsection Figured bass
7271 @cindex Basso continuo
7273 @c TODO: musicological blurb about FB
7276 LilyPond has limited support for figured bass
7278 @lilypond[quote,verbatim,fragment]
7280 \context Voice \notes { \clef bass dis4 c d ais }
7281 \context FiguredBass \figures {
7282 < 6 >4 < 7 >8 < 6+ [_!] >
7288 The support for figured bass consists of two parts: there is an input
7289 mode, introduced by @code{\figures}, where you can enter bass figures
7290 as numbers, and there is a context called @internalsref{FiguredBass} that
7291 takes care of making @internalsref{BassFigure} objects.
7293 In figures input mode, a group of bass figures is delimited by
7294 @code{<} and @code{>}. The duration is entered after the @code{>>}
7298 @lilypond[quote,fragment]
7299 \context FiguredBass
7303 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7309 @lilypond[quote,fragment]
7310 \context FiguredBass
7311 \figures { <4- 6+ 7!> }
7314 Spaces or dashes may be inserted by using @code{_}. Brackets are
7315 introduced with @code{[} and @code{]}
7320 @lilypond[quote,fragment]
7321 \context FiguredBass
7322 \figures { < [4 6] 8 [_! 12]> }
7325 Although the support for figured bass may superficially resemble chord
7326 support, it works much simpler. The @code{\figures} mode simply
7327 stores the numbers , and @internalsref{FiguredBass} context prints
7328 them as entered. There is no conversion to pitches, and no
7329 realizations of the bass are played in the MIDI file.
7331 Internally, the code produces markup texts. You can use any of the
7332 markup text properties to override formatting. For example, the
7333 vertical spacing of the figures may be set with @code{baseline-skip}.
7337 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7338 and @internalsref{FiguredBass} context.
7342 Slash notation for alterations is not supported.
7344 @node Contemporary notation
7345 @section Contemporary notation
7347 In the 20th century, composers have greatly expanded the musical
7348 vocabulary. With this expansion, many innovations in musical notation
7349 have been tried. The book by Stone (1980) gives a comprehensive
7350 overview (see @ref{Literature list}). In general, the use of new,
7351 innovative notation makes a piece harder to understand and perform and
7352 its use should therefore be avoided if possible. For this reason,
7353 support for contemporary notation in LilyPond is limited.
7362 @subsection Clusters
7366 A cluster indicates a continuous range of pitches to be played. They
7367 can be denoted as the envelope of a set of notes. They are entered by
7368 applying the function @code{notes-to-clusters} to a sequence of
7371 @lilypond[quote,relative=2,verbatim]
7372 \applymusic #notes-to-clusters { <c e > <b f'> }
7375 The following example (from
7376 @inputfileref{input/regression,cluster.ly}) shows what the result
7379 @lilypondfile[quote]{cluster.ly}
7381 Ordinary notes and clusters can be put together in the same staff,
7382 even simultaneously. In such a case no attempt is made to
7383 automatically avoid collisions between ordinary notes and clusters.
7387 Program reference: @internalsref{ClusterSpanner},
7388 @internalsref{ClusterSpannerBeacon},
7389 @internalsref{Cluster_spanner_engraver}, and
7390 @internalsref{ClusterNoteEvent}.
7392 Examples: @inputfileref{input/regression,cluster.ly}.
7396 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7397 accurately. Use @code{<g a>8 <e a>8} instead.
7402 @subsection Fermatas
7408 Contemporary music notation frequently uses special fermata symbols to
7409 indicate fermatas of differing lengths. The following fermatas are
7412 @lilypond[quote,raggedright]
7435 \context Lyrics \lyrics {
7436 \override LyricText #'font-family = #'typewriter
7437 "shortfermata" "fermata" "longfermata" "verylongfermata"
7443 See @ref{Articulations} for general instructions how to apply scripts
7444 such as fermatas to a @code{\notes@{@}} block.
7447 @node Special notation
7448 @section Special notation
7452 * Easy Notation note heads::
7456 @subsection Balloon help
7458 Elements of notation can be marked and named with the help of a square
7459 balloon. The primary purpose of this feature is to explain notation.
7461 The following example demonstrates its use.
7463 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7466 #(add-balloon-text 'NoteHead "heads, or tails?"
7472 The function @code{add-balloon-text} takes the name of a grob, the
7473 label to print and where to put the label relative to the object. In
7474 the above example, the text ``heads or tails?'' ends 3 spaces below
7478 @cindex notation, explaining
7482 Program reference: @internalsref{text-balloon-interface}.
7484 Examples: @inputfileref{input/regression,balloon.ly}.
7486 @node Easy Notation note heads
7487 @subsection Easy Notation note heads
7489 @cindex easy notation
7492 The `easy play' note head includes a name inside the head. It is
7493 used in music for beginners
7495 @lilypond[quote,raggedright,verbatim,staffsize=26]
7500 The command @code{\setEasyHeads} overrides settings for the
7501 @internalsref{NoteHead} object. To make the letters readable, it has
7502 to be printed in a large font size. To print with a larger font, see
7503 @ref{Setting global staff size}.
7508 If you view the result with Xdvi, staff lines may show through the
7509 letters. Printing the PostScript file obtained does produce the
7514 @cindex \setEasyHeads
7515 @code{\setEasyHeads}
7521 Entered music can also be converted to MIDI output. The performance
7522 is intended for proof-hearing the music for errors.
7524 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7525 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7526 marks translate to a fixed fraction of the available MIDI volume
7527 range, crescendi and decrescendi make the volume vary linearly between
7528 their two extremities. The fractions can be adjusted by
7529 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7530 For each type of MIDI instrument, a volume range can be defined. This
7531 gives a basic equalizer control, which can enhance the quality of
7532 the MIDI output remarkably. The equalizer can be controlled by
7533 setting @code{instrumentEqualizer}.
7537 Many musically interesting effects, such as swing, articulation,
7538 slurring, etc., are not translated to MIDI.
7540 The MIDI output allocates a channel for each Staff, and one for global
7541 settings. Hence, the MIDI file should not have more than 15 staves
7542 (or 14 if you do not use drums). Other staves will remain silent.
7547 * MIDI instrument names::
7552 @subsection MIDI block
7556 The MIDI block is analogous to the paper block, but it is somewhat
7557 simpler. The @code{\midi} block can contain
7561 @item a @code{\tempo} definition, and
7562 @item context definitions.
7565 A number followed by a period is interpreted as a real number, so
7566 for setting the tempo for dotted notes, an extra space should be
7567 inserted, for example
7570 \midi @{ \tempo 4 . = 120 @}
7574 @cindex context definition
7576 Context definitions follow precisely the same syntax as within the
7577 \paper block. Translation modules for sound are called performers.
7578 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7581 @node MIDI instrument names
7582 @subsection MIDI instrument names
7584 @cindex instrument names
7585 @cindex @code{Staff.midiInstrument}
7587 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7588 property. The instrument name should be chosen from the list in
7589 @ref{MIDI instruments}.
7593 If the selected string does not exactly match, the default is used,
7594 which is the Grand Piano.