1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
32 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
66 A note is printed by specifying its pitch and then its duration,
68 @lilypond[quote,verbatim,raggedright]
69 { cis'4 d'8 e'16 c'16 }
77 @cindex Note specification
79 @cindex entering notes
81 The most common syntax for pitch entry is used for standard notes and
82 @code{\chordmode} modes. In these modes, pitches may be designated by
83 names. The notes are specified by the letters @code{a} through
84 @code{g}. The octave is formed with notes ranging from @code{c}
85 to @code{b}. The pitch @code{c} is an octave below middle C and the
86 letters span the octave above that C
88 @lilypond[fragment,verbatim,noindent]
90 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
93 @cindex note names, Dutch
95 A sharp is formed by adding @code{-is} to the end of a pitch name and
96 a flat is formed by adding @code{-es}. Double sharps and double flats
97 are obtained by adding @code{-isis} or @code{-eses}. These
98 names are the Dutch note names. In Dutch, @code{aes} is contracted to
99 @code{as}, but both forms are accepted. Similarly, both
100 @code{es} and @code{ees} are accepted
102 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
110 There are predefined sets of note names for various other languages.
111 To use them, include the language specific init file. For
112 example: @code{\include "english.ly"}. The available language files
113 and the note names they define are
118 Note Names sharp flat
119 nederlands.ly c d e f g a bes b -is -es
120 english.ly c d e f g a bf b -s/-sharp -f/-flat
122 deutsch.ly c d e f g a b h -is -es
123 norsk.ly c d e f g a b h -iss/-is -ess/-es
124 svenska.ly c d e f g a b h -iss -ess
125 italiano.ly do re mi fa sol la sib si -d -b
126 catalan.ly do re mi fa sol la sib si -d/-s -b
127 espanol.ly do re mi fa sol la sib si -s -b
136 The optional octave specification takes the form of a series of
137 single quote (`@code{'}') characters or a series of comma
138 (`@code{,}') characters. Each @code{'} raises the pitch by one
139 octave; each @code{,} lowers the pitch by an octave
141 @lilypond[quote,raggedright,fragment,verbatim]
142 c' c'' es' g' as' gisis' ais'
145 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
147 Notes can be hidden and unhidden with the following commands
149 @cindex @code{\hideNotes}
151 @cindex @code{\unHideNotes}
157 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
161 @node Chromatic alterations
162 @subsection Chromatic alterations
164 Normally accidentals are printed automatically, but you may also
165 print them manually. A reminder accidental
166 @cindex reminder accidental
168 can be forced by adding an exclamation mark @code{!}
169 after the pitch. A cautionary accidental
170 @cindex cautionary accidental
171 @cindex parenthesized accidental
172 (i.e. an accidental within parentheses) can be obtained by adding the
173 question mark `@code{?}' after the pitch.
175 @lilypond[quote,raggedright,fragment,verbatim]
176 cis' cis' cis'! cis'?
182 The automatic production of accidentals can be tuned in many
183 ways. For more information, refer to @ref{Automatic accidentals}.
188 @subsection Micro tones
190 Half-flats and half-sharps are formed by adding @code{-eh} and
191 @code{-ih}; the following is a series of Cs with increasing pitches
193 @cindex quarter tones
194 @cindex semi-flats, semi-sharps
196 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
197 { ceseh ceh cih cisih }
200 Micro tones are also exported to the MIDI file
205 There are no generally accepted standards for denoting three quarter
206 flats, so LilyPond's symbol does not conform to any standard.
211 A chord is formed by a enclosing a set of pitches in @code{<} and
212 @code{>}. A chord may be followed by a duration, and a set of
213 articulations, just like simple notes
215 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
227 Rests are entered like notes, with the note name @code{r}
229 @lilypond[fragment,quote,raggedright,verbatim]
233 Whole bar rests, centered in middle of the bar,
234 must be done with multi-measure rests. They are discussed in
235 @ref{Multi measure rests}.
238 A rest's vertical position may be explicitly specified by entering a
239 note with the @code{\rest} keyword appended, the rest will be placed at
240 the note's place. This makes manual formatting in polyphonic music
241 easier. Automatic rest collision formatting will leave these rests
244 @lilypond[fragment,quote,raggedright,verbatim]
250 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
257 @cindex Invisible rest
262 An invisible rest (also called a `skip') can be entered like a note
263 with note name `@code{s}' or with @code{\skip @var{duration}}
265 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
266 a4 a4 s4 a4 \skip 1 a4
269 The @code{s} syntax is only available in note mode and chord mode. In
270 other situations, for example, when entering lyrics, you should use
271 the @code{\skip} command
273 @lilypond[quote,raggedright,verbatim]
276 \new Lyrics \lyricmode { \skip 2 bla1 }
280 The skip command is merely an empty musical placeholder. It does not
281 produce any output, not even transparent output.
283 The @code{s} skip command does create @internalsref{Staff} and
284 @internalsref{Voice} when necessary, similar to note and rest
285 commands. For example, the following results in an empty staff.
287 @lilypond[quote,raggedright,verbatim]
291 The fragment @code{@{ \skip 4 @} } would produce an empty page.
295 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
300 @subsection Durations
304 @cindex @code{\longa}
305 @cindex @code{\breve}
306 @cindex @code{\maxima}
309 In Note, Chord, and Lyrics mode, durations are designated by numbers and
310 dots: durations are entered as their reciprocal values. For example, a
311 quarter note is entered using a @code{4} (since it is a 1/4 note), while
312 a half note is entered using a @code{2} (since it is a 1/2 note). For
313 notes longer than a whole you must use the variables @code{\longa} and
318 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
320 r1 r2 r4 r8 r16 r32 r64 r64
323 @lilypond[quote,noindent]
326 a\breve*1/2 \autoBeamOff
327 a1 a2 a4 a8 a16 a32 a64 a64
330 r\longa*1/4 r\breve *1/2
331 r1 r2 r4 r8 r16 r32 r64 r64
337 \remove "Clef_engraver"
338 \override StaffSymbol #'transparent = ##t
339 \override TimeSignature #'transparent = ##t
340 \override BarLine #'transparent = ##t
341 \consists "Pitch_squash_engraver"
347 If the duration is omitted then it is set to the previously entered
348 duration. The default for the first note is a quarter note.
350 @lilypond[quote,raggedright,verbatim,fragment]
358 @node Augmentation dots
359 @subsection Augmentation dots
362 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
363 the number. Double-dotted notes are produced in a similar way.
365 @lilypond[quote,raggedright,fragment,verbatim]
366 a'4 b' c''4. b'8 a'4. b'4.. c''8.
371 Dots are normally moved up to avoid staff lines, except in polyphonic
372 situations. The following commands may be used to force a particular
375 @cindex @code{\dotsUp}
377 @cindex @code{\dotsDown}
379 @cindex @code{\dotsNeutral}
384 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
386 @node Scaling durations
387 @subsection Scaling durations
389 You can alter the length of duration by a fraction @var{N/M}
390 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
391 will not affect the appearance of the notes or rests produced.
393 In the following example, the first three notes take up exactly two
394 beats, but no triplet bracket is printed.
395 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
397 a4*2/3 gis4*2/3 a4*2/3
405 This manual: @ref{Tuplets}
408 @c TODO: I'm not certain that Stems belong here in the manual. -gp
412 Whenever a note is found, a @internalsref{Stem} object is created
413 automatically. For whole notes and rests, they are also created but
418 @cindex @code{\stemUp}
420 @cindex @code{\stemDown}
422 @cindex @code{\stemNeutral}
433 A tie connects two adjacent note heads of the same pitch. The tie in
434 effect extends the length of a note. Ties should not be confused with
435 slurs, which indicate articulation, or phrasing slurs, which indicate
436 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
438 @lilypond[quote,raggedright,fragment,verbatim]
439 e' ~ e' <c' e' g'> ~ <c' e' g'>
442 When a tie is applied to a chord, all note heads whose pitches match
443 are connected. When no note heads match, no ties will be created.
445 A tie is just a way of extending a note duration, similar to the
446 augmentation dot. The following example shows two ways of notating
447 exactly the same concept
449 @lilypond[quote,fragment,raggedright]
450 \time 3/4 c'2. c'2 ~ c'4
454 Ties are used either when the note crosses a bar line, or when dots
455 cannot be used to denote the rhythm. When using ties, larger note
456 values should be aligned to subdivisions of the measure, eg.
458 @lilypond[fragment,quote,raggedright]
460 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
464 If you need to tie a lot of notes over bars, it may be easier to use
465 automatic note splitting (see @ref{Automatic note splitting}). This
466 mechanism automatically splits long notes, and ties them across bar
472 @cindex @code{\tieUp}
474 @cindex @code{\tieDown}
476 @cindex @code{\tieNeutral}
478 @cindex @code{\tieDotted}
480 @cindex @code{\tieSolid}
485 In this manual: @ref{Automatic note splitting}.
487 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
492 Switching staves when a tie is active will not produce a slanted tie.
494 Formatting of ties is a difficult subject. The results are often not
502 @cindex @code{\times}
504 Tuplets are made out of a music expression by multiplying all durations
507 @cindex @code{\times}
509 \times @var{fraction} @var{musicexpr}
513 The duration of @var{musicexpr} will be multiplied by the fraction.
514 The fraction's denominator will be printed over the notes, optionally
515 with a bracket. The most common tuplet is the triplet in which 3
516 notes have the length of 2, so the notes are 2/3 of their written
519 @lilypond[quote,raggedright,fragment,verbatim]
520 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
523 The property @code{tupletSpannerDuration} specifies how long each
524 bracket should last. With this, you can make lots of tuplets while
525 typing @code{\times} only once, thus saving lots of typing. In the next
526 example, there are two triplets shown, while @code{\times} was only
529 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
530 \set tupletSpannerDuration = #(ly:make-moment 1 4)
531 \times 2/3 { c'8 c c c c c }
534 The format of the number is determined by the property
535 @code{tupletNumberFormatFunction}. The default prints only the
536 denominator, but if it is set to the Scheme function
537 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
541 @cindex @code{tupletNumberFormatFunction}
542 @cindex tuplet formatting
547 @cindex @code{\tupletUp}
549 @cindex @code{\tupletDown}
551 @cindex @code{\tupletNeutral}
552 @code{\tupletNeutral}.
556 User manual: @ref{Changing context properties on the fly} for the
560 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
562 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
566 Nested tuplets are not formatted automatically. In this case, outer
567 tuplet brackets should be moved manually, which is demonstrated in
568 @inputfileref{input/regression,tuplet-nest.ly}.
572 @node Easier music entry
573 @section Easier music entry
576 This section deals with tricks and features of the input language that
577 were added solely to help entering music and finding and correcting
578 mistakes. There are also external tools that make debugging easier.
579 See @ref{Point and click} for more information.
581 It is also possible to enter and edit music using other programs, such as
582 GUI interfaces or MIDI sequencers. Refer to the LilyPond
583 website for more information.
590 * Skipping corrected music::
591 * Automatic note splitting::
597 @node Relative octaves
598 @subsection Relative octaves
600 @cindex relative octave specification
602 Octaves are specified by adding @code{'} and @code{,} to pitch names.
603 When you copy existing music, it is easy to accidentally put a pitch
604 in the wrong octave and hard to find such an error. The relative
605 octave mode prevents these errors by making the mistakes much
606 larger: a single error puts the rest of the piece off by one octave
608 @cindex @code{\relative}
610 \relative @var{startpitch} @var{musicexpr}
614 \relative @var{musicexpr}
617 The octave of notes that appear in @var{musicexpr} are calculated as
618 follows: if no octave changing marks are used, the basic interval
619 between this and the last note is always taken to be a fourth or
620 less. This distance is determined without regarding alterations; a
621 @code{fisis} following a @code{ceses} will be put above the
622 @code{ceses}. In other words, a doubly-augmented fourth is considered
623 a smaller interval than a diminshed fifth, even though the fourth is
624 seven semitones while the fifth is only six semitones.
626 The octave changing marks @code{'} and @code{,} can be added to raise
627 or lower the pitch by an extra octave. Upon entering relative mode,
628 an absolute starting pitch can be specified that will act as the
629 predecessor of the first note of @var{musicexpr}. If no starting pitch
630 is specified, then middle C is used as a start.
632 Here is the relative mode shown in action
633 @lilypond[quote,fragment,raggedright,verbatim]
639 Octave changing marks are used for intervals greater than a fourth
640 @lilypond[quote,raggedright,fragment,verbatim]
646 If the preceding item is a chord, the first note of the chord is used
647 to determine the first note of the next chord
649 @lilypond[quote,raggedright,fragment,verbatim]
657 The pitch after the @code{\relative} contains a note name.
660 The relative conversion will not affect @code{\transpose},
661 @code{\chordmode} or @code{\relative} sections in its argument. To use
662 relative within transposed music, an additional @code{\relative} must
663 be placed inside @code{\transpose}.
666 @subsection Octave check
669 Octave checks make octave errors easier to correct: a note may be
670 followed by @code{=}@var{quotes} which indicates what its absolute
671 octave should be. In the following example,
673 \relative c'' @{ c='' b=' d,='' @}
677 @c take care with @code, adds confusing quotes.
678 the @code{d} will generate a warning, because a @code{d''} is expected
679 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
680 found. In the output, the octave is corrected to be a @code{d''} and
681 the next note is calculated relative to @code{d''} instead of @code{d'}.
685 There is also a syntax that is separate from the notes. The syntax
691 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
692 quotes) in \relative mode. If not, a warning is printed, and the
695 In the example below, the first check passes without incident, since
696 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
697 the second check produces a warning, since the @code{e} is not within
698 a fifth of @code{b'}. The warning message is printed, and the octave
699 is adjusted so that the following notes are in the correct octave
711 The octave of a note following an octave check is determined with
712 respect to the note preceding it. In the next fragment, the last note
713 is a @code{a'}, above middle C. That means that the @code{\octave}
714 check passes successfully, so the check could be deleted without changing
715 the output of the piece.
717 @lilypond[quote,raggedright,verbatim,fragment]
726 @subsection Bar check
730 @cindex @code{barCheckSynchronize}
733 Bar checks help detect errors in the durations. A bar check is
734 entered using the bar symbol, `@code{|}'. Whenever it is encountered
735 during interpretation, it should fall on a measure boundary. If it
736 does not, a warning is printed. In the next example, the second bar
737 check will signal an error
739 \time 3/4 c2 e4 | g2 |
742 Bar checks can also be used in lyrics, for example
747 Twin -- kle | Twin -- kle
752 @cindex @code{skipTypesetting}
754 Failed bar checks are caused by entering incorrect
755 durations. Incorrect durations often completely garble up the score,
756 especially if the score is polyphonic, so a good place to start correcting
757 input is by scanning for failed bar checks and incorrect durations. To
758 speed up this process, the @code{skipTypesetting} feature may be
759 used. It is described in the next section.
762 @cindex @code{pipeSymbol}
764 It is also possible to redefine the meaning of @code{|}. This is done
765 by assigning a music expression to @code{pipeSymbol},
767 @lilypond[quote,raggedright,verbatim]
768 pipeSymbol = \bar "||"
774 @node Skipping corrected music
775 @subsection Skipping corrected music
777 The property @code{Score.skipTypesetting} can be used to switch on and
778 off typesetting completely during the interpretation phase. When
779 typesetting is switched off, the music is processed much more
780 quickly. This can be used to skip over the parts of a score that
781 have already been checked for errors
783 @lilypond[quote,fragment,raggedright,verbatim]
786 \set Score.skipTypesetting = ##t
788 \set Score.skipTypesetting = ##f
792 In polyphonic music, @code{Score.skipTypesetting} will affect all
793 voices and staves, saving even more time.
795 @node Automatic note splitting
796 @subsection Automatic note splitting
798 Long notes can be converted automatically to tied notes. This is done
799 by replacing the @internalsref{Note_heads_engraver} by the
800 @internalsref{Completion_heads_engraver}.
801 In the following examples, notes crossing the bar line are split and tied.
804 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
806 \remove "Note_heads_engraver"
807 \consists "Completion_heads_engraver"
809 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
813 This engraver splits all running notes at the bar line, and inserts
814 ties. One of its uses is to debug complex scores: if the measures are
815 not entirely filled, then the ties exactly show how much each measure
820 Not all durations (especially those containing tuplets) can be
821 represented exactly with normal notes and dots, but the engraver will
824 The @internalsref{Completion_heads_engraver} can be combined with
825 @code{\lyricsto} or @code{\addlyrics}.
829 Examples: @inputfileref{input/regression,completion-heads.ly}.
833 Program reference: @internalsref{Completion_heads_engraver}.
837 @section Staff notation
839 This section describes music notation that occurs on staff level,
840 such as key signatures, clefs and time signatures.
842 @cindex Staff notation
853 * Time administration::
854 * Controlling formatting of prefatory matter::
858 @subsection Staff symbol
860 @cindex adjusting staff symbol
862 Notes, dynamic signs, etc. are grouped
863 with a set of horizontal lines, into a staff (plural `staves'). In our
864 system, these lines are drawn using a separate layout object called
868 @cindex staff lines, setting number of
869 @cindex staff lines, setting thickness of
870 @cindex thickness of staff lines, setting
871 @cindex number of staff lines, setting
875 Program reference: @internalsref{StaffSymbol}.
877 Examples: @inputfileref{input/test,staff-lines.ly},
878 @inputfileref{input/test,staff-size.ly}.
882 If a staff is ended halfway a piece, the staff symbol may not end
883 exactly on the bar line.
887 @subsection Key signature
888 @cindex Key signature
892 The key signature indicates the tonality in which a piece is played. It
893 is denoted by a set of alterations (flats or sharps) at the start of the
897 Setting or changing the key signature is done with the @code{\key}
900 @code{\key} @var{pitch} @var{type}
903 @cindex @code{\minor}
904 @cindex @code{\major}
905 @cindex @code{\minor}
906 @cindex @code{\ionian}
907 @cindex @code{\locrian}
908 @cindex @code{\aeolian}
909 @cindex @code{\mixolydian}
910 @cindex @code{\lydian}
911 @cindex @code{\phrygian}
912 @cindex @code{\dorian}
914 Here, @var{type} should be @code{\major} or @code{\minor} to get
915 @var{pitch}-major or @var{pitch}-minor, respectively.
916 The standard mode names @code{\ionian},
917 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
918 @code{\phrygian}, and @code{\dorian} are also defined.
920 This command sets the context property
921 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
922 can be specified by setting this property directly.
924 Accidentals and key signatures often confuse new users, because
925 unaltered notes get natural signs depending on the key signature. For
926 more information, see @ref{More about pitches}.
930 Program reference: @internalsref{KeyChangeEvent},
931 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
933 @cindex @code{keySignature}
940 The clef indicates which lines of the staff correspond to which
944 The clef can be set with the @code{\clef} command
945 @lilypond[quote,raggedright,fragment,verbatim]
946 { c''2 \clef alto g'2 }
949 Supported clef-names include
950 @c Moved standard clefs to the top /MB
954 @item treble, violin, G, G2
967 G clef on 1st line, so-called French violin clef
972 @cindex mezzosoprano clef
975 @cindex baritone clef
978 @cindex varbaritone clef
989 By adding @code{_8} or @code{^8} to the clef name, the clef is
990 transposed one octave down or up, respectively, and @code{_15} and
991 @code{^15} transposes by two octaves. The argument @var{clefname}
992 must be enclosed in quotes when it contains underscores or digits. For
996 @cindex choral tenor clef
997 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
1001 This command is equivalent to setting @code{clefGlyph},
1002 @code{clefPosition} (which controls the Y position of the clef),
1003 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
1004 when any of these properties are changed. The following example shows
1005 possibilities when setting properties manually.
1007 @lilypond[raggedright,verbatim]
1009 \set Staff.clefGlyph = #"clefs-F"
1010 \set Staff.clefPosition = #2
1012 \set Staff.clefGlyph = #"clefs-G"
1014 \set Staff.clefGlyph = #"clefs-C"
1016 \set Staff.clefOctavation = #7
1018 \set Staff.clefOctavation = #0
1019 \set Staff.clefPosition = #0
1029 Program reference: @internalsref{Clef}.
1033 @node Ottava brackets
1034 @subsection Ottava brackets
1036 `Ottava' brackets introduce an extra transposition of an octave for
1037 the staff. They are created by invoking the function
1038 @code{set-octavation}
1044 @lilypond[quote,raggedright,verbatim,fragment]
1054 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1055 (for 15ma) as arguments. Internally the function sets the properties
1056 @code{ottavation} (e.g. to @code{"8va"}) and
1057 @code{centralCPosition}. For overriding the text of the bracket, set
1058 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1060 @lilypond[quote,raggedright,verbatim]
1063 \set Staff.ottavation = #"8"
1070 Program reference: @internalsref{OttavaBracket}.
1072 Examples: @inputfileref{input/regression,ottava.ly},
1073 @inputfileref{input/regression,ottava-broken.ly}.
1077 @code{set-octavation} will get confused when clef changes happen
1078 during an octavation bracket.
1083 @node Time signature
1084 @subsection Time signature
1085 @cindex Time signature
1087 @cindex @code{\time}
1089 Time signature indicates the metrum of a piece: a regular pattern of
1090 strong and weak beats. It is denoted by a fraction at the start of the
1094 The time signature is set or changed by the @code{\time}
1096 @lilypond[quote,raggedright,fragment,verbatim]
1097 \time 2/4 c'2 \time 3/4 c'2.
1100 The symbol that is printed can be customized with the @code{style}
1101 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1104 @lilypond[fragment,quote,raggedright,verbatim]
1107 \override Staff.TimeSignature #'style = #'()
1114 There are many more options for its layout. See @ref{Ancient time
1115 signatures} for more examples.
1118 This command sets the property @code{timeSignatureFraction},
1119 @code{beatLength} and @code{measureLength} in the @code{Timing}
1120 context, which is normally aliased to @internalsref{Score}. The
1121 property @code{measureLength} determines where bar lines should be
1122 inserted, and how automatic beams should be generated. Changing the
1123 value of @code{timeSignatureFraction} also causes the symbol to be
1126 More options are available through the Scheme function
1127 @code{set-time-signature}. In combination with the
1128 @internalsref{Measure_grouping_engraver}, it will create
1129 @internalsref{MeasureGrouping} signs. Such signs ease reading
1130 rhythmically complex modern music. In the following example, the 9/8
1131 measure is subdivided in 2, 2, 2 and 3. This is passed to
1132 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1134 @lilypond[quote,raggedright,verbatim]
1137 #(set-time-signature 9 8 '(2 2 2 3))
1138 g8[ g] d[ d] g[ g] a8[( bes g]) |
1139 #(set-time-signature 5 8 '(3 2))
1145 \consists "Measure_grouping_engraver"
1153 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1158 Automatic beaming does not use the measure grouping specified with
1159 @code{set-time-signature}.
1161 @node Partial measures
1162 @subsection Partial measures
1165 @cindex partial measure
1166 @cindex measure, partial
1167 @cindex shorten measures
1168 @cindex @code{\partial}
1170 Partial measures, for example in upsteps, are entered using the
1171 @code{\partial} command
1172 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1173 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1176 The syntax for this command is
1178 \partial @var{duration}
1180 This is internally translated into
1182 \set Timing.measurePosition = -@var{length of duration}
1185 The property @code{measurePosition} contains a rational number
1186 indicating how much of the measure has passed at this point.
1190 This command does not take into account grace notes at the start of
1191 the music. When a piece starts with graces notes in the pickup, then
1192 the @code{\partial} should follow the grace notes
1194 @lilypond[verbatim,quote,raggedright,relative,fragment]
1204 @node Unmetered music
1205 @subsection Unmetered music
1209 Bar lines and bar numbers are calculated automatically. For unmetered
1210 music (e.g. cadenzas), this is not desirable. By setting
1211 @code{Score.timing} to false, this automatic timing can be switched
1212 off. Empty bar lines,
1219 indicate where line breaks can occur.
1223 @cindex @code{\cadenzaOn}
1225 @cindex @code{\cadenzaOff}
1232 @subsection Bar lines
1236 @cindex measure lines
1240 Bar lines delimit measures, but are also used to indicate repeats.
1241 Normally, they are inserted automatically. Line breaks may only
1242 happen on bar lines.
1244 Special types of bar lines can be forced with the @code{\bar} command
1246 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1250 The following bar types are available
1251 @lilypondfile[raggedright,quote]{bar-lines.ly}
1253 For allowing line breaks, there is a special command,
1257 This will insert an invisible bar line, and allow line breaks at this
1260 In scores with many staves, a @code{\bar} command in one staff is
1261 automatically applied to all staves. The resulting bar lines are
1262 connected between different staves of a @internalsref{StaffGroup}
1264 @lilypond[quote,raggedright,fragment,verbatim]
1266 \context StaffGroup <<
1272 \new Staff { \clef bass c4 g e g }
1274 \new Staff { \clef bass c2 c2 }
1279 The command @code{\bar }@var{bartype} is a short cut for doing
1280 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1281 is set to a string, a bar line of that type is created.
1283 A bar line is created whenever the @code{whichBar} property is set.
1284 At the start of a measure it is set to the contents of
1285 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1286 to override default measure bars.
1288 @cindex @code{whichBar}
1289 @cindex @code{repeatCommands}
1290 @cindex @code{defaultBarType}
1292 You are encouraged to use @code{\repeat} for repetitions. See
1299 In this manual: @ref{Repeats}, @ref{System start delimiters}
1302 Program reference: @internalsref{BarLine} (created at
1303 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1305 @cindex bar lines at start of system
1306 @cindex start of system
1310 Examples: @inputfileref{input/test,bar-lines.ly},
1313 @node Time administration
1314 @subsection Time administration
1316 Time is administered by the @internalsref{Time_signature_engraver},
1317 which usually lives in the @internalsref{Score} context.
1318 The bookkeeping deals with the following variables
1321 @item currentBarNumber
1324 the length of the measures in the current time signature. For a 4/4
1325 time this is 1, and for 6/8 it is 3/4.
1326 @item measurePosition
1327 the point within the measure where we currently are. This quantity
1328 is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
1329 @code{currentBarNumber} is incremented.
1331 if set to true, the above variables are updated for every time
1332 step. When set to false, the engraver stays in the current measure
1336 Timing can be changed by setting any of these variables explicitly.
1337 In the next example, the 4/4 time signature is printed, but
1338 @code{measureLength} is set to 5/4. After a while, the measure is
1339 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1340 the measure, so the next bar line will fall at 2/4 + 3/8.
1342 @lilypond[raggedright,verbatim,relative,fragment]
1343 \set Score.measureLength = #(ly:make-moment 5 4)
1347 \set Score.measurePosition = #(ly:make-moment -3 8)
1353 @node Controlling formatting of prefatory matter
1354 @subsection Controlling formatting of prefatory matter
1356 TODO Somebody needs to explain this example, but I don't know what
1357 they're trying to do, so it won't be me. -gp
1361 \override Staff.Clef #'break-visibility = #end-of-line-visible
1362 \override Staff.KeySignature #'break-visibility = #end-of-line-visible
1363 \set Staff.explicitClefVisibility = #end-of-line-visible
1364 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1366 % We want the time sig to take space, otherwise there is not
1367 % enough white at the start of the line.
1370 \override Staff.TimeSignature #'transparent = ##t
1371 \set Score.defaultBarType = #"empty"
1391 Polyphony in music refers to having more than one voice occuring in
1392 a piece of music. Polyphony in LilyPond refers to having more than
1393 one voice on the same staff.
1396 * Writing polyphonic music::
1399 @node Writing polyphonic music
1400 @subsection Writing polyphonic music
1403 The easiest way to enter fragments with more than one voice on a staff
1404 is to split chords using the separator @code{\\}. You can use it for
1405 small, short-lived voices or for single chords
1409 @lilypond[quote,raggedright,verbatim,fragment]
1410 \context Staff \relative c'' {
1411 c4 << { f d e } \\ { b c2 } >>
1412 c4 << g' \\ b, \\ f' \\ d >>
1416 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1417 voices are sometimes called ``layers'' in other notation packages}
1419 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1420 each of these contexts, vertical direction of slurs, stems, etc. is set
1423 @cindex @code{\voiceOne}
1424 @cindex @code{\voiceFour}
1426 This can also be done by instantiating @internalsref{Voice} contexts
1427 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1428 a stem directions and horizontal shift for each part
1431 @lilypond[quote,raggedright,verbatim]
1434 \new Voice { \voiceOne cis2 b }
1435 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1436 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1440 The command @code{\oneVoice} will revert back to the normal setting.
1441 @cindex @code{\oneVoice}
1444 Normally, note heads with a different number of dots are not merged, but
1445 when the object property @code{merge-differently-dotted} is set in
1446 the @internalsref{NoteCollision} object, they are merged
1447 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1450 \override Staff.NoteCollision
1451 #'merge-differently-dotted = ##t
1453 } \\ { g8.[ f16] g8.[ f16] } >>
1456 Similarly, you can merge half note heads with eighth notes, by setting
1457 @code{merge-differently-headed}
1458 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1461 \override Staff.NoteCollision
1462 #'merge-differently-headed = ##t
1463 c8 c4. } \\ { c2 c2 } >>
1466 LilyPond also vertically shifts rests that are opposite of a stem,
1469 @lilypond[quote,raggedright,fragment,verbatim]
1470 \context Voice << c''4 \\ r4 >>
1478 @cindex @code{\oneVoice}
1480 @cindex @code{\voiceOne}
1482 @cindex @code{\voiceTwo}
1484 @cindex @code{\voiceThree}
1486 @cindex @code{\voiceFour}
1491 @cindex @code{\shiftOn}
1493 @cindex @code{\shiftOnn}
1495 @cindex @code{\shiftOnnn}
1497 @cindex @code{\shiftOff}
1498 @code{\shiftOff}: these commands specify in what chords of the current
1499 voice should be shifted. The outer voices (normally: voice one and
1500 two) have @code{\shiftOff}, while the inner voices (three and four)
1501 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1502 further shift levels.
1505 When LilyPond cannot cope, the @code{force-hshift}
1506 property of the @internalsref{NoteColumn} object and pitched rests can
1507 be used to override typesetting decisions.
1509 @lilypond[verbatim,raggedright]
1516 \once \override NoteColumn #'force-hshift = #1.7
1525 Program reference: the objects responsible for resolving collisions are
1526 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1529 @inputfileref{input/regression,collision-dots.ly},
1530 @inputfileref{input/regression,collision-head-chords.ly},
1531 @inputfileref{input/regression,collision-heads.ly},
1532 @inputfileref{input/regression,collision-mesh.ly}, and
1533 @inputfileref{input/regression,collisions.ly}.
1539 When using @code{merge-differently-headed} with an upstem eighth or a
1540 shorter note, and a downstem half note, the eighth note gets the wrong
1543 There is no support for clusters where the same note occurs with
1544 different accidentals in the same chord. In this case, it is
1545 recommended to use enharmonic transcription, or to use special cluster
1546 notation (see @ref{Clusters}).
1551 Beams are used to group short notes into chunks that are aligned with
1552 the metrum. LilyPond normally inserts beams automatically, but if you
1553 wish you may control them manually or changed how beams are automatically
1556 @cindex Automatic beams
1560 * Setting automatic beam behavior::
1564 @node Automatic beams
1565 @subsection Automatic beams
1567 LilyPond inserts beams automatically
1569 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1570 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1573 When these automatic decisions are not good enough, beaming can be
1574 entered explicitly. It is also possible to define beaming patterns
1575 that differ from the defaults.
1577 Individual notes may be marked with @code{\noBeam}, to prevent them
1580 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1581 \time 2/4 c8 c\noBeam c c
1587 Program reference: @internalsref{Beam}.
1591 @subsection Manual beams
1592 @cindex beams, manual
1596 In some cases it may be necessary to override the automatic beaming
1597 algorithm. For example, the autobeamer will not put beams over rests
1598 or bar lines. Such beams are specified manually by marking the begin
1599 and end point with @code{[} and @code{]}
1601 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1603 r4 r8[ g' a r8] r8 g[ | a] r8
1607 @cindex @code{stemLeftBeamCount}
1609 Normally, beaming patterns within a beam are determined automatically.
1610 If necessary, the properties @code{stemLeftBeamCount} and
1611 @code{stemRightBeamCount} can be used to override the defaults. If
1612 either property is set, its value will be used only once, and then it
1615 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1620 \set stemLeftBeamCount = #1
1624 @cindex @code{stemRightBeamCount}
1627 The property @code{subdivideBeams} can be set in order to subdivide
1628 all 16th or shorter beams at beat positions, as defined by the
1629 @code{beatLength} property.
1632 @lilypond[fragment,raggedright,quote,relative=2,verbatim,noindent]
1634 \set subdivideBeams = ##t
1636 \set Score.beatLength = #(ly:make-moment 1 8)
1639 @cindex @code{subdivideBeams}
1641 Normally, line breaks are forbidden when beams cross bar lines. This
1642 behavior can be changed by setting @code{allowBeamBreak}.
1644 @cindex @code{allowBeamBreak}
1645 @cindex beams and line breaks
1647 @cindex beams, kneed
1649 @cindex auto-knee-gap
1654 User manual: @ref{Changing context properties on the fly} for the
1660 @cindex Frenched staves
1661 Kneed beams are inserted automatically, when a large gap is detected
1662 between the note heads. This behavior can be tuned through the object.
1665 Automatically kneed cross-staff beams cannot be used together with
1666 hidden staves. See @ref{Hiding staves}.
1668 Beams do not avoid collisions with symbols around the notes, such as
1669 texts and accidentals.
1674 @node Setting automatic beam behavior
1675 @subsection Setting automatic beam behavior
1677 @cindex @code{autoBeamSettings}
1678 @cindex @code{(end * * * *)}
1679 @cindex @code{(begin * * * *)}
1680 @cindex automatic beams, tuning
1681 @cindex tuning automatic beaming
1683 @c [TODO: use \applycontext]
1685 In normal time signatures, automatic beams can start on any note but can
1686 only end in a few positions within the measure: beams can end on a beat,
1687 or at durations specified by the properties in
1688 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1689 are defined in @file{scm/auto-beam.scm}.
1691 The value of @code{autoBeamSettings} is changed with two functions,
1693 #(override-auto-beam-setting
1694 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1696 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1698 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1699 @var{context} is an optional context (default: @code{'Voice}). It
1700 determines whether the rule applies to begin or end-points. The
1701 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1702 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1703 to a time signature (wildcards `@code{* *}' may be entered to
1704 designate all time signatures), @var{a}/@var{b} is a duration. By
1705 default, this command changes settings for the current voice. It is
1706 also possible to adjust settings at higher contexts, by adding a
1707 @var{context} argument.
1709 For example, if automatic beams should end on every quarter note, use
1712 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1714 Since the duration of a quarter note is 1/4 of a whole note, it is
1715 entered as @code{(ly:make-moment 1 4)}.
1717 The same syntax can be used to specify beam starting points. In this
1718 example, automatic beams can only end on a dotted quarter note
1720 #(override-auto-beam-setting '(end * * * *) 3 8)
1722 In 4/4 time signature, this means that automatic beams could end only on
1723 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1724 3/8, has passed within the measure).
1726 Rules can also be restricted to specific time signatures. A rule that
1727 should only be applied in @var{N}/@var{M} time signature is formed by
1728 replacing the second asterisks by @var{N} and @var{M}. For example, a
1729 rule for 6/8 time exclusively looks like
1731 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1734 If a rule should be to applied only to certain types of beams, use the
1735 first pair of asterisks. Beams are classified according to the
1736 shortest note they contain. For a beam ending rule that only applies
1737 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1740 @cindex automatic beam generation
1742 @cindex @code{autoBeaming}
1745 If beams are used to indicate melismata in songs, then automatic
1746 beaming should be switched off. This is done by setting
1747 @code{autoBeaming} to @code{#f}.
1751 @cindex @code{\autoBeamOff}
1752 @code{\autoBeamOff},
1753 @cindex @code{\autoBeamOn}
1759 If a score ends while an automatic beam has not been ended and is
1760 still accepting notes, this last beam will not be typeset at all. The
1761 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1762 >>}. If a polyphonic voice ends while an automatic beam is still
1763 accepting notes, it is not typeset.
1765 The rules for ending a beam depend on the shortest note in a beam.
1766 So, while it is possible to have different ending rules for eight
1767 beams and sixteenth beams, a beam that contains both eight and
1768 sixteenth notes will use the rules for the sixteenth beam.
1770 In the example below, the autobeamer makes eighth beams and sixteenth
1771 end at three eighths. The third beam can only be corrected by
1772 specifying manual beaming.
1774 @lilypond[quote,raggedright,fragment,relative=1]
1775 #(override-auto-beam-setting '(end * * * *) 3 8)
1776 % rather show case where it goes wrong
1777 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1778 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1780 It is not possible to specify beaming parameters that act differently in
1781 different parts of a measure. This means that it is not possible to use
1782 automatic beaming in irregular meters such as @code{5/8}.
1784 @node Beam formatting
1785 @subsection Beam formatting
1788 When a beam falls in the middle of the staff, the beams point normally
1789 down. However, this behaviour can be altered with the
1790 @code{neutral-direction} property.
1793 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1796 \override Beam #'neutral-direction = #-1
1798 \override Beam #'neutral-direction = #1
1804 @section Accidentals
1806 This section describes how to change the way that accidentals are
1807 inserted automatically before notes.
1810 * Automatic accidentals::
1813 @node Automatic accidentals
1814 @subsection Automatic accidentals
1815 @cindex Automatic accidentals
1817 Common rules for typesetting accidents have been placed in a
1818 function. This function is called as follows
1820 @cindex @code{set-accidental-style}
1822 #(set-accidental-style 'STYLE #('CONTEXT#))
1825 The function can take two arguments: the name of the accidental style,
1826 and an optional argument that denotes the context which should be
1827 changed. If no context name is supplied, @code{Staff} is the default,
1828 but you may wish to apply the accidental style to a single @code{Voice}
1831 The following accidental styles are supported
1834 This is the default typesetting behavior. It corresponds
1835 to 18th century common practice: Accidentals are
1836 remembered to the end of the measure in which they occur and
1837 only on their own octave.
1840 The normal behavior is to remember the accidentals on
1841 Staff-level. This variable, however, typesets accidentals
1842 individually for each voice. Apart from that, the rule is similar to
1845 As a result, accidentals from one voice do not get canceled in other
1846 voices, which is often an unwanted result
1848 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1850 #(set-accidental-style 'voice)
1857 The @code{voice} option should be used if the voices
1858 are to be read solely by individual musicians. If the staff is to be
1859 used by one musician (e.g. a conductor) then
1860 @code{modern} or @code{modern-cautionary}
1861 should be used instead.
1864 @cindex @code{modern} style accidentals
1865 This rule corresponds to the common practice in the 20th century. This rule
1866 prints the same accidentals as @code{default}, but temporary
1867 accidentals also are canceled in other octaves. Furthermore,
1868 in the same octave, they also get canceled in the following
1871 @lilypond[quote,raggedright,fragment,verbatim]
1872 #(set-accidental-style 'modern)
1873 cis' c'' cis'2 | c'' c'
1876 @item @code{modern-cautionary}
1877 @cindex @code{modern-cautionary}
1878 This rule is similar to @code{modern}, but the ``extra'' accidentals
1879 (the ones not typeset by @code{default}) are typeset as cautionary
1880 accidentals. They are printed in reduced size or with parentheses
1881 @lilypond[quote,raggedright,fragment,verbatim]
1882 #(set-accidental-style 'modern-cautionary)
1883 cis' c'' cis'2 | c'' c'
1886 @cindex @code{modern-voice}
1888 This rule is used for multivoice accidentals to be read both by musicians
1889 playing one voice and musicians playing all voices. Accidentals are
1890 typeset for each voice, but they @emph{are} canceled across voices in
1891 the same @internalsref{Staff}.
1893 @cindex @code{modern-voice-cautionary}
1894 @item modern-voice-cautionary
1895 This rule is the same as @code{modern-voice}, but with the extra
1896 accidentals (the ones not typeset by @code{voice}) typeset
1897 as cautionaries. Even though all accidentals typeset by
1898 @code{default} @emph{are} typeset by this variable then
1899 some of them are typeset as cautionaries.
1902 @cindex @code{piano} accidentals
1903 This rule reflects 20th century practice for piano notation. Very similar to
1904 @code{modern} but accidentals also get canceled
1905 across the staves in the same @internalsref{GrandStaff} or
1906 @internalsref{PianoStaff}.
1908 @item piano-cautionary
1909 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1910 As @code{#(set-accidental-style 'piano)} but with the extra accidentals
1911 typeset as cautionaries.
1914 @cindex @code{no-reset} accidental style
1915 This is the same as @code{default} but with accidentals lasting
1916 ``forever'' and not only until the next measure
1917 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1918 #(set-accidental-style 'no-reset)
1923 This is sort of the opposite of @code{no-reset}: Accidentals
1924 are not remembered at all---and hence all accidentals are
1925 typeset relative to the key signature, regardless of what was
1928 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1929 #(set-accidental-style 'forget)
1930 \key d\major c4 c cis cis d d dis dis
1937 Program reference: @internalsref{Accidental_engraver},
1938 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1943 Simultaneous notes are considered to be entered in sequential
1944 mode. This means that in a chord the accidentals are typeset as if the
1945 notes in the chord happened once at a time - in the order in which
1946 they appear in the input file.
1948 This is a problem when accidentals in a chord depend on each other,
1949 which does not happen for the default accidental style. The problem
1950 can be solved by manually inserting @code{!} and @code{?} for the
1954 @node Expressive marks
1955 @section Expressive marks
1958 @c todo: should change ordering
1959 @c where to put text spanners, metronome marks,
1962 Expressive marks help musicians to bring more to the music than simple
1972 * Analysis brackets::
1975 * Fingering instructions::
1985 A slur indicates that notes are to be played bound or @emph{legato}.
1987 They are entered using parentheses
1988 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1989 f( g a) a8 b( a4 g2 f4)
1993 The direction of a slur can be set with the
1997 \override Slur #'direction = #UP
1998 \slurUp % shortcut for the previous line
2002 However, there is a convenient shorthand for forcing slur
2003 directions. By adding @code{_} or @code{^} before the opening
2004 parentheses, the direction is also set. For example,
2006 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2010 Some composers write two slurs when they want legato chords. This can
2011 be achieved in LilyPond by setting @code{doubleSlurs},
2013 @lilypond[verbatim,raggedright,relative,fragment,quote]
2014 \set doubleSlurs = ##t
2015 <c e>4 ( <d f> <c e> <d f> )
2022 @cindex @code{\slurUp}
2024 @cindex @code{\slurDown}
2026 @cindex @code{\slurNeutral}
2027 @code{\slurNeutral},
2028 @cindex @code{\slurDotted}
2030 @cindex @code{\slurSolid}
2035 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2038 @node Phrasing slurs
2039 @subsection Phrasing slurs
2041 @cindex phrasing slurs
2042 @cindex phrasing marks
2044 A phrasing slur (or phrasing mark) connects chords and is used to
2045 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2048 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2049 \time 6/4 c'\( d( e) f( e) d\)
2052 Typographically, the phrasing slur behaves almost exactly like a
2053 normal slur. However, they are treated as different objects. A
2054 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2055 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2056 @code{\phrasingSlurNeutral}.
2058 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2059 will only affect normal slurs and not phrasing slurs.
2063 @cindex @code{\phrasingSlurUp}
2064 @code{\phrasingSlurUp},
2065 @cindex @code{\phrasingSlurDown}
2066 @code{\phrasingSlurDown},
2067 @cindex @code{\phrasingSlurNeutral}
2068 @code{\phrasingSlurNeutral}.
2072 Program reference: see also @internalsref{PhrasingSlur}, and
2073 @internalsref{PhrasingSlurEvent}.
2077 Putting phrasing slurs over rests leads to spurious warnings.
2080 @subsection Breath marks
2082 Breath marks are entered using @code{\breathe}
2085 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2089 The glyph of the breath mark can be tuned by overriding the
2090 @code{text} property of the @code{BreathingSign} layout object with
2091 any markup text. For example,
2092 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2094 \override BreathingSign #'text
2095 = #(make-musicglyph-markup "scripts-rvarcomma")
2102 Program reference: @internalsref{BreathingSign},
2103 @internalsref{BreathingSignEvent}.
2105 Examples: @inputfileref{input/regression,breathing-sign.ly}.
2108 @node Metronome marks
2109 @subsection Metronome marks
2112 @cindex beats per minute
2113 @cindex metronome marking
2115 Metronome settings can be entered as follows
2117 \tempo @var{duration} = @var{per-minute}
2120 In the MIDI output, they are interpreted as a tempo change. In the
2121 layout output, a metronome marking is printed
2122 @cindex @code{\tempo}
2123 @lilypond[quote,raggedright,verbatim,fragment]
2129 Program reference: @internalsref{MetronomeChangeEvent}.
2133 @subsection Text scripts
2134 @cindex Text scripts
2136 @cindex text items, non-empty
2137 @cindex non-empty texts
2139 It is possible to place arbitrary strings of text or markup text (see
2140 @ref{Text markup}) above or below notes by using a string
2141 @code{c^"text"}. By default, these indications do not influence the
2142 note spacing, but by using the command @code{\fatText}, the widths
2143 will be taken into account
2145 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2146 c4^"longtext" \fatText c4_"longlongtext" c4
2149 More complex formatting may also be added to a note by using the
2151 @lilypond[fragment,raggedright,verbatim,quote]
2152 c'4^\markup { bla \bold bla }
2155 The @code{\markup} is described in more detail in
2161 @cindex @code{\fatText}
2163 @cindex @code{\emptyText}
2168 In this manual: @ref{Text markup}.
2170 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2174 @subsection Text spanners
2175 @cindex Text spanners
2177 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2178 are written as text and are extended over many measures with dotted
2179 lines. Such texts are created using text spanners; attach
2180 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2181 notes of the spanner.
2183 The string to be printed, as well as the style, is set through object
2186 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2188 \override TextSpanner #'direction = #-1
2189 \override TextSpanner #'edge-text = #'("rall " . "")
2190 c2\startTextSpan b c\stopTextSpan a
2196 Internals @internalsref{TextSpanEvent},
2197 @internalsref{TextSpanner}.
2199 Examples: @inputfileref{input/regression,text-spanner.ly}.
2202 @node Analysis brackets
2203 @subsection Analysis brackets
2205 @cindex phrasing brackets
2206 @cindex musicological analysis
2207 @cindex note grouping bracket
2209 Brackets are used in musical analysis to indicate structure in musical
2210 pieces. LilyPond supports a simple form of nested horizontal
2211 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2212 to @internalsref{Staff} context. A bracket is started with
2213 @code{\startGroup} and closed with @code{\stopGroup}
2215 @lilypond[quote,raggedright,verbatim]
2218 c4\startGroup\startGroup
2221 c4\stopGroup\stopGroup
2225 \Staff \consists "Horizontal_bracket_engraver"
2231 Program reference: @internalsref{HorizontalBracket},
2232 @internalsref{NoteGroupingEvent}.
2234 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2238 @subsection Articulations
2239 @cindex Articulations
2241 @cindex articulations
2245 A variety of symbols can appear above and below notes to indicate
2246 different characteristics of the performance. They are added to a note
2247 by adding a dash and the character signifying the
2248 articulation. They are demonstrated here
2250 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2252 The meanings of these shorthands can be changed. See
2253 @file{ly/script-init.ly} for examples.
2256 The script is automatically placed, but the direction can be forced as
2257 well. Like other pieces of LilyPond code, @code{_} will place them
2258 below the staff, and @code{^} will place them above.
2261 @lilypond[quote,raggedright,fragment,verbatim]
2265 Other symbols can be added using the syntax
2266 @var{note}@code{\}@var{name}. Again, they
2267 can be forced up or down using @code{^} and @code{_},
2270 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2271 c\fermata c^\fermata c_\fermata
2278 @cindex staccatissimo
2287 @cindex organ pedal marks
2296 @cindex prallmordent
2300 @cindex thumb marking
2305 Here is a chart showing all scripts available,
2307 @lilypondfile[raggedright,quote]{script-chart.ly}
2310 The vertical ordering of scripts is controlled with the
2311 @code{script-priority} property. The lower this number, the closer it
2312 will be put to the note. In this example, the
2313 @internalsref{TextScript} (the sharp symbol) first has the lowest
2314 priority, so it is put lowest in the first example. In the second, the
2315 prall trill (the @internalsref{Script}) has the lowest, so it on the
2316 inside. When two objects have the same priority, the order in which
2317 they are entered decides which one comes first.
2320 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2321 \once \override TextScript #'script-priority = #-100
2322 a4^\prall^\markup { \sharp }
2324 \once \override Script #'script-priority = #-100
2325 a4^\prall^\markup { \sharp }
2333 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2337 These signs appear in the printed output but have no effect on the
2338 MIDI rendering of the music.
2342 @node Running trills
2343 @subsection Running trills
2345 Long running trills are made with @code{\startTrillSpan} and
2346 @code{\stopTrillSpan},
2349 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2351 << { c1 \startTrillSpan }
2352 { s2. \grace { d16[\stopTrillSpan e] } } >>
2358 @code{\startTrillSpan},
2359 @cindex @code{\startTrillSpan}
2360 @code{\stopTrillSpan}.
2361 @cindex @code{\stopTrillSpan}
2365 Program reference: @internalsref{TrillSpanner},
2366 @internalsref{TrillSpanEvent}.
2368 @node Fingering instructions
2369 @subsection Fingering instructions
2373 Fingering instructions can be entered using
2375 @var{note}-@var{digit}
2377 For finger changes, use markup texts
2379 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2381 c^\markup { \finger "2-3" }
2384 @cindex finger change
2389 You can use the thumb-script to indicate that a note should be
2390 played with the thumb (e.g. in cello music)
2392 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2393 <a_\thumb a'-3>8 <b_\thumb b'-3>
2396 Fingerings for chords can also be added to individual notes
2397 of the chord by adding them after the pitches
2398 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2399 < c-1 e-2 g-3 b-5 >4
2403 In this case, setting @code{fingeringOrientations} will put fingerings next
2406 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2407 \set fingeringOrientations = #'(left down)
2408 <c-1 es-2 g-4 bes-5 > 4
2409 \set fingeringOrientations = #'(up right down)
2410 <c-1 es-2 g-4 bes-5 > 4
2413 Using this feature, it is also possible to put fingering instructions
2414 very close to note heads in monophonic music,
2416 @lilypond[verbatim,raggedright,quote,fragment]
2417 \set fingeringOrientations = #'(right)
2424 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2426 Examples: @inputfileref{input/regression,finger-chords.ly}.
2432 @subsection Grace notes
2435 @c should have blurb about accaciatura / appogiatura
2437 @cindex @code{\grace}
2441 Grace notes are ornaments that are written out. The most common ones
2442 are acciaccatura, which should be played as very short. It is denoted
2443 by a slurred small note with a slashed stem. The appoggiatura is a
2444 grace note that takes a fixed fraction of the main note, and is
2445 denoted as a slurred note in small print without a slash. They
2446 are entered with the commands @code{\acciaccatura} and
2447 @code{\appoggiatura}, as demonstrated in the following example
2450 @cindex appoggiatura
2451 @cindex acciaccatura
2453 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2454 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2455 \acciaccatura { g16[ f] } e4
2458 Both are special forms of the @code{\grace} command. By prefixing this
2459 keyword to a music expression, a new one is formed, which will be
2460 printed in a smaller font and takes up no logical time in a measure.
2462 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2464 \grace { c16[ d16] } c2 c4
2468 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2469 @code{\grace} command does not start a slur.
2471 Internally, timing for grace notes is done using a second, `grace'
2472 time. Every point in time consists of two rational numbers: one
2473 denotes the logical time, one denotes the grace timing. The above
2474 example is shown here with timing tuples
2476 @lilypond[quote,raggedright]
2479 c4 \grace c16 c4 \grace {
2482 \new Lyrics \lyricmode {
2483 \override LyricText #'font-family = #'typewriter
2487 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2488 \markup { (\fraction 1 4 , 0 ) } 4
2490 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2491 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2493 \markup { ( \fraction 2 4 , 0 ) }
2499 The placement of grace notes is synchronized between different staves.
2500 In the following example, there are two sixteenth graces notes for
2501 every eighth grace note
2503 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2504 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2505 \new Staff { c4 \grace { g8[ b] } c4 } >>
2510 If you want to end a note with a grace, the standard trick is to put
2511 the grace notes after a ``space note''
2513 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2516 { s2 \grace { c16[ d] } } >>
2522 By adjusting the duration of the skip note (here it is a half-note),
2523 the space between the main-note and the grace is adjusted.
2526 A @code{\grace} section will introduce special typesetting settings,
2527 for example, to produce smaller type, and set directions. Hence, when
2528 introducing layout tweaks, they should be inside the grace section,
2530 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2542 The overrides should also be reverted inside the grace section.
2544 The layout of grace sections can be changed throughout the music using
2545 the function @code{add-grace-property}. The following example
2546 undefines the Stem direction for this grace, so stems do not always
2551 #(add-grace-property 'Voice 'Stem 'direction '())
2557 Another option is to change the variables @code{startGraceMusic},
2558 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2559 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2560 @code{stopAppoggiaturaMusic}. More information is in the file
2561 @file{ly/grace-init.ly}.
2566 Program reference: @internalsref{GraceMusic}.
2570 A score that starts with a @code{\grace} section needs an explicit
2571 @code{\context Voice} declaration, otherwise the main note and grace
2572 note end up on different staves.
2574 Grace note synchronization can also lead to surprises. Staff notation,
2575 such as key signatures, bar lines, etc. are also synchronized. Take
2576 care when you mix staves with grace notes and staves without, for example,
2578 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2579 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2580 \new Staff { c4 \bar "|:" d4 } >>
2584 This can be remedied by inserting grace skips, for the above example
2587 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2590 Grace sections should only be used within sequential music
2591 expressions. Nesting or juxtaposing grace sections is not supported,
2592 and might produce crashes or other errors.
2596 @subsection Glissando
2599 @cindex @code{\glissando}
2601 A glissando is a smooth change in pitch. It is denoted by a line or a
2602 wavy line between two notes. It is requested by attaching
2603 @code{\glissando} to a note
2605 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2611 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2613 Example files: @file{input/regression/glissando.ly}.
2619 Printing text over the line (such as @emph{gliss.}) is not supported.
2623 @subsection Dynamics
2636 @cindex @code{\ffff}
2646 Absolute dynamic marks are specified using a command after a note
2647 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2648 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2649 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2650 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2652 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2653 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2654 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2663 A crescendo mark is started with @code{\<} and terminated with
2664 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2665 with @code{\!}. Because these marks are bound to notes, if you must
2666 use spacer notes if multiple marks are needed during one note
2668 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2670 << f1 { s4 s4\< s4\! \> s4\! } >>
2672 This may give rise to very short hairpins. Use @code{minimum-length}
2673 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2677 \override Staff.Hairpin #'minimum-length = #5
2680 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2681 is an example how to do it
2683 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2693 You can also supply your own texts
2694 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2695 \set crescendoText = \markup { \italic "cresc. poco" }
2696 \set crescendoSpanner = #'dashed-line
2705 @cindex @code{\dynamicUp}
2707 @cindex @code{\dynamicDown}
2708 @code{\dynamicDown},
2709 @cindex @code{\dynamicNeutral}
2710 @code{\dynamicNeutral}.
2712 @cindex direction, of dynamics
2716 Program reference: @internalsref{CrescendoEvent},
2717 @internalsref{DecrescendoEvent}, and
2718 @internalsref{AbsoluteDynamicEvent}.
2720 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2721 objects. Vertical positioning of these symbols is handled by the
2722 @internalsref{DynamicLineSpanner} object.
2728 Repetition is a central concept in music, and multiple notations exist
2734 * Repeats and MIDI::
2735 * Manual repeat commands::
2737 * Tremolo subdivisions::
2742 @subsection Repeat types
2745 @cindex @code{\repeat}
2747 The following types of repetition are supported
2751 Repeated music is fully written (played) out. This is useful when
2752 entering repetitious music. This is the only kind of repeat that
2753 is included in MIDI output.
2756 Repeats are not written out, but alternative endings (volte) are
2757 printed, left to right with brackets. This is the standard notation
2758 for repeats with alternatives. These are not played in MIDI output by default.
2762 Alternative endings are written stacked. This has limited use but may be
2763 used to typeset two lines of lyrics in songs with repeats, see
2764 @inputfileref{input,star-spangled-banner.ly}.
2769 Make tremolo beams. These are not played in MIDI output by default.
2772 Make beat or measure repeats. These look like percent signs. These are not played
2773 in MIDI output by default.
2778 @subsection Repeat syntax
2781 LilyPond has one syntactic construct for specifying different types of
2782 repeats. The syntax is
2785 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2788 If you have alternative endings, you may add
2789 @cindex @code{\alternative}
2791 \alternative @code{@{} @var{alternative1}
2793 @var{alternative3} @dots{} @code{@}}
2795 where each @var{alternative} is a music expression. If you do not
2796 give enough alternatives for all of the repeats, the first alternative
2797 is assumed to be played more than once.
2799 Standard repeats are used like this
2800 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2802 \repeat volta 2 { c4 d e f }
2803 \repeat volta 2 { f e d c }
2806 With alternative endings
2807 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2809 \repeat volta 2 {c4 d e f}
2810 \alternative { {d2 d} {f f,} }
2814 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2817 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2818 \alternative { { g4 g g } { a | a a a a | b2. } }
2822 It is possible to shorten volta brackets
2823 by setting @code{voltaSpannerDuration}. In the next example, the
2824 bracket only lasts one measure, which is a duration of 3/4.
2828 @lilypond[verbatim,raggedright,quote]
2832 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2833 \repeat "volta" 5 { d d d }
2834 \alternative { { e e e f f f }
2844 Brackets for the repeat are normally only printed over the topmost
2845 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2846 property @inputfileref{input/regression,volta-multi-staff.ly},
2847 @inputfileref{input/regression,volta-chord-names.ly}
2852 A nested repeat like
2861 is ambiguous, since it is is not clear to which @code{\repeat} the
2862 @code{\alternative} belongs. This ambiguity is resolved by always
2863 having the @code{\alternative} belong to the inner @code{\repeat}.
2864 For clarity, it is advisable to use braces in such situations.
2869 Timing information is not remembered at the start of an alternative,
2870 so after a repeat timing information must be reset by hand, for
2871 example by setting @code{Score.measurePosition} or entering
2872 @code{\partial}. Similarly, slurs or ties are also not repeated.
2877 @node Repeats and MIDI
2878 @subsection Repeats and MIDI
2880 @cindex expanding repeats
2882 With a little bit of tweaking, all types of repeats can be present
2883 in the MIDI output. This is achieved by applying the
2884 @code{\unfoldrepeats} music function. This functions changes all
2885 repeats to unfold repeats.
2887 @lilypond[verbatim,raggedright,fragment]
2889 \repeat tremolo 8 {c'32 e' }
2890 \repeat percent 2 { c''8 d'' }
2891 \repeat volta 2 {c'4 d' e' f'}
2900 When creating a score file using @code{\unfoldrepeats} for midi, then
2901 it is necessary to make two @code{\score} blocks. One for MIDI (with
2902 unfolded repeats) and one for notation (with volta, tremolo, and
2903 percent repeats). For example,
2911 \unfoldrepeats @var{..music..}
2916 @node Manual repeat commands
2917 @subsection Manual repeat commands
2919 @cindex @code{repeatCommands}
2921 The property @code{repeatCommands} can be used to control the layout of
2922 repeats. Its value is a Scheme list of repeat commands, where each repeat
2926 @item @code{start-repeat},
2927 which prints a @code{|:} bar line;
2928 @item @code{end-repeat},
2929 which prints a @code{:|} bar line;
2930 @item @code{(volta @var{text})},
2931 which prints a volta bracket saying @var{text}: The text can be specified as
2932 a text string or as a markup text, see @ref{Text markup}. Do not
2933 forget to change the font, as the default number font does not contain
2934 alphabetic characters;
2935 @item @code{(volta #f)}, which
2936 stops a running volta bracket.
2939 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2941 \set Score.repeatCommands = #'((volta "93") end-repeat)
2943 \set Score.repeatCommands = #'((volta #f))
2951 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2952 @internalsref{VoltaRepeatedMusic},
2953 @internalsref{UnfoldedRepeatedMusic}, and
2954 @internalsref{FoldedRepeatedMusic}.
2956 @node Tremolo repeats
2957 @subsection Tremolo repeats
2958 @cindex tremolo beams
2960 To place tremolo marks between notes, use @code{\repeat} with tremolo
2962 @lilypond[quote,verbatim,raggedright]
2963 \new Voice \relative c' {
2964 \repeat "tremolo" 8 { c16 d16 }
2965 \repeat "tremolo" 4 { c16 d16 }
2966 \repeat "tremolo" 2 { c16 d16 }
2970 Tremolo marks can also be put on a single note. In this case, the
2971 note should not be surrounded by braces.
2972 @lilypond[quote,verbatim,raggedright]
2973 \repeat "tremolo" 4 c'16
2976 Similar output is obtained using the tremolo subdivision, described in
2977 @ref{Tremolo subdivisions}.
2981 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2983 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2984 tremolos are @internalsref{StemTremolo} objects. The music expression is
2985 @internalsref{TremoloEvent}.
2987 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2988 @inputfileref{input/regression,stem-tremolo.ly}.
2990 @node Tremolo subdivisions
2991 @subsection Tremolo subdivisions
2992 @cindex tremolo marks
2993 @cindex @code{tremoloFlags}
2995 Tremolo marks can be printed on a single note by adding
2996 `@code{:}[@var{number}]' after the note. The number indicates the
2997 duration of the subdivision, and it must be at least 8. A
2998 @var{length} value of 8 gives one line across the note stem. If the
2999 length is omitted, the last value (stored in @code{tremoloFlags}) is
3002 @lilypond[quote,raggedright,verbatim,fragment]
3003 c'2:8 c':32 | c': c': |
3006 @c [TODO : stok is te kort bij 32en]
3007 @c somebody want to translate that into English? :)
3011 Tremolos entered in this way do not carry over into the MIDI output.
3015 In this manual: @ref{Tremolo repeats}.
3017 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3019 @node Measure repeats
3020 @subsection Measure repeats
3022 @cindex percent repeats
3023 @cindex measure repeats
3025 In the @code{percent} style, a note pattern can be repeated. It is
3026 printed once, and then the pattern is replaced with a special sign.
3027 Patterns of one and two measures are replaced by percent-like signs,
3028 patterns that divide the measure length are replaced by slashes
3030 @lilypond[quote,verbatim,raggedright]
3031 \new Voice \relative c' {
3032 \repeat "percent" 4 { c4 }
3033 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3039 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3040 @internalsref{PercentRepeatedMusic}, and
3041 @internalsref{DoublePercentRepeat}.
3045 @node Rhythmic music
3046 @section Rhythmic music
3048 Rhythmic music is primarily used for percussion and drum notation, but it can
3049 also be used to show the rhythms of melodies.
3052 * Showing melody rhythms::
3053 * Entering percussion::
3054 * Percussion staves::
3058 @node Showing melody rhythms
3059 @subsection Showing melody rhythms
3061 Sometimes you might want to show only the rhythm of a melody. This
3062 can be done with the rhythmic staff. All pitches of notes on such a
3063 staff are squashed, and the staff itself has a single line
3065 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3066 \context RhythmicStaff {
3068 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3074 Program reference: @internalsref{RhythmicStaff}.
3076 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
3079 @node Entering percussion
3080 @subsection Entering percussion
3086 Percussion notes may be entered in @code{\drummode} mode, which is
3087 similar to the standard mode for entering notes. Each piece of
3088 percussion has a full name and an abbreviated name, and both can be used
3091 @lilypond[quote,raggedright,verbatim]
3093 hihat hh bassdrum bd
3097 The complete list of drum names is in the init file
3098 @file{ly/drumpitch-init.ly}.
3099 @c TODO: properly document this.
3103 Program reference: @internalsref{DrumNoteEvent}.
3105 @node Percussion staves
3106 @subsection Percussion staves
3110 A percussion part for more than one instrument typically uses a
3111 multi line staff where each position in the staff refers to one piece
3115 To typeset the music, the notes must be interpreted in a
3116 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3119 @lilypond[quote,raggedright,verbatim]
3120 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3121 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3123 \new DrumVoice { \voiceOne \up }
3124 \new DrumVoice { \voiceTwo \down }
3128 The above example shows verbose polyphonic notation. The short
3129 polyphonic notation, described in @ref{Polyphony}, can also be used if
3130 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3132 @lilypond[quote,raggedright,fragment,verbatim]
3134 \context DrumVoice = "1" { s1 *2 }
3135 \context DrumVoice = "2" { s1 *2 }
3139 { \repeat unfold 16 hh16 }
3148 There are also other layout possibilities. To use these, set the
3149 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3150 The following variables have been predefined
3154 This is the default. It typesets a typical drum kit on a five-line staff
3156 @lilypond[quote,raggedright,noindent]
3157 nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc
3158 bd sn ss tomh tommh tomml toml tomfh tomfl }
3159 mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
3160 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3162 << \new DrumStaff\with {
3163 \remove Bar_engraver
3164 \remove Time_signature_engraver
3165 \override Stem #'transparent = ##t
3166 \override Stem #'Y-extent-callback = ##f
3167 minimumVerticalExtent = #'(-4.0 . 5.0)
3169 \context Lyrics \nam
3172 %% need to do this, because of indented @itemize
3175 \override LyricText #'font-family = #'typewriter
3176 \override BarNumber #'transparent =##T
3180 The drum scheme supports six different toms. When there fewer toms, simply
3181 select the toms that produce the desired result, i.e. to get toms on
3182 the three middle lines you use @code{tommh}, @code{tomml} and
3185 @item timbales-style
3186 This typesets timbales on a two line staff
3188 @lilypond[quote,raggedright]
3189 nam = \lyricmode { timh ssh timl ssl cb }
3190 mus = \drummode { timh ssh timl ssl cb s16 }
3193 \context DrumStaff \with {
3194 \remove Bar_engraver
3195 \remove Time_signature_engraver
3196 \override Stem #'transparent = ##t
3197 \override Stem #'Y-extent-callback = ##f
3198 \override StaffSymbol #'line-count = #2
3199 \override StaffSymbol #'staff-space = #2
3200 minimumVerticalExtent = #'(-3.0 . 4.0)
3201 drumStyleTable = #timbales-style
3204 \override LyricText #'font-family = #'typewriter
3210 This typesets congas on a two line staff
3212 @lilypond[quote,raggedright]
3213 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3214 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3216 \context DrumStaff\with {
3217 \remove Bar_engraver
3218 \remove Time_signature_engraver
3219 drumStyleTable = #congas-style
3220 \override StaffSymbol #'line-count = #2
3222 %% this sucks; it will lengthen stems.
3223 \override StaffSymbol #'staff-space = #2
3224 \override Stem #'transparent = ##t
3225 \override Stem #'Y-extent-callback = ##f
3228 \override LyricText #'font-family = #'typewriter
3233 This typesets bongos on a two line staff
3235 @lilypond[quote,raggedright]
3236 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3237 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3239 \context DrumStaff\with {
3240 \remove Bar_engraver
3241 \remove Time_signature_engraver
3242 \override StaffSymbol #'line-count = #2
3243 drumStyleTable = #bongos-style
3245 %% this sucks; it will lengthen stems.
3246 \override StaffSymbol #'staff-space = #2
3247 \override Stem #'transparent = ##t
3248 \override Stem #'Y-extent-callback = ##f
3251 \override LyricText #'font-family = #'typewriter
3256 @item percussion-style
3257 to typeset all kinds of simple percussion on one line staves
3258 @lilypond[quote,raggedright]
3259 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3260 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3262 \context DrumStaff\with{
3263 \remove Bar_engraver
3264 drumStyleTable = #percussion-style
3265 \override StaffSymbol #'line-count = #1
3266 \remove Time_signature_engraver
3267 \override Stem #'transparent = ##t
3268 \override Stem #'Y-extent-callback = ##f
3271 \override LyricText #'font-family = #'typewriter
3278 If you do not like any of the predefined lists you can define your own
3279 list at the top of your file
3281 @lilypond[quote,raggedright,verbatim]
3283 (bassdrum default #f -1)
3284 (snare default #f 0)
3286 (pedalhihat xcircle "stopped" 2)
3287 (lowtom diamond #f 3)))
3288 up = \drummode { hh8 hh hh hh hhp4 hhp }
3289 down = \drummode { bd4 sn bd toml8 toml }
3292 \set DrumStaff.drumStyleTable
3293 = #(alist->hash-table mydrums)
3294 \new DrumVoice { \voiceOne \up }
3295 \new DrumVoice { \voiceTwo \down }
3302 Init files: @file{ly/drumpitch-init.ly}.
3304 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3308 Because general MIDI does not contain rim shots, the sidestick is used
3309 for this purpose instead.
3312 @section Piano music
3314 Piano staves are two normal staves coupled with a brace. The staves
3315 are largely independent, but sometimes voices can cross between the
3316 two staves. The same notation is also used for harps and other key
3317 instruments. The @internalsref{PianoStaff} is especially built to
3318 handle this cross-staffing behavior. In this section we discuss the
3319 @internalsref{PianoStaff} and some other pianistic peculiarities.
3323 * Automatic staff changes::
3324 * Manual staff switches::
3327 * Staff switch lines::
3328 * Cross staff stems::
3333 Dynamics are not centered, but workarounds do exist. See the
3334 ``piano centered dynamics'' template in @ref{Piano templates}.
3336 @cindex cross staff stem
3337 @cindex stem, cross staff
3338 @cindex distance between staves in piano music
3340 The distance between the two staves is the same for all systems in the
3341 score. It is possible to override this per system, but it does require
3342 an arcane command incantation. See
3343 @inputfileref{input/test,piano-staff-distance.ly}.
3346 @node Automatic staff changes
3347 @subsection Automatic staff changes
3348 @cindex Automatic staff changes
3350 Voices can be made to switch automatically between the top and the bottom
3351 staff. The syntax for this is
3355 \autochange @dots{}@var{music}@dots{}
3360 This will create two staves inside the current PianoStaff, called
3361 @code{up} and @code{down}. The lower staff will be in bass clef by
3364 A @code{\relative} section that is outside of @code{\autochange} has
3365 no effect on the pitches of @var{music}, so, if necessary, put
3366 @code{\relative} inside @code{\autochange} like
3370 \autochange \relative @dots{} @dots{}
3375 The autochanger switches on basis of pitch (middle C is the turning
3376 point), and it looks ahead skipping over rests to switch in
3377 advance. Here is a practical example
3379 @lilypond[quote,verbatim,raggedright]
3381 \autochange \relative c'
3390 In this manual: @ref{Manual staff switches}.
3392 Program reference: @internalsref{AutoChangeMusic}.
3398 The staff switches may not end up in optimal places. For high
3399 quality output, staff switches should be specified manually.
3402 @code{\autochange} cannot be inside @code{\times}.
3404 Internally, the @code{\partcombine} interprets both arguments as
3405 @code{Voice}s named @code{one} and @code{two}, and then decides when
3406 the parts can be combined. Consequently, if the arguments switch to
3407 differently named @internalsref{Voice} contexts, the events in those
3411 @node Manual staff switches
3412 @subsection Manual staff switches
3414 @cindex manual staff switches
3415 @cindex staff switch, manual
3417 Voices can be switched between staves manually, using the command
3419 \change Staff = @var{staffname} @var{music}
3423 The string @var{staffname} is the name of the staff. It switches the
3424 current voice from its current staff to the Staff called
3425 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3426 @code{"down"}. The @context{Staff} referred to must already exist, so
3427 usually the setup for a score will start with a setup of the staves,
3431 \context Staff = up @{
3432 \skip 1 * 10 %@emph{ keep staff alive}
3434 \context Staff = down @{
3435 \skip 1 * 10 %@emph{idem}
3441 and the @context{Voice} is inserted afterwards
3444 \context Staff = down
3445 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3453 Pianos have pedals that alter the way sound is produced. Generally, a
3454 piano has three pedals, sustain, una corda, and sostenuto.
3457 Piano pedal instruction can be expressed by attaching
3458 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3459 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3462 @lilypond[quote,raggedright,fragment,verbatim]
3463 c'4\sustainDown c'4\sustainUp
3466 What is printed can be modified by setting @code{pedal@var{X}Strings},
3467 where @var{X} is one of the pedal types: @code{Sustain},
3468 @code{Sostenuto} or @code{UnaCorda}. Refer to
3469 @internalsref{SustainPedal} in the program reference for more
3472 Pedals can also be indicated by a sequence of brackets, by setting the
3473 @code{pedalSustainStyle} property to bracket objects
3475 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3476 \set Staff.pedalSustainStyle = #'bracket
3478 b\sustainUp\sustainDown
3479 b g \sustainUp a \sustainDown \bar "|."
3482 A third style of pedal notation is a mixture of text and brackets,
3483 obtained by setting the @code{pedalSustainStyle} style property to
3486 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3487 \set Staff.pedalSustainStyle = #'mixed
3489 b\sustainUp\sustainDown
3490 b g \sustainUp a \sustainDown \bar "|."
3493 The default `*Ped.' style for sustain and damper pedals corresponds to
3494 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3497 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3498 c\sostenutoDown d e c, f g a\sostenutoUp
3501 For fine-tuning of the appearance of a pedal bracket, the properties
3502 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3503 @code{PianoPedalBracket} objects (see
3504 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3505 bracket may be extended to the right edge of the note head
3507 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3508 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3509 c\sostenutoDown d e c, f g a\sostenutoUp
3513 @subsection Arpeggio
3516 @cindex broken arpeggio
3517 @cindex @code{\arpeggio}
3519 You can specify an arpeggio sign on a chord by attaching an
3520 @code{\arpeggio} to a chord
3523 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3527 When an arpeggio crosses staves, you attach an arpeggio to the chords
3528 in both staves, and set
3529 @internalsref{PianoStaff}.@code{connectArpeggios}
3531 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3532 \context PianoStaff <<
3533 \set PianoStaff.connectArpeggios = ##t
3534 \new Staff { <c' e g c>\arpeggio }
3535 \new Staff { \clef bass <c,, e g>\arpeggio }
3539 The direction of the arpeggio is sometimes denoted by adding an
3540 arrowhead to the wiggly line
3542 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3551 A square bracket on the left indicates that the player should not
3552 arpeggiate the chord
3554 @c todo: ugh, lousy typography. Look for real example. --hwn
3556 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3563 @cindex @code{\arpeggio}
3565 @cindex @code{\arpeggioUp}
3567 @cindex @code{\arpeggioDown}
3568 @code{\arpeggioDown},
3569 @cindex @code{\arpeggioNeutral}
3570 @code{\arpeggioNeutral},
3571 @cindex @code{\arpeggioBracket}
3572 @code{\arpeggioBracket}.
3576 Program reference: @internalsref{ArpeggioEvent},
3577 @internalsref{Arpeggio}.
3581 It is not possible to mix connected arpeggios and unconnected
3582 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3584 @node Staff switch lines
3585 @subsection Staff switch lines
3588 @cindex follow voice
3589 @cindex staff switching
3592 @cindex @code{followVoice}
3594 Whenever a voice switches to another staff a line connecting the notes
3595 can be printed automatically. This is switched on by setting
3596 @code{PianoStaff.followVoice} to true
3598 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3599 \context PianoStaff <<
3600 \set PianoStaff.followVoice = ##t
3601 \context Staff \context Voice {
3606 \context Staff=two { \clef bass \skip 1*2 }
3612 Program reference: @internalsref{VoiceFollower}.
3616 @cindex @code{\showStaffSwitch}
3617 @code{\showStaffSwitch},
3618 @cindex @code{\hideStaffSwitch}
3619 @code{\hideStaffSwitch}.
3622 @node Cross staff stems
3623 @subsection Cross staff stems
3625 The chords which cross staves may be produced by increasing the length
3626 of the stem in the lower stave, so it reaches the stem in the upper
3627 stave, or vice versa.
3629 @lilypond[raggedright,verbatim,quote]
3630 stemExtend = \once \override Stem #'length = #22
3631 noFlag = \once \override Stem #'flag-style = #'no-flag
3632 \context PianoStaff <<
3634 \stemDown \stemExtend
3648 @section Vocal music
3650 There are three different issues when printing vocal music
3654 Song texts must be entered as texts, not notes. For example, the
3655 input @code{d} should be interpreted as a one letter syllable, not the note D.
3657 Song texts must be printed as text, not as notes.
3659 Song texts must be aligned with the notes of their melody
3662 The simplest solution to printing music uses the @code{\addlyrics}
3663 function to solve all these problems at once. However, these
3664 three functions can be controlled separately, which is necessary
3665 for complex vocal music.
3669 * Setting simple songs::
3671 * Hyphens and extenders::
3672 * The Lyrics context::
3673 * Flexibility in alignment::
3678 @node Setting simple songs
3679 @subsection Setting simple songs
3681 The easiest way to add lyrics to a melody is to append
3684 \addlyrics @{ @var{the lyrics} @}
3688 to a melody. Here is an example,
3690 @lilypond[raggedright,verbatim,fragment,quote]
3692 \relative { c2 e4 g2. }
3693 \addlyrics { play the game }
3696 More stanzas can be added by adding more
3697 @code{\addlyrics} sections
3699 @lilypond[raggedright,verbatim,fragment,quote]
3701 \relative { c2 e4 g2. }
3702 \addlyrics { play the game }
3703 \addlyrics { speel het spel }
3704 \addlyrics { joue le jeu }
3707 @c TODO - this isn't such a great place for this note, but I can't
3708 @c find a better place without rearranging a lot of lyric stuff.
3709 @c It's yet another thing to look at post-3.0.
3711 The @code{\addlyrics} command is actually just a convienient way
3712 to write a more complicated LilyPond structure that sets up the
3713 lyrics. You should use @code{\addlyrics} unless you need to
3714 fancy things, in which case you should investigate
3715 @code{\lyricsto} or @code{\lyricmode}.
3719 \addlyrics @{ LYRICS @}
3725 \context Voice = blah @{ music @}
3726 \lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
3730 @node Entering lyrics
3731 @subsection Entering lyrics
3735 @cindex @code{\lyricmode}
3738 Lyrics are entered in a special input mode. This mode is is introduced
3739 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3740 @code{lyricsto}. In this mode you can enter lyrics,
3741 with punctuation and accents, and the input @code{d} is not parsed as
3742 a pitch, but rather as a one letter syllable. Syllables are entered
3743 like notes, but with pitches replaced by text. For example,
3745 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3749 A word lyrics mode begins with an alphabetic character, and ends with
3750 any space or digit. The following characters can be any character
3751 that is not a digit or white space. One important consequence of this
3752 is that a word can end with @code{@}}. The following example is
3753 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3754 opening brace is not balanced
3756 \lyricmode @{ twinkle@}
3759 @cindex @code{\property}, in @code{\lyricmode}
3761 Similarly, a period which follows an alphabetic sequence is included in
3762 the resulting string. As a consequence, spaces must be inserted around
3765 \override Score . LyricText #'font-shape = #'italic
3769 @cindex spaces, in lyrics
3770 @cindex quotes, in lyrics
3772 Any @code{_} character which appears in an unquoted word is converted
3773 to a space. This provides a mechanism for introducing spaces into words
3774 without using quotes. Quoted words can also be used in Lyrics mode to
3775 specify words that cannot be written with the above rules. The
3776 following example incorporates double quotes
3779 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3782 This example is slightly academic, since it gives better looking
3783 results to use single quotes, @code{``} and @code{''}
3785 \lyricmode @{ He said: ``Let my peo ple go'' @}
3789 The full definition of a word start in Lyrics mode is somewhat more
3792 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3793 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3794 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3795 any 8-bit character with ASCII code over 127, or a two-character
3796 combination of a backslash followed by one of @code{`}, @code{'},
3797 @code{"}, or @code{^}.
3803 Program reference: events @internalsref{LyricEvent}, and
3804 @internalsref{LyricText}.
3808 The definition of lyrics mode is too complex.
3810 @node Hyphens and extenders
3811 @subsection Hyphens and extenders
3815 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3816 The hyphen will have variable length depending on the space between
3817 the syllables and it will be centered between the syllables.
3822 When a lyric is sung over many notes (this is called a melisma), this is
3823 indicated with a horizontal line centered between a syllable and the
3824 next one. Such a line is called an extender line, and it is entered as
3830 Program reference: @internalsref{HyphenEvent},
3831 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3832 @internalsref{LyricExtender}
3834 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3838 @node The Lyrics context
3839 @subsection The Lyrics context
3842 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3844 \context Lyrics \lyricmode @dots{}
3847 @cindex automatic syllable durations
3848 @cindex @code{\lyricsto}
3849 @cindex lyrics and melodies
3851 This will place the lyrics according to the durations that were
3852 entered. The lyrics can also be aligned under a given melody
3853 automatically. In this case, it is no longer necessary to enter the
3854 correct duration for each syllable. This is achieved by combining the
3855 melody and the lyrics with the @code{\lyricsto} expression
3857 \lyricsto @var{name} \new Lyrics @dots{}
3860 This aligns the lyrics to the
3862 notes of the @internalsref{Voice} context called @var{name}, which has
3863 to exist. Therefore, normally the @code{Voice} is specified first, and
3864 then the lyrics are specified with @code{\lyricsto}. The command
3865 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
3866 @code{\lyricmode} keyword may be omitted.
3868 For different or more complex orderings, the best way is to setup the
3869 hierarchy of staves and lyrics first, e.g.
3871 \context ChoirStaff <<
3872 \context Lyrics = sopranoLyrics @{ s1 @}
3873 \context Voice = soprano @{ @emph{music} @}
3874 \context Lyrics = tenorLyrics @{ s1 @}
3875 \context Voice = tenor @{ @emph{music} @}
3878 and then combine the appropriate melodies and lyric lines
3880 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3885 The final input would resemble
3888 <<\context ChoirStaff << @emph{setup the music} >>
3889 \lyricsto "soprano" @emph{etc}
3890 \lyricsto "alto" @emph{etc}
3896 The @code{\lyricsto} command detects melismata: it only puts one
3897 syllable under a tied or slurred group of notes. If you want to force
3898 an unslurred group of notes to be a melisma, insert @code{\melisma}
3899 after the first note of the group, and @code{\melismaEnd} after the
3902 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3904 \context Voice = "lala" {
3912 \lyricsto "lala" \new Lyrics {
3918 In addition, notes are considered a melisma if they are manually
3919 beamed, and automatic beaming (see @ref{Setting automatic beam
3920 behavior}) is switched off.
3926 The criteria for deciding melismata can
3927 be tuned with the property @code{melismaBusyProperties}. See
3928 @internalsref{Melisma_translator} in the program reference for more
3933 Lyrics can also be entered without @code{\lyricsto}. In this case the
3934 durations of each syllable must be entered explicitly, for example,
3941 The alignment to a melody can be specified with the
3942 @code{associatedVoice} property,
3945 \set associatedVoice = #"lala"
3949 The value of the property (here: @code{"lala"}) should be the name of
3950 a @internalsref{Voice} context. Without this setting, extender lines
3951 will not be formatted properly.
3953 Here is an example demonstrating manual lyric durations,
3955 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
3956 << \context Voice = melody {
3960 \new Lyrics \lyricmode {
3961 \set associatedVoice = #"melody"
3967 @cindex choral score
3969 A complete example of a SATB score setup is in section
3970 @ref{Small ensembles}.
3975 @code{\melisma}, @code{\melismaEnd}
3976 @cindex @code{\melismaEnd}
3977 @cindex @code{\melisma}
3981 Program reference: @internalsref{LyricCombineMusic},
3982 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3984 Examples: @ref{Small ensembles},
3985 @inputfileref{input/regression,lyric-combine-new.ly},
3986 @c TODO: make separate section for melismata
3987 @inputfileref{input/test,lyrics-melisma-variants.ly}.
3988 @inputfileref{input/test,lyrics-melisma-faster.ly}.
3992 Melismata are not detected automatically, and extender lines must be
3996 @c TODO: document \new Staff << Voice \lyricsto >> bug
3998 @node Flexibility in alignment
3999 @subsection Flexibility in alignment
4002 Often, different stanzas of one song are put to one melody in slightly
4003 differing ways. Such variations can still be captured with
4006 One possibility is that the text has a melisma in one stanza, but
4007 multiple syllables in another one. One solution is to make the faster
4008 voice ignore the melisma. This is done by setting
4009 @code{ignoreMelismata} in the Lyrics context.
4011 There has one tricky aspect. The setting for @code{ignoreMelismata}
4012 must be set one syllable @emph{before} the non-melismatic syllable
4013 in the text, as shown here,
4015 @lilypond[verbatim,raggedright,quote]
4017 \relative \context Voice = "lahlah" {
4018 \set Staff.autoBeaming = ##f
4024 \new Lyrics \lyricsto "lahlah" {
4027 \new Lyrics \lyricsto "lahlah" {
4028 \set ignoreMelismata = ##t % applies to "fas"
4030 \unset ignoreMelismata
4037 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4038 should be entered before ``go''.
4040 The reverse is also possible: making a lyric line slower than the
4041 standard. This can be achieved by insert @code{\skip}s into the
4042 lyrics. For every @code{\skip}, the text will be delayed another note.
4045 @lilypond[verbatim,raggedright,quote]
4046 \relative { c c g' }
4053 More complex variations in text underlay are possible. It is possible
4054 to switch the melody for a line of lyrics during the text. This is
4055 done by setting the @code{associatedVoice} property. In the example
4057 @lilypond[raggedright,quote]
4060 \relative \context Voice = "lahlah" {
4061 \set Staff.autoBeaming = ##f
4064 \context Voice = alternative {
4067 % show associations clearly.
4068 \override NoteColumn #'force-hshift = #-3
4079 \new Lyrics \lyricsto "lahlah" {
4080 Ju -- ras -- sic Park
4082 \new Lyrics \lyricsto "lahlah" {
4083 % Tricky: need to set associatedVoice
4084 % one syllable too soon!
4085 \set associatedVoice = alternative % applies to "ran"
4089 \set associatedVoice = lahlah % applies to "rus"
4095 the text for the first stanza is set to a melody called ``lahlah'',
4098 \new Lyrics \lyricsto "lahlah" {
4099 Ju -- ras -- sic Park
4104 The second stanza initially is set to the @code{lahlah} context, but
4105 for the syllable ``ran'', it switches to a different melody.
4106 This is achieved with
4108 \set associatedVoice = alternative
4112 Here, @code{alternative} is the name of the @code{Voice} context
4113 containing the triplet.
4115 Again, the command must be one syllable too early, before ``Ty'' in
4119 \new Lyrics \lyricsto "lahlah" {
4120 \set associatedVoice = alternative % applies to "ran"
4124 \set associatedVoice = lahlah % applies to "rus"
4130 The underlay is switched back to the starting situation by assigning
4131 @code{lahlah} to @code{associatedVoice}.
4137 @subsection More stanzas
4139 @cindex phrasing, in lyrics
4142 @cindex stanza number
4143 @cindex singer's names
4144 @cindex name of singer
4146 Stanza numbers can be added by setting @code{stanza}, e.g.
4148 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4150 \time 3/4 g2 e4 a2 f4 g2.
4153 Hi, my name is Bert.
4156 Oh, che -- ri, je t'aime
4160 These numbers are put just before the start of first syllable.
4162 Names of singers can also be added. They are printed at the start of
4163 the line, just like instrument names. They are created by setting
4164 @code{vocalName}. A short version may be entered as @code{vocNam}.
4167 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4169 \time 3/4 g2 e4 a2 f4 g2.
4171 \set vocalName = "Bert "
4172 Hi, my name is Bert.
4174 \set vocalName = "Ernie "
4175 Oh, che -- ri, je t'aime
4181 Program reference: Layout objects @internalsref{LyricText} and
4182 @internalsref{VocalName}. Music expressions
4183 @internalsref{LyricEvent}.
4191 The term @emph{ambitus} denotes a range of pitches for a given voice
4192 in a part of music. It also may denote the pitch range that a musical
4193 instrument is capable of playing. Ambits are printed on vocal parts,
4194 so performers can easily determine it meets their capabilities.
4196 It denoted at the beginning of a piece near the initial clef. The
4197 range is graphically specified by two note heads, that represent the
4198 minimum and maximum pitch. To print such ambits, add the
4199 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4206 \consists Ambitus_engraver
4211 This results in the following output
4213 @lilypond[quote,raggedright]
4217 \consists Ambitus_engraver
4221 \relative \new Staff {
4226 If you have multiple voices in a single staff, and you want a single
4227 ambitus per staff rather than per each voice, add the
4228 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4229 rather than to the @internalsref{Voice} context. Here is an example,
4231 @lilypond[verbatim,raggedright,quote]
4234 \consists "Ambitus_engraver"
4236 \override Ambitus #'X-offset-callbacks
4237 = #(list (lambda (grob axis) -1.0))
4242 \consists "Ambitus_engraver"
4251 This example uses one advanced feature,
4254 \override Ambitus #'X-offset-callbacks
4255 = #(list (lambda (grob axis) -1.0))
4259 This code moves the ambitus to the left. The same effect could have
4260 been achieved with @code{extra-offset}, but then the formatting system
4261 would not reserve space for the moved object.
4265 Program reference: @internalsref{Ambitus},
4266 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4267 @internalsref{AmbitusAccidental}.
4269 Examples: @inputfileref{input/regression,ambitus.ly}.
4273 There is no collision handling in the case of multiple per-voice
4276 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4277 @section Other instrument specific notation
4279 This section includes extra information for writing string music, and may
4280 include extra information for other instruments in the future.
4286 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4287 @subsection Harmonic notes
4289 @cindex artificial harmonics
4292 Artificial harmonics are notated with a different notehead style. They
4294 marking the harmonic pitch with @code{\harmonic}.
4296 @lilypond[raggedright,verbatim,quote,fragment]
4301 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4305 @cindex guitar tablature
4307 Tablature notation is used for notating music for plucked string
4308 instruments. Pitches are not denoted with note heads, but by
4309 indicating on which string and fret a note must be played. LilyPond
4310 offers limited support for tablature.
4313 * Tablatures basic::
4314 * Non-guitar tablatures::
4317 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4318 @subsection Tablatures basic
4319 @cindex Tablatures basic
4321 The string number associated to a note is given as a backslash
4322 followed by a number, e.g. @code{c4\3} for a C quarter on the third
4323 string. By default, string 1 is the highest one, and the tuning
4324 defaults to the standard guitar tuning (with 6 strings). The notes
4325 are printed as tablature, by using @internalsref{TabStaff} and
4326 @internalsref{TabVoice} contexts
4328 @lilypond[quote,raggedright,fragment,verbatim]
4335 @cindex @code{minimumFret}
4338 When no string is specified, the first string that does not give a
4339 fret number less than @code{minimumFret} is selected. The default
4340 value for @code{minimumFret} is 0
4345 \set TabStaff.minimumFret = #8
4348 @lilypond[quote,noindent,raggedright]
4352 \set TabStaff.minimumFret = #8
4355 \context StaffGroup <<
4356 \context Staff { \clef "G_8" \frag }
4357 \context TabStaff { \frag }
4363 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4364 @internalsref{StringNumberEvent}.
4368 Chords are not handled in a special way, and hence the automatic
4369 string selector may easily select the same string to two notes in a
4373 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4374 @subsection Non-guitar tablatures
4375 @cindex Non-guitar tablatures
4377 You can change the number of strings, by setting the number of lines
4378 in the @internalsref{TabStaff}.
4380 You can change the tuning of the strings. A string tuning is given as
4381 a Scheme list with one integer number for each string, the number
4382 being the pitch (measured in semitones relative to middle C) of an
4383 open string. The numbers specified for @code{stringTuning} are the
4384 numbers of semitones to subtract or add, starting the specified pitch
4385 by default middle C, in string order. In the next example,
4386 @code{stringTunings} is set for the pitches e, a, d, and g
4388 @lilypond[quote,raggedright,fragment,verbatim]
4389 \context TabStaff <<
4390 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4393 a,4 c' a e' e c' a e'
4400 No guitar special effects have been implemented.
4404 Program reference: @internalsref{Tab_note_heads_engraver}.
4407 @node Popular music, Orchestral music, Tablatures, Notation manual
4408 @section Popular music
4410 This section discusses issues that arise when writing popular music.
4415 * Printing chord names::
4420 @node Chord names, Chords mode, Popular music, Popular music
4421 @subsection Chord names
4424 LilyPond has support for printing chord names. Chords may be entered
4425 in musical chord notation, i.e. @code{< .. >}, but they can also be
4426 entered by name. Internally, the chords are represented as a set of
4427 pitches, so they can be transposed
4430 @lilypond[quote,raggedright,verbatim,raggedright]
4431 twoWays = \transpose c c' {
4440 << \context ChordNames \twoWays
4441 \context Voice \twoWays >>
4444 This example also shows that the chord printing routines do not try to
4445 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4448 @c this menu isn't needed.
4452 * Printing chord names::
4457 @subsection Chords mode
4460 In chord mode sets of pitches (chords) are entered with normal note
4461 names. A chord is entered by the root, which is entered like a
4464 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
4465 \chordmode { es4. d8 c2 }
4469 The mode is introduced by the keyword @code{\chordmode}.
4474 Other chords may be entered by suffixing a colon and introducing a
4475 modifier (which may include a number if desired)
4477 @lilypond[quote,fragment,verbatim]
4478 \chordmode { e1:m e1:7 e1:m7 }
4480 The first number following the root is taken to be the `type' of the
4481 chord, thirds are added to the root until it reaches the specified
4483 @lilypond[quote,fragment,verbatim]
4484 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4487 @cindex root of chord
4488 @cindex additions, in chords
4489 @cindex removals, in chords
4491 More complex chords may also be constructed adding separate steps
4492 to a chord. Additions are added after the number following
4493 the colon, and are separated by dots
4495 @lilypond[quote,verbatim,fragment]
4496 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4498 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4500 @lilypond[quote,verbatim,fragment]
4501 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4503 Removals are specified similarly, and are introduced by a caret. They
4504 must come after the additions
4505 @lilypond[quote,verbatim,fragment]
4506 \chordmode { c^3 c:7^5 c:9^3.5 }
4509 Modifiers can be used to change pitches. The following modifiers are
4513 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4515 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
4518 is the augmented chord. This modifier raises the 5th step.
4520 is the major 7th chord. This modifier raises the 7th step if present.
4522 is the suspended 4th or 2nd. This modifier removes the 3rd
4523 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4526 Modifiers can be mixed with additions
4527 @lilypond[quote,verbatim,fragment]
4528 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4531 @cindex modifiers, in chords.
4538 Since an unaltered 11 does not sound good when combined with an
4539 unaltered 3, the 11 is removed in this case (unless it is added
4542 @lilypond[quote,raggedright,fragment,verbatim]
4543 \chordmode { c:13 c:13.11 c:m13 }
4548 An inversion (putting one pitch of the chord on the bottom), as well
4549 as bass notes, can be specified by appending
4550 @code{/}@var{pitch} to the chord
4551 @lilypond[quote,raggedright,fragment,verbatim]
4552 \chordmode { c1 c/g c/f }
4556 A bass note can be added instead of transposed out of the chord,
4557 by using @code{/+}@var{pitch}.
4559 @lilypond[quote,raggedright,fragment,verbatim]
4560 \chordmode { c1 c/+g c/+f }
4563 Chords is a mode similar to @code{\lyricmode} etc. Most
4564 of the commands continue to work, for example, @code{r} and
4565 @code{\skip} can be used to insert rests and spaces, and property
4566 commands may be used to change various settings.
4572 Each step can only be present in a chord once. The following
4573 simply produces the augmented chord, since @code{5+} is interpreted
4576 @lilypond[quote,raggedright,verbatim,fragment]
4577 \chordmode { c:5.5-.5+ }
4581 @node Printing chord names
4582 @subsection Printing chord names
4584 @cindex printing chord names
4588 For displaying printed chord names, use the @internalsref{ChordNames} context.
4589 The chords may be entered either using the notation
4590 described above, or directly using @code{<} and @code{>}
4592 @lilypond[quote,verbatim,raggedright]
4594 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4597 \context ChordNames \harmonies
4598 \context Staff \harmonies
4602 You can make the chord changes stand out by setting
4603 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4604 display chord names when there is a change in the chords scheme and at
4605 the start of a new line
4607 @c originally this had linewidth=9\cm, but I though that raggedright would be better
4608 @lilypond[quote,verbatim,raggedright]
4609 harmonies = \chordmode {
4610 c1:m c:m \break c:m c:m d
4613 \context ChordNames {
4614 \set chordChanges = ##t
4616 \context Staff \transpose c c' \harmonies
4620 The previous examples all show chords over a staff. This is not
4621 necessary. Chords may also be printed separately. It may be necessary
4622 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4623 for showing repeats.
4625 @lilypond[raggedright,verbatim]
4626 \new ChordNames \with {
4627 \override BarLine #'bar-size = #4
4628 voltaOnThisStaff = ##t
4629 \consists Bar_engraver
4630 \consists "Volta_engraver"
4632 \repeat volta 2 \chordmode {
4641 The default chord name layout is a system for Jazz music, proposed by
4642 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4643 following properties
4646 @cindex @code{chordNameExceptions}
4647 @item chordNameExceptions
4648 This is a list that contains the chords that have special formatting.
4649 For an example of tuning this property, see
4650 @inputfileref{input/regression,chord-name-exceptions.ly}.
4651 @cindex exceptions, chord names.
4654 @cindex @code{majorSevenSymbol}
4655 @item majorSevenSymbol
4656 This property contains the markup object used for the 7th step, when
4657 it is major. Predefined options are @code{whiteTriangleMarkup} and
4658 @code{blackTriangleMarkup}. See
4659 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4661 @cindex @code{chordNameSeparator}
4662 @item chordNameSeparator
4663 Different parts of a chord name are normally separated by a
4664 slash. By setting @code{chordNameSeparator}, you can specify other
4666 @lilypond[quote,raggedright,fragment,verbatim]
4667 \context ChordNames \chordmode {
4669 \set chordNameSeparator
4670 = \markup { \typewriter "|" }
4675 @cindex @code{chordRootNamer}
4676 @item chordRootNamer
4677 The root of a chord is usually printed as a letter with an optional
4678 alteration. The transformation from pitch to letter is done by this
4679 function. Special note names (for example, the German ``H'' for a
4680 B-chord) can be produced by storing a new function in this property.
4682 @cindex @code{chordNoteNamer}
4683 @item chordNoteNamer
4684 The default is to print single pitch, e.g. the bass note, using the
4685 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4686 to a specialized function to change this behavior. For example, the
4687 base can be printed in lower case.
4691 The predefined variables @code{\germanChords},
4692 @code{\semiGermanChords} set these variables. The effect is
4695 @lilypondfile[raggedright]{chord-names-german.ly}
4697 There are also two other chord name schemes implemented: an alternate
4698 Jazz chord notation, and a systematic scheme called Banter chords. The
4699 alternate jazz notation is also shown on the chart in @ref{Chord name
4700 chart}. Turning on these styles is described in the input file
4701 @inputfileref{input/test,chord-names-jazz.ly}.
4705 @cindex chords, jazz
4710 @cindex @code{\germanChords}
4711 @code{\germanChords},
4712 @cindex @code{\semiGermanChords}
4713 @code{\semiGermanChords}.
4720 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4721 @inputfileref{input/regression,chord-name-exceptions.ly},
4722 @inputfileref{input/test,chord-names-jazz.ly},
4723 @inputfileref{input/test,chords-without-melody.ly}.
4726 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4731 Chord names are determined solely from the list of pitches. Chord
4732 inversions are not identified, and neither are added bass notes. This
4733 may result in strange chord names when chords are entered with the
4734 @code{< .. >} syntax.
4738 @subsection Fret diagrams
4739 @cindex fret diagrams
4740 @cindex chord diagrams
4742 Fret diagrams can be added to music as a markup to the desired note. The
4743 markup contains information about the desired fret diagram, as shown in the
4746 @lilypond[verbatim, quote]
4748 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4750 fis' ^\markup \override #'(size . 0.75) {
4751 \override #'(finger-code . below-string) {
4752 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4753 (place-fret 5 4 3) (place-fret 4 4 4)
4754 (place-fret 3 3 2) (place-fret 2 2 1)
4759 c' ^\markup \override #'(dot-radius . 0.35) {
4760 \override #'(finger-code . in-dot) {
4761 \override #'(dot-color . white) {
4762 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
4771 There are three different fret-diagram markup interfaces: standard, terse,
4772 and verbose. The three interfaces produce equivalent markups, but have
4773 varying amounts of information in the markup string. Details about the
4774 markup interfaces are found at @ref{Overview of text markup commands}.
4776 You can set a number of graphical properties according to your preference.
4777 Details about the property interface to fret diagrams are found at
4778 @internalsref{fret-diagram-interface}.
4783 Examples: @inputfileref{input/test,fret-diagram.ly}
4787 @subsection Improvisation
4789 Improvisation is sometimes denoted with slashed note heads. Such note
4790 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4791 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4795 \set squashedPosition = #0
4796 \override NoteHead #'style = #'slash
4800 switches on the slashes.
4802 There are shortcuts @code{\improvisationOn} (and an accompanying
4803 @code{\improvisationOff}) for this command sequence. They are used in
4804 the following example
4806 @lilypond[verbatim,raggedright,quote]
4808 \consists Pitch_squash_engraver
4810 e8 e g a a16(bes)(a8) g \improvisationOn
4813 ~fis2 \improvisationOff a16(bes) a8 g e
4819 @node Orchestral music
4820 @section Orchestral music
4822 @cindex Writing parts
4824 Orchestral music involves some special notation, both in the full
4825 score and the individual parts. This section explains how to tackle
4826 some common problems in orchestral music.
4831 * System start delimiters::
4832 * Aligning to cadenzas::
4835 * Instrument names::
4837 * Instrument transpositions::
4838 * Multi measure rests::
4839 * Automatic part combining::
4841 * Different editions from one source::
4842 * Quoting other voices::
4843 * Formatting cue notes::
4846 @node System start delimiters
4847 @subsection System start delimiters
4849 Polyphonic scores consist of many staves. These staves can be
4850 constructed in three different ways
4852 @item The group is started with a brace at the left, and bar lines are
4853 connected. This is done with the @internalsref{GrandStaff} context.
4855 @lilypond[verbatim,raggedright,quote]
4864 @item The group is started with a bracket, and bar lines are connected. This is done with the
4865 @internalsref{StaffGroup} context
4867 @lilypond[verbatim,raggedright,quote]
4876 @item The group is started with a vertical line. Bar lines are not
4877 connected. This is the default for the score.
4879 @lilypond[verbatim,raggedright,quote]
4888 @cindex Staff, multiple
4889 @cindex bracket, vertical
4890 @cindex brace, vertical
4897 The bar lines at the start of each system are
4898 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
4899 @internalsref{SystemStartBracket}. Only one of these types is created
4900 in every context, and that type is determined by the property
4901 @code{systemStartDelimiter}.
4903 @node Aligning to cadenzas
4904 @subsection Aligning to cadenzas
4907 In an orchestral context, cadenzas present a special problem:
4908 when constructing a score that includes a cadenza, all other
4909 instruments should skip just as many notes as the length of the
4910 cadenza, otherwise they will start too soon or too late.
4912 A solution to this problem are the functions @code{mmrest-of-length}
4913 and @code{skip-of-length}. These Scheme functions take a piece music
4914 as argument, and generate a @code{\skip} or multi rest, exactly as
4915 long as the piece. The use of @code{mmrest-of-length} is demonstrated
4916 in the following example.
4918 @lilypond[verbatim,raggedright,quote]
4919 cadenza = \relative c' {
4920 c4 d8 << { e f g } \\ { d4. } >>
4925 \new Staff { \cadenza c'4 }
4927 #(ly:export (mmrest-of-length cadenza))
4937 @node Rehearsal marks
4938 @subsection Rehearsal marks
4939 @cindex Rehearsal marks
4941 @cindex @code{\mark}
4943 To print a rehearsal mark, use the @code{\mark} command
4945 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
4954 (The letter I is skipped in accordance with engraving traditions.)
4955 @c umm, is the manual the right place for feature requests? :) -gp
4956 @c FIXME - should make that tunable.
4958 The mark is incremented automatically if you use @code{\mark
4959 \default}, but you can also use an integer argument to set the mark
4960 manually. The value to use is stored in the property
4961 @code{rehearsalMark}.
4963 The style is defined by the property @code{markFormatter}. It is a
4964 function taking the current mark (an integer) and the current context
4965 as argument. It should return a markup object. In the following
4966 example, @code{markFormatter} is set to a canned procedure. After a
4967 few measures, it is set to function that produces a boxed number.
4970 @lilypond[quote,raggedright,verbatim,relative=2]
4972 \set Score.markFormatter = #format-mark-numbers
4975 \set Score.markFormatter
4976 = #(lambda (mark context)
4978 (make-box-markup (number->string mark))))
4984 The file @file{scm/translation-functions.scm} contains the definitions
4985 of @code{format-mark-numbers} (the default format) and
4986 @code{format-mark-letters}. These can be used as inspiration for other
4987 formatting functions.
4990 @cindex coda on bar line
4991 @cindex segno on bar line
4992 @cindex fermata on bar line
4993 @cindex bar lines, symbols on
4995 The @code{\mark} command can also be used to put signs like coda,
4996 segno and fermatas on a bar line. Use @code{\markup} to
4997 to access the appropriate symbol
5000 @lilypond[quote,raggedright,verbatim,relative=2]
5002 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
5007 In the case of a line break, marks must also be printed at the end of
5008 the line, and not at the beginning. Use the following to force that
5011 \override Score.RehearsalMark
5012 #'break-visibility = #begin-of-line-invisible
5018 @cindex bar lines, putting symbols on
5022 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5024 Init files: @file{scm/translation-functions.scm} contains the
5025 definition of @code{format-mark-numbers} and
5026 @code{format-mark-letters}. They can be used as inspiration for other
5027 formatting functions.
5029 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
5031 @inputfileref{input/regression,rehearsal-mark-number.ly}.
5035 @subsection Bar numbers
5039 @cindex measure numbers
5040 @cindex @code{currentBarNumber}
5042 Bar numbers are printed by default at the start of the line. The
5043 number itself is stored in the @code{currentBarNumber} property, which
5044 is normally updated automatically for every measure.
5046 Bar numbers can be typeset at regular intervals instead of at the
5047 beginning of each line. This is illustrated in the following example,
5048 whose source is available as
5049 @inputfileref{input/test,bar-number-regular-interval.ly}
5051 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5055 Program reference: @internalsref{BarNumber}.
5057 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
5058 and @inputfileref{input/test,bar-number-regular-interval.ly}.
5062 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5063 there is one at the top. To solve this, the
5064 @code{padding} property of @internalsref{BarNumber} can be
5065 used to position the number correctly.
5067 @node Instrument names
5068 @subsection Instrument names
5070 In an orchestral score, instrument names are printed left side of the
5073 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5074 and @internalsref{Staff}.@code{instr}. This will print a string before
5075 the start of the staff. For the first start, @code{instrument} is
5076 used, for the next ones @code{instr} is used.
5078 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5079 \set Staff.instrument = "Ploink "
5080 \set Staff.instr = "Plk "
5086 You can also use markup texts to construct more complicated instrument
5089 @lilypond[quote,fragment,verbatim,raggedright]
5090 \set Staff.instrument = \markup {
5091 \column < "Clarinetti" { "in B"
5092 \smaller \flat } > }
5096 For longer instrument names, it may be useful to increase the
5097 @code{indent} setting in the @code{\layout} block.
5101 Program reference: @internalsref{InstrumentName}.
5105 When you put a name on a grand staff or piano staff the width of the
5106 brace is not taken into account. You must add extra spaces to the end of
5107 the name to avoid a collision.
5110 @subsection Transpose
5112 @cindex transposition of pitches
5113 @cindex @code{\transpose}
5115 A music expression can be transposed with @code{\transpose}. The
5118 \transpose @var{from} @var{to} @var{musicexpr}
5121 This means that @var{musicexpr} is transposed by the interval between
5122 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5123 is changed to @code{to}.
5126 For example, consider a piece written in the key of D major. If
5127 this piece is a little too low for its performer, it can be
5128 transposed up to E major with
5130 \transpose d e @dots{}
5133 Consider a part written for violin (a C instrument). If
5134 this part is to be played on the A clarinet, the following
5135 transposition will produce the appropriate part
5138 \transpose a c @dots{}
5141 @code{\transpose} distinguishes between enharmonic pitches: both
5142 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5143 half a tone. The first version will print sharps and the second
5144 version will print flats
5146 @lilypond[quote,raggedright,verbatim]
5147 mus = { \key d \major cis d fis g }
5151 \transpose c g' \mus
5152 \transpose c f' \mus
5159 Program reference: @internalsref{TransposedMusic}, and
5160 @internalsref{UntransposableMusic}.
5164 If you want to use both @code{\transpose} and @code{\relative},
5165 you must put @code{\transpose} outside of @code{\relative}, since
5166 @code{\relative} will have no effect music that appears inside a
5169 @node Instrument transpositions
5170 @subsection Instrument transpositions
5172 The key of a transposing instrument can also be specified. This
5173 applies to many wind instruments, for example, clarinets (B-flat, A and
5174 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
5176 The transposition is entered after the keyword @code{\transposition}
5179 \transposition bes %% B-flat clarinet
5183 This command sets the property @code{instrumentTransposition}. The value of
5184 this property is used for MIDI output and quotations. It does not
5185 affect how notes are printed in the current staff.
5187 The pitch to use for @code{\transposition} should correspond to the
5188 transposition of the notes. For example, when entering a score in
5189 concert pitch, typically all voices are entered in C, so
5190 they should be entered as
5203 The command @code{\transposition} should be used when the music is
5204 entered from a (transposed) orchestral part. For example, in
5205 classical horn parts, the tuning of the instrument is often changed
5206 during a piece. When copying the notes from the part, use
5207 @code{\transposition}, e.g.
5220 @cindex transposition, MIDI
5221 @cindex transposition, instrument
5224 @node Multi measure rests
5225 @subsection Multi measure rests
5226 @cindex multi measure rests
5227 @cindex Rests, multi measure
5231 Multi measure rests are entered using `@code{R}'. It is specifically
5232 meant for full bar rests and for entering parts: the rest can expand
5233 to fill a score with rests, or it can be printed as a single
5234 multimeasure rest. This expansion is controlled by the property
5235 @code{Score.skipBars}. If this is set to true, empty measures will not
5236 be expanded, and the appropriate number is added automatically
5238 @lilypond[quote,raggedright,fragment,verbatim]
5239 \time 4/4 r1 | R1 | R1*2
5240 \set Score.skipBars = ##t R1*17 R1*4
5243 The @code{1} in @code{R1} is similar to the duration notation used for
5244 notes. Hence, for time signatures other than 4/4, you must enter other
5245 durations. This can be done with augmentation dots or fractions
5247 @lilypond[quote,raggedright,fragment,verbatim]
5248 \set Score.skipBars = ##t
5257 An @code{R} spanning a single measure is printed as either a whole rest
5258 or a breve, centered in the measure regardless of the time signature.
5260 If there are only a few measures of rest, LilyPond prints ``church rests''
5261 (a series of rectangles) in the staff. To replace that with a simple
5262 rest, use @code{MultiMeasureRest.expand-limit}.
5264 @lilypond[quote,raggedright,fragment,verbatim]
5265 \set Score.skipBars = ##t
5267 \override MultiMeasureRest #'expand-limit = 1
5272 @cindex text on multi-measure rest
5273 @cindex script on multi-measure rest
5274 @cindex fermata on multi-measure rest
5276 Texts can be added to multi-measure rests by using the
5277 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5278 A variable (@code{\fermataMarkup}) is provided for
5282 @lilypond[quote,raggedright,verbatim,fragment]
5283 \set Score.skipBars = ##t
5285 R2.*10^\markup { "Ad lib" }
5289 If you want to have a text on the left end of a multi-measure rest,
5290 attach the text to a zero-length skip note, i.e.
5298 @cindex whole rests for a full measure
5302 Program reference: @internalsref{MultiMeasureRestEvent},
5303 @internalsref{MultiMeasureTextEvent},
5304 @internalsref{MultiMeasureRestMusicGroup}, and
5305 @internalsref{MultiMeasureRest}.
5307 The layout object @internalsref{MultiMeasureRestNumber} is for the
5308 default number, and @internalsref{MultiMeasureRestText} for user
5313 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
5314 over multi-measure rests.
5316 @cindex condensing rests
5318 There is no way to automatically condense multiple rests into a single
5319 multimeasure rest. Multi measure rests do not take part in rest
5322 Be careful when entering multimeasure rests followed by whole
5323 notes. The following will enter two notes lasting four measures each
5327 When @code{skipBars} is set, the result will look OK, but the bar
5328 numbering will be off.
5330 @node Automatic part combining
5331 @subsection Automatic part combining
5332 @cindex automatic part combining
5333 @cindex part combiner
5336 Automatic part combining is used to merge two parts of music onto a
5337 staff. It is aimed at typesetting orchestral scores. When the two
5338 parts are identical for a period of time, only one is shown. In
5339 places where the two parts differ, they are typeset as separate
5340 voices, and stem directions are set automatically. Also, solo and
5341 @emph{a due} parts are identified and can be marked.
5343 The syntax for part combining is
5346 \partcombine @var{musicexpr1} @var{musicexpr2}
5351 The following example demonstrates the basic functionality of the part
5352 combiner: putting parts on one staff, and setting stem directions and
5355 @lilypond[quote,verbatim,raggedright,fragment]
5356 \new Staff \partcombine
5357 \relative g' { g g a( b) c c r r }
5358 \relative g' { g g r4 r e e g g }
5361 The first @code{g} appears only once, although it was
5362 specified twice (once in each part). Stem, slur and tie directions are
5363 set automatically, depending whether there is a solo or unisono. The
5364 first part (with context called @code{one}) always gets up stems, and
5365 `solo', while the second (called @code{two}) always gets down stems and
5368 If you just want the merging parts, and not the textual markings, you
5369 may set the property @code{printPartCombineTexts} to false
5371 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5373 \set Staff.printPartCombineTexts = ##f
5375 \relative g' { g a( b) r }
5376 \relative g' { g r4 r f }
5381 Both arguments to @code{\partcombine} will be interpreted as
5382 @internalsref{Voice} contexts. If using relative octaves,
5383 @code{\relative} should be specified for both music expressions, i.e.
5387 \relative @dots{} @var{musicexpr1}
5388 \relative @dots{} @var{musicexpr2}
5392 A @code{\relative} section that is outside of @code{\partcombine} has
5393 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5397 Program reference: @internalsref{PartCombineMusic},
5398 @internalsref{SoloOneEvent}, and
5399 @internalsref{SoloTwoEvent}, and
5400 @internalsref{UnisonoEvent}.
5404 When @code{printPartCombineTexts} is set, when the two voices play the
5405 same notes on and off, the part combiner may typeset @code{a2} more
5406 than once in a measure.
5408 @code{\partcombine} cannot be inside @code{\times}.
5410 @code{\partcombine} cannot be inside @code{\relative}.
5412 Internally, the @code{\partcombine} interprets both arguments as
5413 @code{Voice}s named @code{one} and @code{two}, and then decides when
5414 the parts can be combined. Consequently, if the arguments switch to
5415 differently named @internalsref{Voice} contexts, the events in those
5419 @subsection Hiding staves
5421 @cindex Frenched scores
5422 @cindex Hiding staves
5424 In orchestral scores, staff lines that only have rests are usually
5425 removed. This saves some space. This style is called `French Score'.
5426 For @internalsref{Lyrics},
5427 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5428 switched on by default. When these line of these contexts turn out
5429 empty after the line-breaking process, they are removed.
5431 For normal staves, a specialized @internalsref{Staff} context is
5432 available, which does the same: staves containing nothing (or only
5433 multi measure rests) are removed. The context definition is stored in
5434 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5435 in this example disappears in the second line
5438 @lilypond[quote,raggedright,verbatim]
5440 \context { \RemoveEmptyStaffContext }
5445 \new Staff { e4 f g a \break c1 }
5446 \new Staff { c4 d e f \break R1 }
5451 The first system shows all staves in full. If empty staves should be
5452 removed from the first system too, set @code{remove-first} to false in
5453 @internalsref{RemoveEmptyVerticalGroup}.
5455 Another application is making ossia sections, i.e. alternative
5456 melodies on a separate piece of staff, with help of a Frenched
5457 staff. See @inputfileref{input/test,ossia.ly} for an example.
5460 @node Different editions from one source
5461 @subsection Different editions from one source
5463 The @code{\tag} command marks music expressions with a name. These
5464 tagged expressions can be filtered out later. With this mechanism it
5465 is possible to make different versions of the same music source.
5467 In the following example, we see two versions of a piece of music, one
5468 for the full score, and one with cue notes for the instrumental part
5484 The same can be applied to articulations, texts, etc.: they are
5487 -\tag #@var{your-tag}
5489 to an articulation, for example,
5494 This defines a note with a conditional fingering indication.
5496 By applying the @code{\keepWithTag} command, tagged expressions
5497 can be filtered. For example,
5501 \keepWithTag #'score @var{the music}
5502 \keepWithTag #'part @var{the music}
5507 @lilypondfile[raggedright,quote]{tag-filter.ly}
5510 The argument of the @code{\tag} command should be a symbol, or a list
5511 of symbols, for example,
5513 \tag #'(original-part transposed-part) @dots{}
5518 Examples: @inputfileref{input/regression,tag-filter.ly}.
5522 Multiple rests are not merged if you create the score with both tagged
5525 @node Quoting other voices
5526 @subsection Quoting other voices
5528 With quotations, fragments of other parts can be inserted into a part
5529 directly. Before a part can be quoted, it must be marked especially as
5530 quotable. This is done with code @code{\addquote} command.
5533 \addquote @var{name} @var{music}
5538 Here, @var{name} is an identifying string. The @var{music} is any kind
5539 of music. This is an example of @code{\addquote}
5542 \addquote clarinet \relative c' {
5547 This command must be entered at toplevel, i.e. outside any music
5550 After calling @code{\addquote}, the quotation may then be done with
5554 \quote @var{name} @var{duration}
5557 During a part, a piece of music can be quoted with the @code{\quote}
5564 This would cite three quarter notes (@code{2.} is a dotted half note)
5565 of the previously added @code{clarinet} voice.
5567 More precisely, it takes the current time-step of the part being
5568 printed, and extracts the notes at the corresponding point of the
5569 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5570 should be the entire part of the voice to be quoted, including any
5571 rests at the beginning.
5573 Quotations take into account the transposition of both source and target
5574 instruments, if they are specified using the @code{\transposition} command.
5576 @lilypond[quote,raggedright,verbatim]
5577 \addquote clarinet \relative c' {
5583 e'8 f'8 \quote clarinet 2
5587 The type of events that are present in cue notes can be trimmed with
5588 the @code{quotedEventTypes} property. The default value is
5589 @code{(note-event rest-event)}, which means that only notes of and
5590 rests of the cued voice end up in the @code{\quote}.
5594 \set Staff.quotedEventTypes = #'(note-event articulation-event dynamic-event)
5598 will quote notes (but no rests), together with scripts and dynamics.
5602 Only the contents of the first @internalsref{Voice} occurring in an
5603 @code{\addquote} command will be considered for quotation, so
5604 @var{music} can not contain @code{\new} and @code{\context Voice}
5605 statements that would switch to a different Voice.
5610 In this manual: @ref{Instrument transpositions}.
5612 Examples: @inputfileref{input/regression,quote.ly}
5613 @inputfileref{input/regression,quote-transposition.ly}
5615 Program reference: @internalsref{QuoteMusic}.
5617 @node Formatting cue notes
5618 @subsection Formatting cue notes
5621 The previous section deals with inserting notes from another
5622 voice. When making a part, these notes need to be specially formatted.
5623 Here is an example of formatted cue notes
5625 @c TODO: This should be done with \quote stuff, not manually.
5627 @lilypond[raggedright,verbatim]
5630 \override Stem #'length = #5.5
5631 \override Beam #'thickness = #0.384
5632 \override Beam #'space-function =
5633 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5637 \set Staff.instrument = #"Horn in F"
5638 \set Score.skipBars = ##t
5641 \once \override Staff.MultiMeasureRest #'staff-position = #-6
5648 r8^"Bsn." c'8 f'8[ f'8]
5658 There are a couple of points to take care of:
5662 The multi rest of the original part should be moved up or down during
5665 Cue notes have smaller font sizes.
5667 When cued notes have a clef change relative to the original part, the
5668 clef should be restored after the cue section. This minimizes
5669 confusion for the reader,
5671 When the original part starts, this should be marked with the name of
5672 the instrument, in this case ``Horn.'' Of course, the cue part is
5673 marked with the instrument playing the cue.
5676 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5679 @node Ancient notation
5680 @section Ancient notation
5682 @cindex Vaticana, Editio
5683 @cindex Medicaea, Editio
5688 Support for ancient notation includes features for mensural notation
5689 and Gregorian Chant notation. There is also limited support for
5690 figured bass notation.
5692 Many graphical objects provide a @code{style} property, see
5695 @ref{Ancient note heads},
5697 @ref{Ancient accidentals},
5699 @ref{Ancient rests},
5701 @ref{Ancient clefs},
5703 @ref{Ancient flags},
5705 @ref{Ancient time signatures}.
5708 By manipulating such a grob property, the typographical appearance of
5709 the affected graphical objects can be accommodated for a specific
5710 notation flavor without need for introducing any new notational
5713 In addition to the standard articulation signs described in section
5714 @ref{Articulations}, specific articulation signs for ancient notation
5719 @ref{Ancient articulations}
5722 Other aspects of ancient notation can not that easily be expressed as
5723 in terms of just changing a style property of a graphical object or
5724 adding articulation signs. Some notational concepts are introduced
5725 specifically for ancient notation,
5736 If this all is too much of documentation for you, and you just want to
5737 dive into typesetting without worrying too much about the details on
5738 how to customize a context, you may have a look at the predefined
5739 contexts. Use them to set up predefined style-specific voice and
5740 staff contexts, and directly go ahead with the note entry,
5744 @ref{Gregorian Chant contexts},
5746 @ref{Mensural contexts}.
5749 There is limited support for figured bass notation which came
5750 up during the baroque period.
5757 Here are all suptopics at a glance:
5760 * Ancient note heads::
5761 * Ancient accidentals::
5765 * Ancient time signatures::
5766 * Ancient articulations::
5770 * Gregorian Chant contexts::
5771 * Mensural contexts::
5776 @node Ancient note heads
5777 @subsection Ancient note heads
5782 For ancient notation, a note head style other than the @code{default}
5783 style may be chosen. This is accomplished by setting the @code{style}
5784 property of the NoteHead object to @code{baroque}, @code{neomensural}
5785 or @code{mensural}. The @code{baroque} style differs from the
5786 @code{default} style only in using a square shape for @code{\breve}
5787 note heads. The @code{neomensural} style differs from the
5788 @code{baroque} style in that it uses rhomboidal heads for whole notes
5789 and all smaller durations. Stems are centered on the note heads.
5790 This style is in particular useful when transcribing mensural music,
5791 e.g. for the incipit. The @code{mensural} style finally produces note
5792 heads that mimic the look of note heads in historic printings of the
5795 The following example demonstrates the @code{neomensural} style
5797 @lilypond[quote,fragment,raggedright,verbatim]
5798 \set Score.skipBars = ##t
5799 \override NoteHead #'style = #'neomensural
5800 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5803 When typesetting a piece in Gregorian Chant notation, the
5804 @internalsref{Gregorian_ligature_engraver} will automatically select
5805 the proper note heads, such there is no need to explicitly set the
5806 note head style. Still, the note head style can be set e.g.@: to
5807 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5808 @internalsref{Mensural_ligature_engraver} is used to automatically
5809 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5814 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
5815 overview over all available note head styles.
5818 @node Ancient accidentals
5819 @subsection Ancient accidentals
5824 Use the @code{style} property of grob @internalsref{Accidental} to
5825 select ancient accidentals. Supported styles are
5826 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5828 @lilypond[quote,raggedright,staffsize=26]
5835 { " " \musicglyph #"accidentals-vaticana-1"
5836 " " \musicglyph #"accidentals-vaticana0" }
5840 { " " \musicglyph #"accidentals-medicaea-1" }
5844 { " " \musicglyph #"accidentals-hufnagel-1" }
5848 { " " \musicglyph #"accidentals-mensural-1"
5849 " " \musicglyph #"accidentals-mensural1" }
5855 \context { \Score \remove "Bar_number_engraver" }
5857 \remove "Clef_engraver"
5858 \remove "Key_engraver"
5859 \remove "Time_signature_engraver"
5860 \remove "Staff_symbol_engraver"
5861 minimumVerticalExtent = ##f
5867 As shown, not all accidentals are supported by each style. When
5868 trying to access an unsupported accidental, LilyPond will switch to a
5869 different style, as demonstrated in
5870 @inputfileref{input/test,ancient-accidentals.ly}.
5872 Similarly to local accidentals, the style of the key signature can be
5873 controlled by the @code{style} property of the
5874 @internalsref{KeySignature} grob.
5878 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5879 @ref{Accidentals} give a general introduction into the use of
5880 accidentals. @ref{Key signature} gives a general introduction into
5881 the use of key signatures.
5883 Program reference: @internalsref{KeySignature}.
5885 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
5888 @subsection Ancient rests
5893 Use the @code{style} property of grob @internalsref{Rest} to select
5894 ancient accidentals. Supported styles are @code{classical},
5895 @code{neomensural} and @code{mensural}. @code{classical} differs
5896 from the @code{default} style only in that the quarter rest looks like
5897 a horizontally mirrored 8th rest. The @code{neomensural} style suits
5898 well for e.g. the incipit of a transcribed mensural piece of music.
5899 The @code{mensural} style finally mimics the appearance of rests as
5900 in historic prints of the 16th century.
5902 The following example demonstrates the @code{neomensural} style
5904 @lilypond[quote,fragment,raggedright,verbatim]
5905 \set Score.skipBars = ##t
5906 \override Rest #'style = #'neomensural
5907 r\longa r\breve r1 r2 r4 r8 r16
5910 There are no 32th and 64th rests specifically for the mensural or
5911 neo-mensural style. Instead, the rests from the default style will be
5912 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5915 There are no rests in Gregorian Chant notation; instead, it uses
5920 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5924 @subsection Ancient clefs
5929 LilyPond supports a variety of clefs, many of them ancient.
5931 The following table shows all ancient clefs that are supported via the
5932 @code{\clef} command. Some of the clefs use the same glyph, but
5933 differ only with respect to the line they are printed on. In such
5934 cases, a trailing number in the name is used to enumerate these clefs.
5935 Still, you can manually force a clef glyph to be typeset on an
5936 arbitrary line, as described in @ref{Clef}. The note printed to the
5937 right side of each clef in the example column denotes the @code{c'}
5938 with respect to that clef.
5940 @multitable @columnfractions .4 .4 .2
5943 @b{Description} @tab
5944 @b{Supported Clefs} @tab
5948 modern style mensural C clef @tab
5949 @code{neomensural-c1}, @code{neomensural-c2},
5950 @code{neomensural-c3}, @code{neomensural-c4} @tab
5951 @lilypond[fragment,raggedright,quote,relative=1,notime]
5952 \clef "neomensural-c2" c
5956 petrucci style mensural C clefs, for use on different staff lines
5957 (the examples shows the 2nd staff line C clef).
5967 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5968 \clef "petrucci-c2" c
5972 petrucci style mensural F clef @tab
5973 @code{petrucci-f} @tab
5974 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5975 \clef "petrucci-f" c
5979 petrucci style mensural G clef @tab
5980 @code{petrucci-g} @tab
5981 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5982 \clef "petrucci-g" c
5986 historic style mensural C clef @tab
5987 @code{mensural-c1}, @code{mensural-c2}, @code{mensural-c3},
5988 @code{mensural-c4} @tab
5989 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5990 \clef "mensural-c2" c
5994 historic style mensural F clef @tab
5995 @code{mensural-f} @tab
5996 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5997 \clef "mensural-f" c
6001 historic style mensural G clef @tab
6002 @code{mensural-g} @tab
6003 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6004 \clef "mensural-g" c
6008 Editio Vaticana style do clef @tab
6009 @code{vaticana-do1}, @code{vaticana-do2}, @code{vaticana-do3} @tab
6010 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6011 \override Staff.StaffSymbol #'line-count = #4
6012 \clef "vaticana-do2" c
6016 Editio Vaticana style fa clef @tab
6017 @code{vaticana-fa1}, @code{vaticana-fa2} @tab
6018 @lilypond[quote,relative=1,notime,indent=0.0\mm,fragment]
6019 \override Staff.StaffSymbol #'line-count = #4
6020 \clef "vaticana-fa2" c
6024 Editio Medicaea style do clef @tab
6025 @code{medicaea-do1}, @code{medicaea-do2}, @code{medicaea-do3} @tab
6026 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6027 \override Staff.StaffSymbol #'line-count = #4
6028 \clef "medicaea-do2" c
6032 Editio Medicaea style fa clef @tab
6033 @code{medicaea-fa1}, @code{medicaea-fa2} @tab
6034 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6035 \override Staff.StaffSymbol #'line-count = #4
6036 \clef "medicaea-fa2" c
6040 historic style hufnagel do clef @tab
6041 @code{hufnagel-do1}, @code{hufnagel-do2}, @code{hufnagel-do3} @tab
6042 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6043 \override Staff.StaffSymbol #'line-count = #4
6044 \clef "hufnagel-do2" c
6048 historic style hufnagel fa clef @tab
6049 @code{hufnagel-fa1}, @code{hufnagel-fa2} @tab
6050 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6051 \override Staff.StaffSymbol #'line-count = #4
6052 \clef "hufnagel-fa2" c
6056 historic style hufnagel combined do/fa clef @tab
6057 @code{hufnagel-do-fa} @tab
6058 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6059 \clef "hufnagel-do-fa" c
6066 @emph{Modern style} means ``as is typeset in contemporary editions of
6067 transcribed mensural music''.
6069 @emph{Petrucci style} means ``inspired by printings published by the
6070 famous engraver Petrucci (1466-1539)''.
6072 @emph{Historic style} means ``as was typeset or written in historic
6073 editions (other than those of Petrucci)''.
6075 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6077 Petrucci used C clefs with differently balanced left-side vertical
6078 beams, depending on which staff line it is printed.
6082 In this manual: see @ref{Clef}.
6086 The mensural g clef is mapped to the Petrucci g clef.
6091 @subsection Ancient flags
6096 Use the @code{flag-style} property of grob @internalsref{Stem} to
6097 select ancient flags. Besides the @code{default} flag style,
6098 only @code{mensural} style is supported
6100 @lilypond[quote,fragment,raggedright,verbatim]
6101 \override Stem #'flag-style = #'mensural
6102 \override Stem #'thickness = #1.0
6103 \override NoteHead #'style = #'mensural
6105 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
6106 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6109 Note that the innermost flare of each mensural flag always is
6110 vertically aligned with a staff line.
6112 There is no particular flag style for neo-mensural notation. Hence,
6113 when typesetting the incipit of a transcribed piece of mensural
6114 music, the default flag style should be used. There are no flags in
6115 Gregorian Chant notation.
6119 The attachment of ancient flags to stems is slightly off due to a
6120 change in early 2.3.x.
6122 Vertically aligning each flag with a staff line assumes that stems
6123 always end either exactly on or exactly in the middle between two
6124 staff lines. This may not always be true when using advanced layout
6125 features of classical notation (which however are typically out of
6126 scope for mensural notation).
6128 @node Ancient time signatures
6129 @subsection Ancient time signatures
6131 @cindex time signatures
6134 There is limited support for mensural time signatures. The
6135 glyphs are hard-wired to particular time fractions. In other words,
6136 to get a particular mensural signature glyph with the @code{\time n/m}
6137 command, @code{n} and @code{m} have to be chosen according to the
6140 @lilypond[quote,raggedright]
6144 \remove Staff_symbol_engraver
6145 \remove Clef_engraver
6146 \remove Time_signature_engraver
6149 \set Score.timing = ##f
6150 \set Score.barAlways = ##t
6151 s_\markup { "$\\backslash$time 4/4" }
6152 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6154 s_\markup { "$\\backslash$time 2/2" }
6155 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6157 s_\markup { "$\\backslash$time 6/4" }
6158 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6160 s_\markup { "$\\backslash$time 6/8" }
6161 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6163 s_\markup { "$\\backslash$time 3/2" }
6164 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6166 s_\markup { "$\\backslash$time 3/4" }
6167 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6169 s_\markup { "$\\backslash$time 9/4" }
6170 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6172 s_\markup { "$\\backslash$time 9/8" }
6173 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6175 s_\markup { "$\\backslash$time 4/8" }
6176 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6178 s_\markup { "$\\backslash$time 2/4" }
6179 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6183 Use the @code{style} property of grob @internalsref{TimeSignature} to
6184 select ancient time signatures. Supported styles are
6185 @code{neomensural} and @code{mensural}. The above table uses the
6186 @code{neomensural} style. This style is appropriate for the
6187 incipit of transcriptions of mensural pieces. The @code{mensural}
6188 style mimics the look of historical printings of the 16th century.
6190 The following examples shows the differences in style,
6192 @lilypond[raggedright,fragment,relative=1,quote]
6196 c1^\markup { \hspace #-2.0 \typewriter default }
6198 \override Staff.TimeSignature #'style = #'numbered
6200 c1^\markup { \hspace #-2.0 \typewriter numbered }
6202 \override Staff.TimeSignature #'style = #'mensural
6204 c1^\markup { \hspace #-2.0 \typewriter mensural }
6206 \override Staff.TimeSignature #'style = #'neomensural
6208 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6209 \override Staff.TimeSignature #'style = #'single-digit
6211 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6217 This manual: @ref{Time signature} gives a general introduction into
6218 the use of time signatures.
6222 Ratios of note durations do not change with the time signature. For
6223 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6224 be made by hand, by setting
6227 breveTP = #(ly:make-duration -1 0 3 2)
6233 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6235 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6236 addressable with @code{\time}. Use a @code{\markup} instead
6238 @node Ancient articulations
6239 @subsection Ancient articulations
6241 @cindex articulations
6243 In addition to the standard articulation signs described in section
6244 @ref{Articulations}, articulation signs for ancient notation are
6245 provided. These are specifically designed for use with notation in
6246 Editio Vaticana style.
6248 @lilypond[quote,raggedright,verbatim,noindent]
6249 \include "gregorian-init.ly"
6251 \context VaticanaVoice {
6252 \override TextScript #'font-family = #'typewriter
6253 \override TextScript #'font-shape = #'upright
6254 \override Script #'padding = #-0.1
6256 a4\circulus_"circulus" s1
6257 a4\semicirculus_"semicirculus" s1 s
6258 a4\accentus_"accentus" s1
6259 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6266 Some articulations are vertically placed too closely to the
6267 correpsonding note heads.
6270 @subsection Custodes
6275 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6276 symbol that appears at the end of a staff. It anticipates the pitch
6277 of the first note(s) of the following line thus helping the performer
6278 to manage line breaks during performance.
6280 Custodes were frequently used in music notation until the 17th
6281 century. Nowadays, they have survived only in a few particular forms
6282 of musical notation such as contemporary editions of Gregorian chant
6283 like the @emph{editio vaticana}. There are different custos glyphs
6284 used in different flavors of notational style.
6286 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6287 @internalsref{Staff} context when declaring the @code{\layout} block,
6288 as shown in the following example
6294 \consists Custos_engraver
6295 Custos \override #'style = #'mensural
6300 The result looks like this
6302 @lilypond[quote,raggedright]
6306 \override Staff.Custos #'style = #'mensural
6311 \context { \Staff \consists Custos_engraver }
6316 The custos glyph is selected by the @code{style} property. The styles
6317 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
6318 @code{mensural}. They are demonstrated in the following fragment
6320 @lilypond[quote,raggedright,fragment]
6321 \new Lyrics \lyricmode {
6323 \typewriter "vaticana"
6324 { " " \musicglyph #"custodes-vaticana-u0" }
6327 \typewriter "medicaea"
6328 { " " \musicglyph #"custodes-medicaea-u0" }
6331 \typewriter "hufnagel"
6332 { " " \musicglyph #"custodes-hufnagel-u0" }
6335 \typewriter "mensural"
6336 { " " \musicglyph #"custodes-mensural-u0" }
6344 Program reference: @internalsref{Custos}.
6346 Examples: @inputfileref{input/regression,custos.ly}.
6350 @subsection Divisiones
6356 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6357 `division') is a staff context symbol that is used to structure
6358 Gregorian music into phrases and sections. The musical meaning of
6359 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
6360 can be characterized as short, medium and long pause, somewhat like
6361 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6362 only marks the end of a chant, but is also frequently used within a
6363 single antiphonal/responsorial chant to mark the end of each section.
6366 To use divisiones, include the file @code{gregorian-init.ly}. It
6367 contains definitions that you can apply by just inserting
6368 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6369 and @code{\finalis} at proper places in the input. Some editions use
6370 @emph{virgula} or @emph{caesura} instead of divisio minima.
6371 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
6374 @lilypondfile[quote,raggedright]{divisiones.ly}
6378 @cindex @code{\virgula}
6380 @cindex @code{\caesura}
6382 @cindex @code{\divisioMinima}
6383 @code{\divisioMinima},
6384 @cindex @code{\divisioMaior}
6385 @code{\divisioMaior},
6386 @cindex @code{\divisioMaxima}
6387 @code{\divisioMaxima},
6388 @cindex @code{\finalis}
6393 In this manual: @ref{Breath marks}.
6395 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6397 Examples: @inputfileref{input/test,divisiones.ly}.
6400 @subsection Ligatures
6404 @c TODO: Should double check if I recalled things correctly when I wrote
6405 @c down the following paragraph by heart.
6407 A ligature is a graphical symbol that represents at least two distinct
6408 notes. Ligatures originally appeared in the manuscripts of Gregorian
6409 chant notation to denote ascending or descending sequences of notes.
6411 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6412 Some ligature styles may need additional input syntax specific for
6413 this particular type of ligature. By default, the
6414 @internalsref{LigatureBracket} engraver just puts a square bracket
6417 @lilypond[quote,raggedright,verbatim]
6425 To select a specific style of ligatures, a proper ligature engraver
6426 has to be added to the @internalsref{Voice} context, as explained in
6427 the following subsections. Only white mensural ligatures
6428 are supported with certain limitations.
6434 Ligatures need special spacing that has not yet been implemented. As
6435 a result, there is too much space between ligatures most of the time,
6436 and line breaking often is unsatisfactory. Also, lyrics do not
6437 correctly align with ligatures.
6439 Accidentals must not be printed within a ligature, but instead need to
6440 be collected and printed in front of it.
6442 Augmentum dots within ligatures are not handled correctly.
6446 * White mensural ligatures::
6447 * Gregorian square neumes ligatures::
6450 @node White mensural ligatures
6451 @subsubsection White mensural ligatures
6453 @cindex Mensural ligatures
6454 @cindex White mensural ligatures
6456 There is limited support for white mensural ligatures.
6458 To engrave white mensural ligatures, in the layout block the
6459 @internalsref{Mensural_ligature_engraver} has to be put into the
6460 @internalsref{Voice} context, and remove the
6461 @internalsref{Ligature_bracket_engraver}
6467 \remove Ligature_bracket_engraver
6468 \consists Mensural_ligature_engraver
6473 There is no additional input language to describe the shape of a
6474 white mensural ligature. The shape is rather determined solely from
6475 the pitch and duration of the enclosed notes. While this approach may
6476 take a new user a while to get accustomed, it has the great advantage
6477 that the full musical information of the ligature is known internally.
6478 This is not only required for correct MIDI output, but also allows for
6479 automatic transcription of the ligatures.
6484 \set Score.timing = ##f
6485 \set Score.defaultBarType = "empty"
6486 \override NoteHead #'style = #'neomensural
6487 \override Staff.TimeSignature #'style = #'neomensural
6489 \[ g\longa c\breve a\breve f\breve d'\longa \]
6491 \[ e1 f1 a\breve g\longa \]
6493 @lilypond[quote,raggedright]
6496 \set Score.timing = ##f
6497 \set Score.defaultBarType = "empty"
6498 \override NoteHead #'style = #'neomensural
6499 \override Staff.TimeSignature #'style = #'neomensural
6501 \[ g\longa c\breve a\breve f\breve d'\longa \]
6503 \[ e1 f1 a\breve g\longa \]
6508 \remove Ligature_bracket_engraver
6509 \consists Mensural_ligature_engraver
6515 Without replacing @internalsref{Ligature_bracket_engraver} with
6516 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6519 @lilypond[quote,raggedright]
6521 \set Score.timing = ##f
6522 \set Score.defaultBarType = "empty"
6523 \override NoteHead #'style = #'neomensural
6524 \override Staff.TimeSignature #'style = #'neomensural
6526 \[ g\longa c\breve a\breve f\breve d'\longa \]
6528 \[ e1 f1 a\breve g\longa \]
6534 The implementation is experimental. It may output strange warnings,
6535 incorrect results, and might even crash on more complex ligatures.
6537 @node Gregorian square neumes ligatures
6538 @subsubsection Gregorian square neumes ligatures
6540 @cindex Square neumes ligatures
6541 @cindex Gregorian square neumes ligatures
6543 There is limited support for Gregorian square neumes notation
6544 (following the style of the Editio Vaticana). Core ligatures can
6545 already be typeset, but essential issues for serious typesetting are
6546 still lacking, such as (among others) horizontal alignment of multiple
6547 ligatures, lyrics alignment and proper accidentals handling.
6550 The following table contains the extended neumes table of the 2nd
6551 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6552 1983 by the monks of Solesmes.
6554 @multitable @columnfractions .4 .2 .2 .2
6557 @b{Neuma aut@*Neumarum Elementa} @tab
6558 @b{Figurae@*Rectae} @tab
6559 @b{Figurae@*Liquescentes Auctae} @tab
6560 @b{Figurae@*Liquescentes Deminutae}
6562 @c TODO: \layout block is identical in all of the below examples.
6563 @c Therefore, it should somehow be included rather than duplicated all
6566 @c why not make identifiers in ly/engraver-init.ly? --hwn
6568 @c Because it's just used to typeset plain notes without
6569 @c a staff for demonstration purposes rather than something
6570 @c special of Gregorian chant notation. --jr
6575 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
6576 \include "gregorian-init.ly"
6581 \noBreak s^\markup {"a"} \noBreak
6583 % Punctum Inclinatum
6585 \noBreak s^\markup {"b"}
6587 \layout { \neumeDemoLayout }}
6590 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
6591 \include "gregorian-init.ly"
6594 % Punctum Auctum Ascendens
6595 \[ \auctum \ascendens b \]
6596 \noBreak s^\markup {"c"} \noBreak
6598 % Punctum Auctum Descendens
6599 \[ \auctum \descendens b \]
6600 \noBreak s^\markup {"d"} \noBreak
6602 % Punctum Inclinatum Auctum
6603 \[ \inclinatum \auctum b \]
6604 \noBreak s^\markup {"e"}
6606 \layout { \neumeDemoLayout }}
6609 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6610 \include "gregorian-init.ly"
6613 % Punctum Inclinatum Parvum
6614 \[ \inclinatum \deminutum b \]
6615 \noBreak s^\markup {"f"}
6617 \layout { \neumeDemoLayout }}
6623 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6624 \include "gregorian-init.ly"
6629 \noBreak s^\markup {"g"}
6631 \layout { \neumeDemoLayout }}
6637 @code{3. Apostropha vel Stropha}
6639 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6640 \include "gregorian-init.ly"
6645 \noBreak s^\markup {"h"}
6647 \layout { \neumeDemoLayout }}
6650 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6651 \include "gregorian-init.ly"
6655 \[ \stropha \auctum b \]
6656 \noBreak s^\markup {"i"}
6658 \layout { \neumeDemoLayout }}
6665 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6666 \include "gregorian-init.ly"
6671 \noBreak s^\markup {"j"}
6673 \layout { \neumeDemoLayout }}
6679 @code{5. Clivis vel Flexa}
6681 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6682 \include "gregorian-init.ly"
6689 \layout { \neumeDemoLayout }}
6692 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6693 \include "gregorian-init.ly"
6696 % Clivis Aucta Descendens
6697 \[ b \flexa \auctum \descendens g \]
6698 \noBreak s^\markup {"l"} \noBreak
6700 % Clivis Aucta Ascendens
6701 \[ b \flexa \auctum \ascendens g \]
6702 \noBreak s^\markup {"m"}
6704 \layout { \neumeDemoLayout }}
6707 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6708 \include "gregorian-init.ly"
6712 \[ b \flexa \deminutum g \]
6715 \layout { \neumeDemoLayout }}
6719 @code{6. Podatus vel Pes}
6721 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6722 \include "gregorian-init.ly"
6729 \layout { \neumeDemoLayout }}
6732 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6733 \include "gregorian-init.ly"
6736 % Pes Auctus Descendens
6737 \[ g \pes \auctum \descendens b \]
6738 \noBreak s^\markup {"p"} \noBreak
6740 % Pes Auctus Ascendens
6741 \[ g \pes \auctum \ascendens b \]
6742 \noBreak s^\markup {"q"}
6744 \layout { \neumeDemoLayout }}
6747 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6748 \include "gregorian-init.ly"
6752 \[ g \pes \deminutum b \]
6755 \layout { \neumeDemoLayout }}
6759 @code{7. Pes Quassus}
6761 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6762 \include "gregorian-init.ly"
6766 \[ \oriscus g \pes \virga b \]
6769 \layout { \neumeDemoLayout }}
6772 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6773 \include "gregorian-init.ly"
6776 % Pes Quassus Auctus Descendens
6777 \[ \oriscus g \pes \auctum \descendens b \]
6780 \layout { \neumeDemoLayout }}
6785 @code{8. Quilisma Pes}
6787 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6788 \include "gregorian-init.ly"
6792 \[ \quilisma g \pes b \]
6795 \layout { \neumeDemoLayout }}
6798 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6799 \include "gregorian-init.ly"
6802 % Quilisma Pes Auctus Descendens
6803 \[ \quilisma g \pes \auctum \descendens b \]
6806 \layout { \neumeDemoLayout }}
6811 @code{9. Podatus Initio Debilis}
6813 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6814 \include "gregorian-init.ly"
6817 % Pes Initio Debilis
6818 \[ \deminutum g \pes b \]
6821 \layout { \neumeDemoLayout }}
6824 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6825 \include "gregorian-init.ly"
6828 % Pes Auctus Descendens Initio Debilis
6829 \[ \deminutum g \pes \auctum \descendens b \]
6832 \layout { \neumeDemoLayout }}
6839 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6840 \include "gregorian-init.ly"
6844 \[ a \pes b \flexa g \]
6847 \layout { \neumeDemoLayout }}
6850 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6851 \include "gregorian-init.ly"
6854 % Torculus Auctus Descendens
6855 \[ a \pes b \flexa \auctum \descendens g \]
6858 \layout { \neumeDemoLayout }}
6861 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6862 \include "gregorian-init.ly"
6865 % Torculus Deminutus
6866 \[ a \pes b \flexa \deminutum g \]
6869 \layout { \neumeDemoLayout }}
6873 @code{11. Torculus Initio Debilis}
6875 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6876 \include "gregorian-init.ly"
6879 % Torculus Initio Debilis
6880 \[ \deminutum a \pes b \flexa g \]
6883 \layout { \neumeDemoLayout }}
6886 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6887 \include "gregorian-init.ly"
6890 % Torculus Auctus Descendens Initio Debilis
6891 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6894 \layout { \neumeDemoLayout }}
6897 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6898 \include "gregorian-init.ly"
6901 % Torculus Deminutus Initio Debilis
6902 \[ \deminutum a \pes b \flexa \deminutum g \]
6905 \layout { \neumeDemoLayout }}
6909 @code{12. Porrectus}
6911 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6912 \include "gregorian-init.ly"
6916 \[ a \flexa g \pes b \]
6919 \layout { \neumeDemoLayout }}
6922 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6923 \include "gregorian-init.ly"
6926 % Porrectus Auctus Descendens
6927 \[ a \flexa g \pes \auctum \descendens b \]
6930 \layout { \neumeDemoLayout }}
6933 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6934 \include "gregorian-init.ly"
6937 % Porrectus Deminutus
6938 \[ a \flexa g \pes \deminutum b \]
6941 \layout { \neumeDemoLayout }}
6947 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6948 \include "gregorian-init.ly"
6952 \[ \virga b \inclinatum a \inclinatum g \]
6955 \layout { \neumeDemoLayout }
6959 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6960 \include "gregorian-init.ly"
6964 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6967 \layout { \neumeDemoLayout }}
6970 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6971 \include "gregorian-init.ly"
6974 % Climacus Deminutus
6975 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6978 \layout { \neumeDemoLayout }}
6982 @code{14. Scandicus}
6984 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6985 \include "gregorian-init.ly"
6989 \[ g \pes a \virga b \]
6992 \layout { \neumeDemoLayout }}
6995 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6996 \include "gregorian-init.ly"
6999 % Scandicus Auctus Descendens
7000 \[ g \pes a \pes \auctum \descendens b \]
7003 \layout { \neumeDemoLayout }}
7006 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7007 \include "gregorian-init.ly"
7010 % Scandicus Deminutus
7011 \[ g \pes a \pes \deminutum b \]
7014 \layout { \neumeDemoLayout }}
7020 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7021 \include "gregorian-init.ly"
7025 \[ g \oriscus a \pes \virga b \]
7028 \layout { \neumeDemoLayout }}
7031 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7032 \include "gregorian-init.ly"
7035 % Salicus Auctus Descendens
7036 \[ g \oriscus a \pes \auctum \descendens b \]
7039 \layout { \neumeDemoLayout }}
7046 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7047 \include "gregorian-init.ly"
7051 \[ \stropha b \stropha b \stropha a \]
7054 \layout { \neumeDemoLayout }
7063 Unlike most other neumes notation systems, the input language for
7064 neumes does not reflect the typographical appearance, but is designed
7065 to focus on musical meaning. For example, @code{\[ a \pes b
7066 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7067 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7068 curved flexa shape and only a single Punctum head. There is no
7069 command to explicitly typeset the curved flexa shape; the decision of
7070 when to typeset a curved flexa shape is based on the musical
7071 input. The idea of this approach is to separate the musical aspects
7072 of the input from the notation style of the output. This way, the
7073 same input can be reused to typeset the same music in a different
7074 style of Gregorian chant notation.
7076 The following table shows the code fragments that produce the
7077 ligatures in the above neumes table. The letter in the first column
7078 in each line of the below table indicates to which ligature in the
7079 above table it refers. The second column gives the name of the
7080 ligature. The third column shows the code fragment that produces this
7081 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7083 @multitable @columnfractions .1 .4 .5
7097 Punctum Inclinatum @tab
7098 @code{\[ \inclinatum b \]}
7102 Punctum Auctum Ascendens @tab
7103 @code{\[ \auctum \ascendens b \]}
7107 Punctum Auctum Descendens @tab
7108 @code{\[ \auctum \descendens b \]}
7112 Punctum Inclinatum Auctum @tab
7113 @code{\[ \inclinatum \auctum b \]}
7117 Punctum Inclinatum Parvum @tab
7118 @code{\[ \inclinatum \deminutum b \]}
7123 @code{\[ \virga b \]}
7128 @code{\[ \stropha b \]}
7133 @code{\[ \stropha \auctum b \]}
7138 @code{\[ \oriscus b \]}
7142 Clivis vel Flexa @tab
7143 @code{\[ b \flexa g \]}
7147 Clivis Aucta Descendens @tab
7148 @code{\[ b \flexa \auctum \descendens g \]}
7152 Clivis Aucta Ascendens @tab
7153 @code{\[ b \flexa \auctum \ascendens g \]}
7158 @code{\[ b \flexa \deminutum g \]}
7162 Podatus vel Pes @tab
7163 @code{\[ g \pes b \]}
7167 Pes Auctus Descendens @tab
7168 @code{\[ g \pes \auctum \descendens b \]}
7172 Pes Auctus Ascendens @tab
7173 @code{\[ g \pes \auctum \ascendens b \]}
7178 @code{\[ g \pes \deminutum b \]}
7183 @code{\[ \oriscus g \pes \virga b \]}
7187 Pes Quassus Auctus Descendens @tab
7188 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7193 @code{\[ \quilisma g \pes b \]}
7197 Quilisma Pes Auctus Descendens @tab
7198 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7202 Pes Initio Debilis @tab
7203 @code{\[ \deminutum g \pes b \]}
7207 Pes Auctus Descendens Initio Debilis @tab
7208 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7213 @code{\[ a \pes b \flexa g \]}
7217 Torculus Auctus Descendens @tab
7218 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7222 Torculus Deminutus @tab
7223 @code{\[ a \pes b \flexa \deminutum g \]}
7227 Torculus Initio Debilis @tab
7228 @code{\[ \deminutum a \pes b \flexa g \]}
7232 Torculus Auctus Descendens Initio Debilis @tab
7233 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7237 Torculus Deminutus Initio Debilis @tab
7238 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7243 @code{\[ a \flexa g \pes b \]}
7247 Porrectus Auctus Descendens @tab
7248 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7252 Porrectus Deminutus @tab
7253 @code{\[ a \flexa g \pes \deminutum b \]}
7258 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7262 Climacus Auctus @tab
7263 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7267 Climacus Deminutus @tab
7268 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7273 @code{\[ g \pes a \virga b \]}
7277 Scandicus Auctus Descendens @tab
7278 @code{\[ g \pes a \pes \auctum \descendens b \]}
7282 Scandicus Deminutus @tab
7283 @code{\[ g \pes a \pes \deminutum b \]}
7288 @code{\[ g \oriscus a \pes \virga b \]}
7292 Salicus Auctus Descendens @tab
7293 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7298 @code{\[ \stropha b \stropha b \stropha a \]}
7304 The following head prefixes are supported
7306 @cindex @code{\virga}
7308 @cindex @code{\stropha}
7310 @cindex @code{\inclinatum}
7312 @cindex @code{\auctum}
7314 @cindex @code{\descendens}
7316 @cindex @code{\ascendens}
7318 @cindex @code{\oriscus}
7320 @cindex @code{\quilisma}
7322 @cindex @code{\deminutum}
7325 Head prefixes can be accumulated, though restrictions apply. For
7326 example, either @code{\descendens} or @code{\ascendens} can be applied
7327 to a head, but not both to the same head.
7330 @cindex @code{\flexa}
7331 Two adjacent heads can be tied together with the @code{\pes} and
7332 @code{\flexa} infix commands for a rising and falling line of melody,
7337 @node Gregorian Chant contexts
7338 @subsection Gregorian Chant contexts
7340 @cindex VaticanaVoiceContext
7341 @cindex VaticanaStaffContext
7343 The predefined @code{VaticanaVoiceContext} and
7344 @code{VaticanaStaffContext} can be used to engrave a piece of
7345 Gregorian Chant in the style of the Editio Vaticana. These contexts
7346 initialize all relevant context properties and grob properties to
7347 proper values, so you can immediately go ahead entering the chant, as
7348 the following excerpt demonstrates
7350 @lilypond[quote,raggedright,verbatim,noindent]
7351 \include "gregorian-init.ly"
7354 \context VaticanaVoice = "cantus" {
7355 \override Score.BarNumber #'transparent = ##t {
7356 \[ c'\melisma c' \flexa a \]
7357 \[ a \flexa \deminutum g\melismaEnd \]
7359 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7360 c' \divisioMinima \break
7361 \[ c'\melisma c' \flexa a \]
7362 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7365 \lyricsto "cantus" \new Lyrics {
7366 San- ctus, San- ctus, San- ctus
7373 @node Mensural contexts
7374 @subsection Mensural contexts
7376 @cindex MensuralVoiceContext
7377 @cindex MensuralStaffContext
7379 The predefined @code{MensuralVoiceContext} and
7380 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7381 style. These contexts initialize all relevant context properties and
7382 grob properties to proper values, so you can immediately go ahead
7383 entering the chant, as the following excerpt demonstrates
7385 @lilypond[quote,raggedright,verbatim,noindent]
7388 \context MensuralVoice = "discantus" \transpose c c' {
7389 \override Score.BarNumber #'transparent = ##t {
7390 c'1\melisma bes a g\melismaEnd
7392 \[ f1\melisma a c'\breve d'\melismaEnd \]
7394 c'\breve\melisma a1 g1\melismaEnd
7395 fis\longa^\signumcongruentiae
7398 \lyricsto "discantus" \new Lyrics {
7399 San -- ctus, San -- ctus, San -- ctus
7407 @subsection Figured bass
7409 @cindex Basso continuo
7411 @c TODO: musicological blurb about FB
7414 LilyPond has limited support for figured bass
7416 @lilypond[quote,raggedright,verbatim,fragment]
7418 \context Voice { \clef bass dis4 c d ais }
7419 \context FiguredBass \figuremode {
7420 < 6 >4 < 7 >8 < 6+ [_!] >
7426 The support for figured bass consists of two parts: there is an input
7427 mode, introduced by @code{\figuremode}, where you can enter bass figures
7428 as numbers, and there is a context called @internalsref{FiguredBass} that
7429 takes care of making @internalsref{BassFigure} objects.
7431 In figures input mode, a group of bass figures is delimited by
7432 @code{<} and @code{>}. The duration is entered after the @code{>}
7436 @lilypond[quote,raggedright,fragment]
7437 \context FiguredBass
7438 \figuremode { <4 6> }
7441 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7447 @lilypond[quote,raggedright,fragment]
7448 \context FiguredBass
7449 \figuremode { <4- 6+ 7!> }
7452 Spaces or dashes may be inserted by using @code{_}. Brackets are
7453 introduced with @code{[} and @code{]}
7458 @lilypond[quote,raggedright,fragment]
7459 \context FiguredBass
7460 \figuremode { < [4 6] 8 [_! 12]> }
7463 Although the support for figured bass may superficially resemble chord
7464 support, it works much simpler. The @code{\figuremode} mode simply
7465 stores the numbers , and @internalsref{FiguredBass} context prints
7466 them as entered. There is no conversion to pitches, and no
7467 realizations of the bass are played in the MIDI file.
7469 Internally, the code produces markup texts. You can use any of the
7470 markup text properties to override formatting. For example, the
7471 vertical spacing of the figures may be set with @code{baseline-skip}.
7475 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7476 and @internalsref{FiguredBass} context.
7480 Slash notation for alterations is not supported.
7482 @node Contemporary notation
7483 @section Contemporary notation
7485 In the 20th century, composers have greatly expanded the musical
7486 vocabulary. With this expansion, many innovations in musical notation
7487 have been tried. The book ``Music Notation in the 20th century'' by
7488 Kurt Stone gives a comprehensive overview (see @ref{Literature
7489 list}). In general, the use of new, innovative notation makes a piece
7490 harder to understand and perform and its use should therefore be
7491 avoided. For this reason, support for contemporary notation in
7492 LilyPond is limited.
7496 * Polymetric notation::
7498 * Special fermatas::
7502 @node Polymetric notation
7503 @subsection Polymetric notation
7505 Double time signatures are not supported explicitly, but they can be
7506 faked. In the next example, the markup for the time signature is
7507 created with a markup text. This markup text is inserted in the
7508 @internalsref{TimeSignature} grob.
7510 @lilypond[verbatim,raggedright]
7516 \musicglyph #"scripts-stopped"
7517 \bracket \column < "5" "8" >
7522 \override Staff.TimeSignature #'print-function = #Text_interface::print
7523 \override Staff.TimeSignature #'text = #tsMarkup
7525 c'2 \bar ":" c'4 c'4.
7529 Each staff can also have its own time signature. This is done by
7530 moving the @internalsref{Timing_engraver} to @internalsref{Staff}
7535 \context{ \Score \remove "Timing_engraver" }
7536 \context{ \Staff \consists "Timing_engraver" }
7541 Now, each staff has its own time signature.
7554 c4. c8 c c c4. c8 c c
7559 @lilypond[quote,raggedright]
7561 \context{ \Score \remove "Timing_engraver" }
7562 \context{ \Staff \consists "Timing_engraver" }
7576 c4. c8 c c c4. c8 c c
7582 A different form of polymetric notation is where note lengths have
7583 different values across staves.
7585 This notation can be created by setting a common time signature for
7586 each staff but replacing it manually using
7587 @code{timeSignatureFraction} to the desired fraction. Then the printed
7588 durations in each staff are scaled to the common time signature.
7589 The latter is done with @code{\compressmusic}, which is similar to
7590 @code{\times}, but does not create a tuplet bracket.
7593 In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
7594 used in parallel. In the second staff, shown durations are multiplied by
7595 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7596 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7598 @lilypond[raggedright,verbatim,fragment]
7606 \set Staff.timeSignatureFraction = #'(9 . 8)
7607 \compressmusic #'(2 . 3)
7608 \repeat unfold 6 { c8[ c c] }
7612 \set Staff.timeSignatureFraction = #'(10 . 8)
7613 \compressmusic #'(3 . 5) {
7614 \repeat unfold 2 { c8[ c c] }
7615 \repeat unfold 2 { c8[ c] }
7616 | c4. c4. \times 2/3 { c8 c c } c4
7627 When using different time signatures in parallel, the spacing is
7628 aligned vertically, but bar lines distort the regular spacing.
7633 @subsection Clusters
7637 A cluster indicates a continuous range of pitches to be played. They
7638 can be denoted as the envelope of a set of notes. They are entered by
7639 applying the function @code{makeClusters} to a sequence of
7642 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
7643 \makeClusters { <c e > <b f'> }
7646 The following example (from
7647 @inputfileref{input/regression,cluster.ly}) shows what the result
7650 @lilypondfile[raggedright,quote]{cluster.ly}
7652 Ordinary notes and clusters can be put together in the same staff,
7653 even simultaneously. In such a case no attempt is made to
7654 automatically avoid collisions between ordinary notes and clusters.
7658 Program reference: @internalsref{ClusterSpanner},
7659 @internalsref{ClusterSpannerBeacon},
7660 @internalsref{Cluster_spanner_engraver}, and
7661 @internalsref{ClusterNoteEvent}.
7663 Examples: @inputfileref{input/regression,cluster.ly}.
7667 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7668 accurately. Use @code{<g a>8 <e a>8} instead.
7672 @node Special fermatas
7673 @subsection Special fermatas
7675 @cindex fermatas, special
7677 In contemporary music notation, special fermata symbols denote breaks
7678 of differing lengths. The following fermatas are supported
7680 @lilypond[quote,raggedright]
7703 \context Lyrics \lyricmode {
7704 \override LyricText #'font-family = #'typewriter
7705 "shortfermata" "fermata" "longfermata" "verylongfermata"
7710 See @ref{Articulations} for general instructions how to apply scripts
7711 such as fermatas to notes.
7713 @node Feathered beams
7714 @subsection Feathered beams
7716 Feathered beams are not supported natively, but they can be faked by
7717 forcing two beams to overlap. Here is an example,
7719 @c don't change relative setting witout changing positions!
7720 @lilypond[raggedright,relative=1,fragment,verbatim]
7725 \once \override Voice.Beam #'positions = #'(0 . 0.5)
7730 \once \override Voice.Beam #'positions = #'(0 . -0.5)
7738 @node Educational use
7739 @section Educational use
7741 With the amount of control that LilyPond offers, one can make great
7742 teaching tools in addition to great musical scores.
7746 * Blank music sheet::
7748 * Easy Notation note heads::
7752 @subsection Balloon help
7754 Elements of notation can be marked and named with the help of a square
7755 balloon. The primary purpose of this feature is to explain notation.
7757 The following example demonstrates its use.
7759 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7762 #(add-balloon-text 'NoteHead "heads, or tails?"
7769 The function @code{add-balloon-text} takes the name of a grob, the
7770 label to print, and the position where to put the label relative to
7771 the object. In the above example, the text ``heads or tails?'' ends
7772 3 spaces below and 1 space to the right of the marked head.
7775 @cindex notation, explaining
7779 Program reference: @internalsref{text-balloon-interface}.
7781 Examples: @inputfileref{input/regression,balloon.ly}.
7786 @node Blank music sheet
7787 @subsection Blank music sheet
7789 A blank music sheet can be produced also by using invisible notes, and
7790 removing @code{Bar_number_engraver}.
7795 \repeat unfold 2 % Change this for more lines.
7800 \override TimeSignature #'transparent = ##t
7801 defaultBarType = #""
7802 \remove Bar_number_engraver
7804 \context Staff \emptymusic
7805 \context TabStaff \emptymusic
7811 @subsection Hidden notes
7813 @cindex Hidden notes
7814 @cindex Invisible notes
7815 @cindex Transparent notes
7817 Hidden (or invisible or transparent) notes can be useful in preparing theory
7818 or composition exercises.
7820 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
7828 Hidden notes are also great for performing weird tricks. For example,
7829 slurs cannot be attached to rests or spacer rests, but you may with
7830 to include that in your score -- string instruments use this notation
7831 when doing pizzicato to indicate that the note should ring for as long
7834 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
7837 c4^"pizz"( \hideNotes c)
7838 \unHideNotes c( \hideNotes c)
7845 @node Easy Notation note heads
7846 @subsection Easy Notation note heads
7848 @cindex easy notation
7851 The `easy play' note head includes a note name inside the head. It is
7852 used in music for beginners
7854 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
7859 The command @code{\setEasyHeads} overrides settings for the
7860 @internalsref{NoteHead} object. To make the letters readable, it has
7861 to be printed in a large font size. To print with a larger font, see
7862 @ref{Setting global staff size}.
7866 @cindex @code{\setEasyHeads}
7867 @code{\setEasyHeads}