2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration:
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C:
90 @lilypond[fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches:
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[verbatim,relative=2]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are:
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave:
153 @lilypond[fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands:
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch:
186 @lilypond[fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
220 Rests are entered like notes, with the note name @code{r}:
222 @lilypond[raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone:
236 @lilypond[raggedright,verbatim]
242 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}:
255 @lilypond[raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command:
262 @lilypond[raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables:
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
348 In the following example, the first three notes take up exactly two
350 @lilypond[fragment,relative=2,verbatim]
352 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
377 Whenever a note is found, a @internalsref{Stem} object is created
378 automatically. For whole notes and rests, they are also created but
383 @cindex @code{\stemUp}
385 @cindex @code{\stemDown}
387 @cindex @code{\stemBoth}
398 A tie connects two adjacent note heads of the same pitch. The tie in
399 effect extends the length of a note. Ties should not be confused with
400 slurs, which indicate articulation, or phrasing slurs, which indicate
401 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
403 @lilypond[fragment,verbatim]
404 e' ~ e' <c' e' g'> ~ <c' e' g'>
407 When a tie is applied to a chord, all note heads whose pitches match
408 are connected. When no note heads match, no ties will be created.
410 In its meaning a tie is just a way of extending a note duration, similar
411 to the augmentation dot; in the following example there are two ways of
412 notating exactly the same concept:
414 @lilypond[fragment,raggedright]
415 \time 3/4 c'2. c'2 ~ c'4
417 If you need to tie a lot of notes over bars, it may be easier to use automatic
418 note splitting (see @ref{Automatic note splitting}).
423 @cindex @code{\tieUp}
425 @cindex @code{\tieDown}
427 @cindex @code{\tieBoth}
429 @cindex @code{\tieDotted}
431 @cindex @code{\tieSolid}
436 In this manual: @ref{Automatic note splitting}.
438 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
440 For tying only a subset of the note heads of a pair of chords, see
441 @inputfileref{input/regression,tie-chord-partial.ly}.
446 Switching staves when a tie is active will not produce a slanted tie.
448 Formatting of ties is a difficult subject. The results are often not
458 @cindex @code{\times}
460 Tuplets are made out of a music expression by multiplying all durations
463 @cindex @code{\times}
465 \times @var{fraction} @var{musicexpr}
469 The duration of @var{musicexpr} will be multiplied by the fraction.
470 The fraction's denominator will be printed over the notes, optionally
471 with a bracket. The most common tuplet is the triplet in which 3
472 notes have the length of 2, so the notes are 2/3 of their written
475 @lilypond[fragment,verbatim]
476 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
479 The property @code{tupletSpannerDuration} specifies how long each
480 bracket should last. With this, you can make lots of tuplets while
481 typing @code{\times} only once, saving lots of typing. In the next
482 example, there are two triplets shown, while @code{\times} was only
485 @lilypond[fragment,relative,raggedright,verbatim]
486 \set tupletSpannerDuration = #(ly:make-moment 1 4)
487 \times 2/3 { c'8 c c c c c }
490 The format of the number is determined by the property
491 @code{tupletNumberFormatFunction}. The default prints only the
492 denominator, but if it is set to the Scheme function
493 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
497 @cindex @code{tupletNumberFormatFunction}
498 @cindex tuplet formatting
503 @cindex @code{\tupletUp}
505 @cindex @code{\tupletDown}
507 @cindex @code{\tupletBoth}
512 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
514 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
518 Nested tuplets are not formatted automatically. In this case, outer
519 tuplet brackets should be moved manually, which is demonstrated in
520 @inputfileref{input/regression,tuplet-nest.ly}.
524 @node Easier music entry
525 @section Easier music entry
528 This section deals with tricks and features of the input language that
529 were added solely to help entering music, finding and correcting
530 mistakes. There are also external tools that make debugging easier.
531 See @ref{Point and click} for more information.
533 It is also possible to enter and edit music using other programs. For
534 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
535 website for more information.
542 * Skipping corrected music::
543 * Automatic note splitting::
549 @node Relative octaves
550 @subsection Relative octaves
552 @cindex relative octave specification
554 Octaves are specified by adding @code{'} and @code{,} to pitch names.
555 When you copy existing music, it is easy to accidentally put a pitch
556 in the wrong octave and hard to find such an error. The relative
557 octave mode prevents these errors: a single error puts the rest of the
558 piece off by one octave:
560 @cindex @code{\relative}
562 \relative @var{startpitch} @var{musicexpr}
565 The octave of notes that appear in @var{musicexpr} are calculated as
566 follows: If no octave changing marks are used, the basic interval
567 between this and the last note is always taken to be a fourth or
568 less. This distance is determined without regarding alterations; a
569 @code{fisis} following a @code{ceses} will be put above the
572 The octave changing marks @code{'} and @code{,} can be added to raise
573 or lower the pitch by an extra octave. Upon entering relative mode,
574 an absolute starting pitch must be specified that will act as the
575 predecessor of the first note of @var{musicexpr}.
577 Here is the relative mode shown in action:
578 @lilypond[fragment,raggedright,verbatim]
584 Octave changing marks are used for intervals greater than a fourth:
585 @lilypond[fragment,verbatim]
590 If the preceding item is a chord, the first note of the chord is used
591 to determine the first note of the next chord:
593 @lilypond[fragment,verbatim]
600 @cindex @code{\notes}
602 The pitch after the @code{\relative} contains a note name. To parse
603 the note name as a pitch, it must surrounded by @code{\notes}
605 The relative conversion will not affect @code{\transpose},
606 @code{\chords} or @code{\relative} sections in its argument. If you
607 want to use relative within transposed music, you must place an
608 additional @code{\relative} inside the @code{\transpose}.
611 @subsection Octave check
614 Octave checks make octave errors easier to correct: a note may be
615 followed by @code{=}@var{quotes} which indicates what its absolute
616 octave should be. In the following example,
618 \relative c'' @{ c='' b=' d,='' @}
622 @c take care with @code, adds confusing quotes.
623 the d will generate a warning, because a d'' is expected, but a d' is
624 found. In the output, the octave is corrected for this and the
629 There is also a syntax that is separate from the notes.
634 This checks that @var{pitch} (without octave) yields @var{pitch} (with
635 octave) in \relative mode. If not, a warning is printed, and the
636 octave is corrected, for example, the first check is passed
637 successfully. The second check fails with an error message. The
638 octave is adjusted so the following notes are in the correct octave
649 The octave of a note following an octave check is determined with
650 respect to the note preceding it. In the next fragment, the last note
651 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
652 be deleted without changing the meaning of the piece.
654 @lilypond[verbatim,fragment]
663 @subsection Bar check
667 @cindex @code{barCheckSynchronize}
670 Bar checks help detect errors in the durations. A bar check is
671 entered using the bar symbol, `@code{|}'. Whenever it is encountered
672 during interpretation, it should fall on a measure boundary. If it
673 does not, a warning is printed. In the next example, the second bar
674 check will signal an error:
676 \time 3/4 c2 e4 | g2 |
679 Bar checks can also be used in lyrics, for example
684 Twin -- kle | Twin -- kle
689 @cindex skipTypesetting
691 Failed bar checks are caused by entering incorrect
692 durations. Incorrect durations often completely garble up the score,
693 especially if it is polyphonic, so you should start correcting the
694 score by scanning for failed bar checks and incorrect durations. To
695 speed up this process, you can use @code{skipTypesetting}, described
698 @node Skipping corrected music
699 @subsection Skipping corrected music
701 The property @code{Score.skipTypesetting} can be used to switch on and
702 off typesetting completely during the interpretation phase. When
703 typesetting is switched off, the music is processed much more quickly.
704 This can be used to skip over the parts of a score that have already
705 been checked for errors:
707 @lilypond[fragment,raggedright,verbatim]
709 \set Score.skipTypesetting = ##t
711 \set Score.skipTypesetting = ##f
715 @node Automatic note splitting
716 @subsection Automatic note splitting
718 Long notes can be converted automatically to tied notes. This is done
719 by replacing the @internalsref{Note_heads_engraver} by the
720 @internalsref{Completion_heads_engraver}.
721 In the following examples, notes crossing the bar line are split and tied.
724 @lilypond[noindent,verbatim,relative=1]
726 \remove "Note_heads_engraver"
727 \consists "Completion_heads_engraver"
729 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
733 This engraver splits all running notes at the bar line, and inserts
734 ties. One of its uses is to debug complex scores: if the measures are
735 not entirely filled, then the ties exactly show how much each measure
740 Not all durations (especially those containing tuplets) can be
741 represented exactly; the engraver will not insert tuplets.
745 Examples: @inputfileref{input/regression,completion-heads.ly}.
747 Program reference: @internalsref{Completion_heads_engraver}.
751 @section Staff notation
753 This section describes music notation that occurs on staff level,
754 such as keys, clefs and time signatures.
756 @cindex Staff notation
770 @subsection Staff symbol
772 @cindex adjusting staff symbol
774 Notes, dynamic signs, etc. are grouped
775 with a set of horizontal lines, into a staff (plural `staves'). In our
776 system, these lines are drawn using a separate layout object called
780 @cindex staff lines, setting number of
781 @cindex staff lines, setting thickness of
782 @cindex thickness of staff lines, setting
783 @cindex number of staff lines, setting
787 Program reference: @internalsref{StaffSymbol}.
789 Examples: @inputfileref{input/test,staff-lines.ly},
790 @inputfileref{input/test,staff-size.ly}.
794 If a staff is ended halfway a piece, the staff symbol may not end
795 exactly on the bar line.
799 @subsection Key signature
800 @cindex Key signature
804 The key signature indicates the scale in which a piece is played. It
805 is denoted by a set of alterations (flats or sharps) at the start of
809 Setting or changing the key signature is done with the @code{\key}
812 @code{\key} @var{pitch} @var{type}
815 @cindex @code{\minor}
816 @cindex @code{\major}
817 @cindex @code{\minor}
818 @cindex @code{\ionian}
819 @cindex @code{\locrian}
820 @cindex @code{\aeolian}
821 @cindex @code{\mixolydian}
822 @cindex @code{\lydian}
823 @cindex @code{\phrygian}
824 @cindex @code{\dorian}
826 Here, @var{type} should be @code{\major} or @code{\minor} to get
827 @var{pitch}-major or @var{pitch}-minor, respectively.
828 The standard mode names @code{\ionian},
829 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
830 @code{\phrygian}, and @code{\dorian} are also defined.
832 This command sets the context property
833 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
834 can be specified by setting this property directly.
836 Accidentals and key signatures often confuse new users, because
837 unaltered notes get natural signs depending on the key signature. For
838 more information, see @ref{More about pitches}.
842 The ordering of a key cancellation is wrong when it is combined with
843 repeat bar lines. The cancellation is also printed after a line break.
847 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
849 @cindex @code{keySignature}
856 The clef indicates which lines of the staff correspond to which
860 The clef can be set or changed with the @code{\clef} command:
861 @lilypond[fragment,verbatim]
862 \key f\major c''2 \clef alto g'2
865 Supported clef-names include:
866 @c Moved standard clefs to the top /MB
870 @item treble, violin, G, G2
883 G clef on 1st line, so-called French violin clef
888 @cindex mezzosoprano clef
891 @cindex baritone clef
894 @cindex varbaritone clef
905 By adding @code{_8} or @code{^8} to the clef name, the clef is
906 transposed one octave down or up, respectively, and @code{_15} and
907 @code{^15} transposes by two octaves. The argument @var{clefname}
908 must be enclosed in quotes when it contains underscores or digits. For
912 @cindex choral tenor clef
913 @lilypond[verbatim,fragment,relative]
917 This command is equivalent to setting @code{clefGlyph},
918 @code{clefPosition} (which controls the Y position of the clef),
919 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
920 when any of these properties are changed.
924 Program reference: the object for this symbol is @internalsref{Clef}.
928 @node Ottava brackets
929 @subsection Ottava brackets
931 ``Ottava'' brackets introduce an extra transposition of an octave for
932 the staff. They are created by invoking the function
933 @code{set-octavation}:
939 @lilypond[verbatim,fragment]
948 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
949 (for 15ma) as arguments. Internally the function sets the properties
950 @code{ottavation} (e.g. to @code{"8va"}) and
951 @code{centralCPosition}. For overriding the text of the bracket, set
952 @code{ottavation} after invoking @code{set-octavation}, i.e.,
956 \set Staff.ottavation = #"8"
961 Program reference: @internalsref{OttavaBracket}.
963 Examples: @inputfileref{input/regression,ottava.ly},
964 @inputfileref{input/regression,ottava-broken.ly}.
968 @code{set-octavation} will get confused when clef changes happen
969 during an octavation bracket.
972 @subsection Time signature
973 @cindex Time signature
977 Time signature indicates the metrum of a piece: a regular pattern of
978 strong and weak beats. It is denoted by a fraction at the start of the
982 The time signature is set or changed by the @code{\time}
984 @lilypond[fragment,verbatim]
985 \time 2/4 c'2 \time 3/4 c'2.
988 The symbol that is printed can be customized with the @code{style}
989 property. Setting it to @code{#'()} uses fraction style for 4/4 and
990 2/2 time. There are many more options for its layout. See
991 @inputfileref{input/test,time.ly} for more examples.
994 This command sets the property @code{timeSignatureFraction},
995 @code{beatLength} and @code{measureLength} in the @code{Timing}
996 context, which is normally aliased to @internalsref{Score}. The
997 property @code{measureLength} determines where bar lines should be
998 inserted, and how automatic beams should be generated. Changing the
999 value of @code{timeSignatureFraction} also causes the symbol to be
1002 More options are available through the Scheme function
1003 @code{set-time-signature}. In combination with the
1004 @internalsref{Measure_grouping_engraver}, it will create
1005 @internalsref{MeasureGrouping} signs. Such signs ease reading
1006 rhythmically complex modern music. In the following example, the 9/8
1007 measure is subdivided in 2, 2, 2 and 3. This is passed to
1008 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1011 \score { \notes \relative c'' {
1012 #(set-time-signature 9 8 '(2 2 2 3))
1013 g8[ g] d[ d] g[ g] a8[( bes g]) |
1014 #(set-time-signature 5 8 '(3 2))
1019 \context { \StaffContext
1020 \consists "Measure_grouping_engraver"
1026 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1031 Automatic beaming does not use the measure grouping specified with
1032 @code{set-time-signature}.
1034 @node Partial measures
1035 @subsection Partial measures
1038 @cindex partial measure
1039 @cindex measure, partial
1040 @cindex shorten measures
1041 @cindex @code{\partial}
1043 Partial measures, for example in upsteps, are entered using the
1044 @code{\partial} command:
1045 @lilypond[fragment,verbatim,relative=1]
1046 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1049 The syntax for this command is
1051 \partial @var{duration}
1053 This is internally translated into
1055 \set Timing.measurePosition = -@var{length of duration}
1058 The property @code{measurePosition} contains a rational number
1059 indicating how much of the measure has passed at this point.
1061 @node Unmetered music
1062 @subsection Unmetered music
1064 Bar lines and bar numbers are calculated automatically. For unmetered
1065 music (e.g. cadenzas), this is not desirable. By setting
1066 @code{Score.timing} to false, this automatic timing can be switched
1067 off. Empty bar lines,
1074 indicate where line breaks can occur.
1080 @cindex @code{\cadenzaOn}
1082 @cindex @code{\cadenzaOff}
1086 @subsection Bar lines
1090 @cindex measure lines
1094 Bar lines delimit measures, but are also used to indicate repeats.
1095 Normally, they are inserted automatically. Line breaks may only
1096 happen on bar lines.
1100 of bar lines can be forced with the @code{\bar} command:
1102 @lilypond[relative=1,fragment,verbatim]
1106 The following bar types are available:
1107 @lilypond[fragment,relative,raggedright,verbatim]
1120 For allowing line breaks, there is a special command,
1124 This will insert an invisible bar line, and allow line breaks at this
1127 In scores with many staves, a @code{\bar} command in one staff is
1128 automatically applied to all staves. The resulting bar lines are
1129 connected between different staves of a @internalsref{StaffGroup}:
1131 @lilypond[fragment,verbatim]
1132 << \context StaffGroup <<
1136 \new Staff { \clef bass c4 g e g } >>
1137 \new Staff { \clef bass c2 c2 } >>
1140 A bar line is created whenever the @code{whichBar} property is set.
1141 At the start of a measure it is set to the contents of
1142 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1143 to override default measure bars.
1145 The command @code{\bar }@var{bartype} is a short cut for doing
1146 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1147 is set to a string, a bar line of that type is created.
1150 @cindex repeatCommands
1151 @cindex defaultBarType
1153 You are encouraged to use @code{\repeat} for repetitions. See
1160 In this manual: @ref{Repeats}.
1163 Program reference: the bar line objects that are created at
1164 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1165 lines that span staves are @internalsref{SpanBar} objects.
1167 @cindex bar lines at start of system
1168 @cindex start of system
1170 The bar lines at the start of each system are
1171 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1172 @internalsref{SystemStartBracket}. Only one of these types is created
1173 in every context, and that type is determined by the property
1174 @code{systemStartDelimiter}.
1176 Examples: @inputfileref{input/test,bar-lines.ly},
1182 The easiest way to enter fragments with more than one voice on a staff
1183 is to split chords using the separator @code{\\}. You can use it for
1184 small, short-lived voices or for single chords:
1186 @lilypond[verbatim,fragment]
1187 \context Staff \relative c'' {
1188 c4 << { f d e } \\ { b c2 } >>
1189 c4 << g' \\ b, \\ f' \\ d >>
1193 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1194 voices are sometimes called "layers" other notation packages}
1196 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1197 each of these contexts, vertical direction of slurs, stems, etc. is set
1200 @cindex @code{\voiceOne}
1201 @cindex @code{\voiceFour}
1203 This can also be done by instantiating @internalsref{Voice} contexts
1204 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1205 a stem directions and horizontal shift for each part:
1208 @lilypond[raggedright,verbatim]
1210 \context Staff << \new Voice { \voiceOne cis2 b }
1211 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1212 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1216 The command @code{\oneVoice} will revert back to the normal setting.
1217 @cindex @code{\oneVoice}
1220 Normally, note heads with a different number of dots are not merged, but
1221 when the object property @code{merge-differently-dotted} is set in
1222 the @internalsref{NoteCollision} object, they are merged:
1223 @lilypond[verbatim,fragment,raggedright]
1224 \relative c'' \context Voice << {
1226 \override Staff.NoteCollision
1227 #'merge-differently-dotted = ##t
1229 } \\ { g8.[ f16] g8.[ f16] }
1233 Similarly, you can merge half note heads with eighth notes, by setting
1234 @code{merge-differently-headed}:
1235 @lilypond[fragment,relative=2,verbatim]
1238 \override Staff.NoteCollision
1239 #'merge-differently-headed = ##t
1240 c8 c4. } \\ { c2 c2 } >>
1243 LilyPond also vertically shifts rests that are opposite of a stem:
1246 @lilypond[raggedright,fragment,verbatim]
1247 \context Voice << c''4 \\ r4 >>
1255 @cindex @code{\oneVoice}
1257 @cindex @code{\voiceOne}
1259 @cindex @code{\voiceTwo}
1261 @cindex @code{\voiceThree}
1263 @cindex @code{\voiceFour}
1267 The following commands specify in what chords of the current voice
1268 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1269 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1272 @cindex @code{\shiftOn}
1274 @cindex @code{\shiftOnn}
1276 @cindex @code{\shiftOnnn}
1278 @cindex @code{\shiftOff}
1285 Program reference: the objects responsible for resolving collisions are
1286 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1288 Examples: See also example files
1289 @inputfileref{input/regression,collision-dots.ly},
1290 @inputfileref{input/regression,collision-head-chords.ly},
1291 @inputfileref{input/regression,collision-heads.ly},
1292 @inputfileref{input/regression,collision-mesh.ly}, and
1293 @inputfileref{input/regression,collisions.ly}.
1298 Resolving collisions is a intricate subject, and only a few situations
1299 are handled. When LilyPond cannot cope, the @code{force-hshift}
1300 property of the @internalsref{NoteColumn} object and pitched rests can
1301 be used to override typesetting decisions.
1303 When using @code{merge-differently-headed} with an upstem eighth or a
1304 shorter note, and a downstem half note, the eighth note gets the wrong
1307 There is no support for clusters where the same note occurs with
1308 different accidentals in the same chord. In this case, it is
1309 recommended to use enharmonic transcription, or to use special cluster
1310 notation (see @ref{Clusters}).
1315 Beams are used to group short notes into chunks that are aligned with
1316 the metrum. They are inserted automatically
1318 @lilypond[fragment,verbatim,relative=2]
1319 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1322 When these automatic decisions are not good enough, beaming can be
1323 entered explicitly. It is also possible to define beaming patterns
1324 that differ from the defaults.
1326 Individual notes may be marked with @code{\noBeam}, to prevent them
1329 @lilypond[fragment,verbatim,relative=2]
1330 \time 2/4 c8 c\noBeam c c
1336 Program reference: @internalsref{Beam}.
1339 @cindex Automatic beams
1342 * Setting automatic beam behavior::
1346 @subsection Manual beams
1347 @cindex beams, manual
1351 In some cases it may be necessary to override the automatic beaming
1352 algorithm. For example, the autobeamer will not put beams over rests
1353 or bar lines. Such beams are specified by manually: the begin and end
1354 point are marked with @code{[} and @code{]}:
1356 @lilypond[fragment,relative,verbatim]
1358 r4 r8[ g' a r8] r8 g[ | a] r8
1362 @cindex @code{stemLeftBeamCount}
1364 Normally, beaming patterns within a beam are determined automatically.
1365 If necessary, the properties @code{stemLeftBeamCount} and
1366 @code{stemRightBeamCount} can be used to override the defaults. If
1367 either property is set, its value will be used only once, and then it
1370 @lilypond[fragment,relative,verbatim]
1373 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1376 @cindex @code{stemRightBeamCount}
1379 The property @code{subdivideBeams} can be set in order to subdivide
1380 all 16th or shorter beams at beat positions, as defined by the
1381 @code{beatLength} property.
1384 @lilypond[relative=1,verbatim,noindent]
1386 \set subdivideBeams = ##t
1388 \set Score.beatLength = #(ly:make-moment 1 8)
1391 @cindex subdivideBeams
1393 Kneed beams are inserted automatically, when a large gap is detected
1394 between the note heads. This behavior can be tuned through the object
1395 property @code{auto-knee-gap}.
1397 Normally, line breaks are forbidden when beams cross bar lines. This
1398 behavior can be changed by setting @code{allowBeamBreak}.
1400 @cindex @code{allowBeamBreak}
1401 @cindex beams and line breaks
1403 @cindex beams, kneed
1405 @cindex auto-knee-gap
1411 @cindex Frenched staves
1413 Automatically kneed cross-staff beams cannot be used together with
1419 @node Setting automatic beam behavior
1420 @subsection Setting automatic beam behavior
1422 @cindex @code{autoBeamSettings}
1423 @cindex @code{(end * * * *)}
1424 @cindex @code{(begin * * * *)}
1425 @cindex automatic beams, tuning
1426 @cindex tuning automatic beaming
1428 @c [TODO: use \applycontext]
1430 In normal time signatures, automatic beams can start on any note but can
1431 only end in a few positions within the measure: beams can end on a beat,
1432 or at durations specified by the properties in
1433 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1434 are defined in @file{scm/auto-beam.scm}.
1436 The value of @code{autoBeamSettings} is changed with two functions,
1438 #(override-auto-beam-setting
1439 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1441 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1443 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1444 @var{context} is an optional context (default: @code{'Voice}). It
1445 determines whether the rule applies to begin or end-points. The
1446 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1447 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1448 to a time signature (wildcards `@code{* *}' may be entered to
1449 designate all time signatures), @var{a}/@var{b} is a duration. By
1450 default, this command changes settings for the current voice. It is
1451 also possible to adjust settings at higher contexts, by adding a
1452 @var{context} argument.
1454 For example, if automatic beams should end on every quarter note, use
1457 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1459 Since the duration of a quarter note is 1/4 of a whole note, it is
1460 entered as @code{(ly:make-moment 1 4)}.
1462 The same syntax can be used to specify beam starting points. In this
1463 example, automatic beams can only end on a dotted quarter note:
1465 #(override-auto-beam-setting '(end * * * *) 3 8)
1467 In 4/4 time signature, this means that automatic beams could end only on
1468 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1469 3/8, has passed within the measure).
1471 Rules can also be restricted to specific time signatures. A rule that
1472 should only be applied in @var{N}/@var{M} time signature is formed by
1473 replacing the second asterisks by @var{N} and @var{M}. For example, a
1474 rule for 6/8 time exclusively looks like
1476 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1479 If a rule should be to applied only to certain types of beams, use the
1480 first pair of asterisks. Beams are classified according to the
1481 shortest note they contain. For a beam ending rule that only applies
1482 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1485 @cindex automatic beam generation
1487 @cindex @code{autoBeaming}
1490 If beams are used to indicate melismata in songs, then automatic
1491 beaming should be switched off. This is done by setting
1492 @code{autoBeaming} to @code{#f}.
1496 @cindex @code{\autoBeamOff}
1497 @code{\autoBeamOff},
1498 @cindex @code{\autoBeamOn}
1504 If a score ends while an automatic beam has not been ended and is
1505 still accepting notes, this last beam will not be typeset at all. The
1506 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1507 >>}. If a polyphonic voice ends while an automatic beam is still
1508 accepting notes, it is not typeset.
1510 The rules for ending a beam depend on the shortest note in a beam.
1511 So, while it is possible to have different ending rules for eight
1512 beams and sixteenth beams, a beam that contains both eight and
1513 sixteenth notes will use the rules for the sixteenth beam.
1515 In the example below, the autobeamer makes eight beams and sixteenth
1516 end at 3 eights; the third beam can only be corrected by specifying
1519 @lilypond[raggedright,fragment,relative]
1520 #(override-auto-beam-setting '(end * * * *) 3 8)
1521 % rather show case where it goes wrong
1522 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1523 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1525 It is not possible to specify beaming parameters that act differently in
1526 different parts of a measure. This means that it is not possible to use
1527 automatic beaming in irregular meters such as @code{5/8}.
1530 @section Accidentals
1533 This section describes how to change the way that accidentals are
1534 inserted automatically before the running notes.
1536 Common rules for typesetting accidentals have been canned in a
1537 function. This function is called as follows:
1539 @cindex @code{set-accidental-style}
1541 #(set-accidental-style 'modern 'Voice)
1544 The function takes two arguments: a symbol that denotes the style (in
1545 the example, @code{modern}), and another symbol that denotes the
1546 context name (in this example, @code{Voice}). If no context name is
1547 supplied, @code{Staff} is the default.
1549 The following styles are supported:
1552 This is the default typesetting behavior. It should correspond
1553 to 18th century common practice: Accidentals are
1554 remembered to the end of the measure in which they occur and
1555 only on their own octave.
1559 The normal behavior is to remember the accidentals on
1560 Staff-level. This variable, however, typesets accidentals
1561 individually for each voice. Apart from that, the rule is similar to
1564 This leads to some weird and often unwanted results
1565 because accidentals from one voice do not get canceled in other
1567 @lilypond[raggedright,relative,fragment,verbatim]
1569 #(set-accidental-style 'voice)
1575 Hence you should only use @code{voice} if the voices
1576 are to be read solely by individual musicians. If the staff is to be
1577 used by one musician (e.g. a conductor) then you use
1578 @code{modern} or @code{modern-cautionary}
1582 @cindex @code{modern} style accidentals
1583 This rule corresponds to the common practice in the 20th
1585 This rule prints the same accidentals as @code{default}, but temporary
1586 accidentals also are canceled in other octaves. Furthermore,
1587 in the same octave, they also get canceled in the following
1590 @lilypond[raggedright,fragment,verbatim]
1591 #(set-accidental-style 'modern)
1592 cis' c'' cis'2 | c'' c'
1595 @item @code{modern-cautionary}
1596 @cindex @code{modern-cautionary}
1597 This rule is similar to @code{modern}, but the
1598 ``extra'' accidentals (the ones not typeset by
1599 @code{default}) are typeset as cautionary accidentals.
1600 They are printed in reduced size or with parentheses:
1601 @lilypond[raggedright,fragment,verbatim]
1602 #(set-accidental-style 'modern-cautionary)
1603 cis' c'' cis'2 | c'' c'
1606 @cindex @code{modern-voice}
1608 This rule is used for multivoice accidentals to be read both by musicians
1609 playing one voice and musicians playing all voices. Accidentals are
1610 typeset for each voice, but they @emph{are} canceled across voices in
1611 the same @internalsref{Staff}.
1613 @cindex @code{modern-voice-cautionary}
1614 @item modern-voice-cautionary
1615 This rule is the same as @code{modern-voice}, but with the extra
1616 accidentals (the ones not typeset by @code{voice}) typeset
1617 as cautionaries. Even though all accidentals typeset by
1618 @code{default} @emph{are} typeset by this variable then
1619 some of them are typeset as cautionaries.
1622 @cindex @code{piano} accidentals
1623 This rule reflects 20th century practice for piano notation. Very similar to
1624 @code{modern} but accidentals also get canceled
1625 across the staves in the same @internalsref{GrandStaff} or
1626 @internalsref{PianoStaff}.
1628 @item piano-cautionary
1629 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1630 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1631 typeset as cautionaries.
1634 @cindex @code{no-reset} accidental style
1636 This is the same as @code{default} but with accidentals lasting
1637 ``forever'' and not only until the next measure:
1638 @lilypond[raggedright,fragment,verbatim,relative]
1639 #(set-accidental-style 'no-reset)
1644 This is sort of the opposite of @code{no-reset}: Accidentals
1645 are not remembered at all---and hence all accidentals are
1646 typeset relative to the key signature, regardless of what was
1647 before in the music:
1649 @lilypond[raggedright,fragment,verbatim,relative]
1650 #(set-accidental-style 'forget)
1651 \key d\major c4 c cis cis d d dis dis
1658 Program reference: @internalsref{Accidental_engraver},
1659 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1664 Simultaneous notes are considered to be entered in sequential
1665 mode. This means that in a chord the accidentals are typeset as if the
1666 notes in the chord happened once at a time - in the order in which
1667 they appear in the input file.
1669 This is only a problem when accidentals in a chord depend on each
1670 other. This problem can be solved by manually inserting @code{!} and
1671 @code{?} for the problematic notes.
1673 In the default scheme, accidentals only depend on other
1674 accidentals with the same pitch on the same staff, so no conflicts are
1677 @node Expressive marks
1678 @section Expressive marks
1681 @c todo: should change ordering
1682 @c where to put text spanners, metronome marks,
1691 * Analysis brackets::
1693 * Fingering instructions::
1704 A slur indicates that notes are to be played bound or @emph{legato}.
1707 They are entered using parentheses:
1708 @lilypond[relative=1,fragment,verbatim]
1709 f( g)( a) a8 b( a4 g2 f4)
1714 @c TODO: should explain that ^( and _( set directions
1715 @c should set attachments with ^ and _ ?
1717 Slurs avoid crossing stems, and are generally attached to note heads.
1718 However, in some situations with beams, slurs may be attached to stem
1719 ends. If you want to override this layout you can do this through the
1720 object property @code{attachment} of @internalsref{Slur}. Its value
1721 is a pair of symbols, specifying the attachment type of the left and
1724 @lilypond[fragment,relative,verbatim]
1726 \override Stem #'length = #5.5
1728 \override Slur #'attachment = #'(stem . stem)
1732 If a slur would strike through a stem or beam, the slur will be moved
1733 away upward or downward. If this happens, attaching the slur to the
1734 stems might look better:
1736 @lilypond[fragment,relative,verbatim]
1739 \override Slur #'attachment = #'(stem . stem)
1746 @cindex @code{\slurUp}
1748 @cindex @code{\slurDown}
1750 @cindex @code{\slurBoth}
1752 @cindex @code{\slurDotted}
1754 @cindex @code{\slurSolid}
1759 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1764 Producing nice slurs is a difficult problem, and LilyPond
1765 uses a simple, empiric method to produce slurs. In some cases, its
1769 @cindex Adjusting slurs
1771 @node Phrasing slurs
1772 @subsection Phrasing slurs
1774 @cindex phrasing slurs
1775 @cindex phrasing marks
1777 A phrasing slur (or phrasing mark) connects chords and is used to
1778 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1781 @lilypond[fragment,verbatim,relative]
1782 \time 6/4 c'\( d( e) f( e) d\)
1785 Typographically, the phrasing slur behaves almost exactly like a
1786 normal slur. However, they are treated as different objects. A
1787 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1788 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1789 @code{\phrasingSlurBoth}.
1791 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1792 will only affect normal slurs and not phrasing slurs.
1796 @cindex @code{\phrasingSlurUp}
1797 @code{\phrasingSlurUp},
1798 @cindex @code{\phrasingSlurDown}
1799 @code{\phrasingSlurDown},
1800 @cindex @code{\phrasingSlurBoth}
1801 @code{\phrasingSlurBoth}.
1805 Program reference: see also @internalsref{PhrasingSlur}, and
1806 @internalsref{PhrasingSlurEvent}.
1810 Phrasing slurs have the same limitations in their formatting as normal
1811 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1814 @subsection Breath marks
1816 Breath marks are entered using @code{\breathe}:
1819 @lilypond[fragment,relative,verbatim]
1823 The glyph of the breath mark can be tuned by overriding the
1824 @code{text} property of the @code{BreathingSign} layout object with
1825 any markup text. For example,
1826 @lilypond[fragment,verbatim,relative]
1828 \override BreathingSign #'text
1829 = #(make-musicglyph-markup "scripts-rvarcomma")
1836 Program reference: @internalsref{BreathingSign},
1837 @internalsref{BreathingSignEvent}.
1839 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1842 @node Metronome marks
1843 @subsection Metronome marks
1846 @cindex beats per minute
1847 @cindex metronome marking
1849 Metronome settings can be entered as follows:
1851 \tempo @var{duration} = @var{per-minute}
1854 In the MIDI output, they are interpreted as a tempo change, and in the
1855 paper output, a metronome marking is printed:
1856 @cindex @code{\tempo}
1857 @lilypond[fragment,verbatim]
1863 Program reference: @internalsref{MetronomeChangeEvent}.
1868 @subsection Text spanners
1869 @cindex Text spanners
1871 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1872 are written as texts, and extended over many measures with dotted
1873 lines. You can create such texts using text spanners: attach
1874 @code{\startTextSpan} and @code{\stopTextSpan} to the
1875 start and ending note of the spanner.
1877 The string to be printed, as well as the style, is set through object
1880 @lilypond[fragment,relative,verbatim]
1882 \override TextSpanner #'direction = #-1
1883 \override TextSpanner #'edge-text = #'("rall " . "")
1884 c2\startTextSpan b c\stopTextSpan a }
1890 Internals @internalsref{TextSpanEvent},
1891 @internalsref{TextSpanner}.
1893 Examples: @inputfileref{input/regression,text-spanner.ly}.
1896 @node Analysis brackets
1897 @subsection Analysis brackets
1899 @cindex phrasing brackets
1900 @cindex musicological analysis
1901 @cindex note grouping bracket
1903 Brackets are used in musical analysis to indicate structure in musical
1904 pieces. LilyPond supports a simple form of nested horizontal brackets.
1905 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1906 @internalsref{Staff} context. A bracket is started with
1907 @code{\startGroup} and closed with @code{\stopGroup}:
1909 @lilypond[raggedright,verbatim]
1910 \score { \notes \relative c'' {
1911 c4\startGroup\startGroup
1914 c4\stopGroup\stopGroup
1917 \StaffContext \consists "Horizontal_bracket_engraver"
1923 Program reference: @internalsref{HorizontalBracket},
1924 @internalsref{NoteGroupingEvent}.
1926 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1930 @subsection Articulations
1931 @cindex Articulations
1933 @cindex articulations
1937 A variety of symbols can appear above and below notes to indicate
1938 different characteristics of the performance. They are added to a note
1939 by adding a dash and the character signifying the
1940 articulation. They are demonstrated here:
1942 @lilypondfile[]{script-abbreviations.ly}
1944 The meanings of these shorthands can be changed. See
1945 @file{ly/script-init.ly} for examples.
1948 The script is automatically placed, but if you need to force
1949 directions, you can use @code{_} to force them down, or @code{^} to
1951 @lilypond[fragment,verbatim]
1955 Other symbols can be added using the syntax
1956 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1957 can be forced up or down using @code{^} and @code{_},
1960 @lilypond[verbatim,fragment,relative=2]
1961 c\fermata c^\fermata c_\fermata
1968 @cindex staccatissimo
1977 @cindex organ pedal marks
1986 @cindex prallmordent
1990 @cindex thumb marking
1995 @lilypondfile[]{script-chart.ly}
2000 @cindex @code{\scriptUp}
2002 @cindex @code{\scriptDown}
2004 @cindex @code{\scriptBoth}
2009 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2013 These note ornaments appear in the printed output but have no
2014 effect on the MIDI rendering of the music.
2017 @node Fingering instructions
2018 @subsection Fingering instructions
2022 Fingering instructions can be entered using
2024 @var{note}-@var{digit}
2026 For finger changes, use markup texts:
2028 @lilypond[verbatim,raggedright,fragment]
2029 c'4-1 c'4-2 c'4-3 c'4-4
2030 c'^\markup { \finger "2-3" }
2033 @cindex finger change
2038 You can use the thumb-script to indicate that a note should be
2039 played with the thumb (e.g. in cello music):
2041 @lilypond[verbatim,raggedright,fragment]
2042 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2045 Fingerings for chords can also be added to individual notes
2046 of the chord by adding them after the pitches:
2047 @lilypond[verbatim,raggedright,fragment,relative=1]
2048 < c-1 e-2 g-3 b-5 > 4
2052 In this case, setting @code{fingeringOrientations} will put fingerings next
2055 @lilypond[verbatim,raggedright,fragment,relative=1]
2056 \set fingeringOrientations = #'(left down)
2057 <c-1 es-2 g-4 bes-5 > 4
2058 \set fingeringOrientations = #'(up right down)
2059 <c-1 es-2 g-4 bes-5 > 4
2060 \set fingeringOrientations = #'(right)
2064 The last note demonstrates how fingering instructions can be put close
2065 to note heads in monophonic music, using this feature.
2069 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2071 Examples: @inputfileref{input/regression,finger-chords.ly}.
2074 @subsection Text scripts
2075 @cindex Text scripts
2077 @cindex text items, non-empty
2078 @cindex non-empty texts
2080 It is possible to place arbitrary strings of text or markup text (see
2081 @ref{Text markup}) above or below notes by using a string:
2082 @code{c^"text"}. By default, these indications do not influence the
2083 note spacing, but by using the command @code{\fatText}, the widths
2084 will be taken into account:
2086 @lilypond[fragment,raggedright,verbatim] \relative c' {
2087 c4^"longtext" \fatText c4_"longlongtext" c4 }
2090 It is possible to use @TeX{} commands in the strings, but this should
2091 be avoided because the exact dimensions of the string can then no
2096 @cindex @code{\fatText}
2098 @cindex @code{\emptyText}
2103 In this manual: @ref{Text markup}.
2105 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2111 @subsection Grace notes
2114 @c should have blurb about accaciatura / appogiatura
2116 @cindex @code{\grace}
2120 Grace notes are ornaments that are written out. The most common ones
2121 are acciaccatura, which should be played as very short. It is denoted
2122 by a slurred small note with a slashed stem. The appoggiatura is a
2123 grace note that takes a fixed fraction of the main note, is and
2124 denoted as a slurred note in small print without a slash.
2125 They are entered with the commands @code{\acciaccatura} and
2126 @code{\appoggiatura}, as demonstrated in the following example:
2129 @cindex appoggiatura
2130 @cindex acciaccatura
2132 @lilypond[relative=2,verbatim,fragment]
2133 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2134 \acciaccatura { g16[ f] } e4
2137 Both are special forms of the @code{\grace} command. By prefixing this
2138 keyword to a music expression, a new one is formed, which will be
2139 printed in a smaller font and takes up no logical time in a measure.
2140 @lilypond[relative=2,verbatim,fragment]
2142 \grace { c16[ d16] } c2 c4
2146 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2147 @code{\grace} command does not start a slur.
2149 Internally, timing for grace notes is done using a second, `grace'
2150 time. Every point in time consists of two rational numbers: one
2151 denotes the logical time, one denotes the grace timing. The above
2152 example is shown here with timing tuples:
2154 @lilypond[raggedright]
2157 c4 \grace c16 c4 \grace {
2160 \new Lyrics \lyrics {
2163 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2164 \markup { (\fraction 1 4 , 0 ) } 4
2166 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2167 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2169 \markup { ( \fraction 2 4 , 0 ) }
2174 The placement of grace notes is synchronized between different staves.
2175 In the following example, there are two sixteenth graces notes for
2176 every eighth grace note:
2178 @lilypond[relative=2,verbatim,fragment]
2179 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2180 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2185 If you want to end a note with a grace, then the standard trick
2186 is to put the grace notes after a ``space note'', e.g.
2187 @lilypond[fragment,verbatim,relative=2]
2190 { s2 \grace { c16[ d] } } >>
2196 By adjusting the duration of the skip note (here it is a half-note),
2197 the space between the main-note and the grace is adjusted.
2200 A @code{\grace} section will introduce special typesetting settings,
2201 for example, to produce smaller type, and set directions. Hence, when
2202 introducing layout tweaks, they should be inside the grace section,
2204 @lilypond[fragment,verbatim,relative=1]
2207 \override Stem #'direction = #-1
2209 \revert Stem #'direction
2216 The overrides should also be reverted inside the grace section.
2218 If the layout of grace sections must be changed throughout the music,
2219 then this can be accomplished through the function
2220 @code{add-grace-property}. The following example undefines the Stem
2221 direction for this grace, so stems do not always point up.
2225 #(add-grace-property "Voice" Stem direction '())
2231 Another option is to change the variables @code{startGraceMusic},
2232 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2233 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2234 @code{stopAppoggiaturaMusic}. More information is in the file
2235 @file{ly/grace-init.ly}.
2240 Program reference: @internalsref{GraceMusic}.
2244 A score that starts with an @code{\grace} section needs an explicit
2245 @code{\context Voice} declaration, otherwise the main note and grace
2246 note end up on different staves.
2248 Grace note synchronization can also lead to surprises. Staff notation,
2249 such as key signatures, bar lines, etc. are also synchronized. Take
2250 care when you mix staves with grace notes and staves without, for example,
2252 @lilypond[relative=2,verbatim,fragment]
2253 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2254 \new Staff { c4 \bar "|:" d4 } >>
2258 This can be remedied by inserting grace skips, for the above example
2261 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2264 Grace sections should only be used within sequential music
2265 expressions. Nesting or juxtaposing grace sections is not supported,
2266 and might produce crashes or other errors.
2270 @subsection Glissando
2273 @cindex @code{\glissando}
2275 A glissando is a smooth change in pitch. It is denoted by a line or a
2276 wavy line between two notes.
2279 A glissando line can be requested by attaching a @code{\glissando} to
2282 @lilypond[fragment,relative,verbatim]
2288 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2290 Example files: @file{input/regression,glissando.ly}
2296 Printing text over the line (such as @emph{gliss.}) is not supported.
2300 @subsection Dynamics
2313 @cindex @code{\ffff}
2323 Absolute dynamic marks are specified using a command after a note:
2324 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2325 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2326 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2327 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2329 @lilypond[verbatim,raggedright,fragment,relative]
2330 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2340 A crescendo mark is started with @code{\<} and terminated with
2341 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2342 with @code{\!}. Because these marks are bound to notes, if you must
2343 use spacer notes if multiple marks during one note are needed:
2345 @lilypond[fragment,verbatim]
2346 c''\< c''\! d''\> e''\!
2347 << f''1 { s4 s4\< s4\! \> s4\! } >>
2349 This may give rise to very short hairpins. Use @code{minimum-length}
2350 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2354 \override Staff.Hairpin #'minimum-length = #5
2357 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2358 is an example how to do it:
2360 @lilypond[fragment,relative=2,verbatim]
2370 You can also supply your own texts:
2371 @lilypond[fragment,relative,verbatim]
2373 \set crescendoText = \markup { \italic "cresc. poco" }
2374 \set crescendoSpanner = #'dashed-line
2384 @cindex @code{\dynamicUp}
2386 @cindex @code{\dynamicDown}
2387 @code{\dynamicDown},
2388 @cindex @code{\dynamicBoth}
2389 @code{\dynamicBoth}.
2391 @cindex direction, of dynamics
2395 Program reference: @internalsref{CrescendoEvent},
2396 @internalsref{DecrescendoEvent}, and
2397 @internalsref{AbsoluteDynamicEvent}.
2399 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2400 objects. Vertical positioning of these symbols is handled by the
2401 @internalsref{DynamicLineSpanner} object.
2409 @cindex @code{\repeat}
2412 Repetition is a central concept in music, and multiple notations exist
2413 for repetitions. In LilyPond, most of these notations can be captured
2414 in a uniform syntax. One of the advantages is that they can be
2415 rendered in MIDI accurately.
2417 The following types of repetition are supported:
2421 Repeated music is fully written (played) out. Useful for MIDI
2422 output, and entering repetitive music.
2425 This is the normal notation: Repeats are not written out, but
2426 alternative endings (volte) are printed, left to right.
2430 Alternative endings are written stacked. This has limited use but may be
2431 used to typeset two lines of lyrics in songs with repeats, see
2432 @inputfileref{input,star-spangled-banner.ly}.
2440 Make beat or measure repeats. These look like percent signs.
2446 * Repeats and MIDI::
2447 * Manual repeat commands::
2449 * Tremolo subdivisions::
2454 @subsection Repeat syntax
2457 LilyPond has one syntactic construct for specifying different types of
2458 repeats. The syntax is
2461 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2464 If you have alternative endings, you may add
2465 @cindex @code{\alternative}
2467 \alternative @code{@{} @var{alternative1}
2469 @var{alternative3} @dots{} @code{@}}
2471 where each @var{alternative} is a music expression. If you do not
2472 give enough alternatives for all of the repeats, then the first
2473 alternative is assumed to be played more than once.
2475 Normal notation repeats are used like this:
2476 @lilypond[fragment,verbatim,relative=1]
2478 \repeat volta 2 { c4 d e f }
2479 \repeat volta 2 { f e d c }
2482 With alternative endings:
2483 @lilypond[fragment,verbatim,relative=1]
2485 \repeat volta 2 {c4 d e f}
2486 \alternative { {d2 d} {f f,} }
2490 @lilypond[fragment,verbatim,relative=1]
2493 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2494 \alternative { { g4 g g } { a | a a a a | b2. } }
2500 A nested repeat like
2509 is ambiguous, since it is is not clear to which @code{\repeat} the
2510 @code{\alternative} belongs. This ambiguity is resolved by always
2511 having the @code{\alternative} belong to the inner @code{\repeat}.
2512 For clarity, it is advisable to use braces in such situations.
2515 @node Repeats and MIDI
2516 @subsection Repeats and MIDI
2518 @cindex expanding repeats
2520 For instructions on how to expand repeats for MIDI output, see the
2521 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2526 Timing information is not remembered at the start of an alternative,
2527 so after a repeat timing information must be reset by hand, for
2528 example by setting @code{Score.measurePosition} or entering
2529 @code{\partial}. Similarly, slurs or ties are also not repeated.
2532 @node Manual repeat commands
2533 @subsection Manual repeat commands
2535 @cindex @code{repeatCommands}
2537 The property @code{repeatCommands} can be used to control the layout of
2538 repeats. Its value is a Scheme list of repeat commands, where each repeat
2542 @item the symbol @code{start-repeat},
2543 which prints a @code{|:} bar line,
2544 @item the symbol @code{end-repeat},
2545 which prints a @code{:|} bar line,
2546 @item the list @code{(volta @var{text})},
2547 which prints a volta bracket saying @var{text}: The text can be specified as
2548 a text string or as a markup text, see @ref{Text markup}. Do not
2549 forget to change the font, as the default number font does not contain
2550 alphabetic characters. Or,
2551 @item the list @code{(volta #f)}, which
2552 stops a running volta bracket:
2555 @lilypond[verbatim,fragment,relative=2]
2557 \set Score.repeatCommands = #'((volta "93") end-repeat)
2559 \set Score.repeatCommands = #'((volta #f))
2566 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2567 @internalsref{VoltaRepeatedMusic},
2568 @internalsref{UnfoldedRepeatedMusic}, and
2569 @internalsref{FoldedRepeatedMusic}.
2571 @node Tremolo repeats
2572 @subsection Tremolo repeats
2573 @cindex tremolo beams
2575 To place tremolo marks between notes, use @code{\repeat} with tremolo
2577 @lilypond[verbatim,raggedright]
2579 \context Voice \notes\relative c' {
2580 \repeat "tremolo" 8 { c16 d16 }
2581 \repeat "tremolo" 4 { c16 d16 }
2582 \repeat "tremolo" 2 { c16 d16 }
2587 Tremolo marks can also be put on a single note. In this case, the
2588 note should not be surrounded by braces.
2589 @lilypond[verbatim,raggedright]
2590 \repeat "tremolo" 4 c'16
2593 A similar mechanism is the tremolo subdivision, described in
2594 @ref{Tremolo subdivisions}.
2598 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2600 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2601 tremolos are @internalsref{StemTremolo} objects. The music expression is
2602 @internalsref{TremoloEvent}.
2604 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2605 @inputfileref{input/regression,stem-tremolo.ly}.
2607 @node Tremolo subdivisions
2608 @subsection Tremolo subdivisions
2609 @cindex tremolo marks
2610 @cindex @code{tremoloFlags}
2612 Tremolo marks can be printed on a single note by adding
2613 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2614 A @var{length} value of 8 gives one line across the note stem. If the
2615 length is omitted, then then the last value (stored in
2616 @code{tremoloFlags}) is used:
2618 @lilypond[verbatim,fragment]
2619 c'2:8 c':32 | c': c': |
2622 @c [TODO : stok is te kort bij 32en]
2626 Tremolos entered in this way do not carry over into the MIDI output.
2630 In this manual: @ref{Tremolo repeats}.
2632 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2634 @node Measure repeats
2635 @subsection Measure repeats
2637 @cindex percent repeats
2638 @cindex measure repeats
2640 In the @code{percent} style, a note pattern can be repeated. It is
2641 printed once, and then the pattern is replaced with a special sign.
2642 Patterns of a one and two measures are replaced by percent-like signs,
2643 patterns that divide the measure length are replaced by slashes:
2645 @lilypond[verbatim,raggedright]
2646 \context Voice { \repeat "percent" 4 { c'4 }
2647 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2653 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2654 @internalsref{PercentRepeatedMusic}, and
2655 @internalsref{DoublePercentRepeat}.
2659 @node Rhythmic music
2660 @section Rhythmic music
2664 * Showing melody rhythms::
2665 * Entering percussion::
2666 * Percussion staves::
2670 @node Showing melody rhythms
2671 @subsection Showing melody rhythms
2673 Sometimes you might want to show only the rhythm of a melody. This
2674 can be done with the rhythmic staff. All pitches of notes on such a
2675 staff are squashed, and the staff itself has a single line:
2677 @lilypond[fragment,relative,verbatim]
2678 \context RhythmicStaff {
2680 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2686 Program reference: @internalsref{RhythmicStaff}.
2688 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2691 @node Entering percussion
2692 @subsection Entering percussion
2698 Percussion notes may be entered in @code{\drums} mode, which is
2699 similar to @code{notes}. Each piece of percussion has a full name and
2700 an abbreviated name, and both be used in input files:
2703 hihat hh bassdrum bd
2705 @lilypond[raggedright]
2706 \new DrumStaff \drums { hihat hh bassdrum bd
2710 The complete list of drum names is in the init file
2711 @file{ly/drumpitch-init.ly}.
2712 @c TODO: properly document this.
2716 Program reference: @internalsref{DrumNoteEvent}.
2718 @node Percussion staves
2719 @subsection Percussion staves
2723 A percussion part for more than one instrument typically uses a
2724 multiline staff where each position in the staff refers to one piece
2728 To typeset the music, the notes must be interpreted in a
2729 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2732 @lilypond[raggedright,verbatim]
2733 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2734 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2737 << \new DrumVoice { \voiceOne \up }
2738 \new DrumVoice { \voiceTwo \down }
2742 The above example shows verbose polyphonic notation. The short
2743 polyphonic notation, described in @ref{Polyphony}, can also be used if
2744 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2746 @lilypond[fragment,verbatim]
2747 \drums \new DrumStaff <<
2748 \context DrumVoice = "1" { s1 *2 }
2749 \context DrumVoice = "2" { s1 *2 }
2753 { \repeat unfold 16 hh16 }
2762 There are also other layout possibilities. To use these, set the
2763 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2764 The following variables have been predefined:
2768 is the default. It typesets a typical drum kit on a five-line staff
2771 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2772 bd sn ss tomh tommh tomml toml tomfh tomfl }
2773 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2774 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2776 << \new DrumStaff\with {
2777 \remove Bar_engraver
2778 \remove Time_signature_engraver
2779 \override Stem #'transparent = ##t
2780 \override Stem #'Y-extent-callback = ##f
2781 minimumVerticalExtent = #'(-4.0 . 5.0)
2783 \context Lyrics \nam
2786 %% need to do this, because of indented @itemize
2788 \context { \ScoreContext
2789 \override LyricText #'font-family = #'typewriter
2790 \override BarNumber #'transparent =##T
2794 The drum scheme supports six different toms. When there fewer toms, simply
2795 select the toms that produce the desired result, i.e. to get toms on
2796 the three middle lines you use @code{tommh}, @code{tomml} and
2799 @item timbales-style
2800 to typeset timbales on a two line staff:
2802 @lilypond[raggedright]
2803 nam = \lyrics { timh ssh timl ssl cb }
2804 mus = \drums { timh ssh timl ssl cb s16 }
2807 \context DrumStaff \with {
2808 \remove Bar_engraver
2809 \remove Time_signature_engraver
2810 \override Stem #'transparent = ##t
2811 \override Stem #'Y-extent-callback = ##f
2812 \override StaffSymbol #'line-count = #2
2813 \override StaffSymbol #'staff-space = #2
2814 minimumVerticalExtent = #'(-3.0 . 4.0)
2815 drumStyleTable = #timbales-style
2818 \override LyricText #'font-family = #'typewriter
2825 to typeset congas on a two line staff:
2827 @lilypond[raggedright]
2828 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2829 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2832 \context DrumStaff\with {
2833 \remove Bar_engraver
2834 \remove Time_signature_engraver
2835 drumStyleTable = #congas-style
2836 \override StaffSymbol #'line-count = #2
2838 %% this sucks; it will lengthen stems.
2839 \override StaffSymbol #'staff-space = #2
2840 \override Stem #'transparent = ##t
2841 \override Stem #'Y-extent-callback = ##f
2844 \override LyricText #'font-family = #'typewriter
2850 to typeset bongos on a two line staff:
2852 @lilypond[raggedright]
2853 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2854 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2857 \context DrumStaff\with {
2858 \remove Bar_engraver
2859 \remove Time_signature_engraver
2860 \override StaffSymbol #'line-count = #2
2861 drumStyleTable = #bongos-style
2863 %% this sucks; it will lengthen stems.
2864 \override StaffSymbol #'staff-space = #2
2865 \override Stem #'transparent = ##t
2866 \override Stem #'Y-extent-callback = ##f
2869 \override LyricText #'font-family = #'typewriter
2875 @item percussion-style
2876 to typeset all kinds of simple percussion on one line staves:
2877 @lilypond[raggedright]
2878 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2879 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2882 \context DrumStaff\with{
2883 \remove Bar_engraver
2884 drumStyleTable = #percussion-style
2885 \override StaffSymbol #'line-count = #1
2886 \remove Time_signature_engraver
2887 \override Stem #'transparent = ##t
2888 \override Stem #'Y-extent-callback = ##f
2892 \override LyricText #'font-family = #'typewriter
2899 If you do not like any of the predefined lists you can define your own
2900 list at the top of your file:
2902 @lilypond[raggedright,verbatim]
2904 (bassdrum default #f -1)
2905 (snare default #f 0)
2907 (pedalhihat xcircle "stopped" 2)
2908 (lowtom diamond #f 3)
2910 up = \drums { hh8 hh hh hh hhp4 hhp }
2911 down = \drums { bd4 sn bd toml8 toml }
2914 \set DrumStaff.drumStyleTable
2915 = #(alist->hash-table mydrums)
2916 \new DrumVoice { \voiceOne \up }
2917 \new DrumVoice { \voiceTwo \down }
2925 Init files: @file{ly/drumpitch-init.ly}.
2927 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2931 Because general MIDI does not contain rim shots, the sidestick is used
2932 for this purpose instead.
2935 @section Piano music
2937 Piano staves are two normal staves coupled with a brace. The staves
2938 are largely independent, but sometimes voices can cross between the
2939 two staves. The same notation is also used for harps and other key
2940 instruments. The @internalsref{PianoStaff} is especially built to
2941 handle this cross-staffing behavior. In this section we discuss the
2942 @internalsref{PianoStaff} and some other pianistic peculiarities.
2946 * Automatic staff changes::
2947 * Manual staff switches::
2950 * Staff switch lines::
2955 There is no support for putting chords across staves. You can get
2956 this result by increasing the length of the stem in the lower stave so
2957 it reaches the stem in the upper stave, or vice versa. An example is
2958 included with the distribution as
2959 @inputfileref{input/test,stem-cross-staff.ly}.
2961 Dynamics are not centered, but kludges do exist. See
2962 @inputfileref{input/template,piano-dynamics.ly}.
2964 @cindex cross staff stem
2965 @cindex stem, cross staff
2967 The distance between the two staves is normally fixed across the
2968 entire score. It is possible to tune this per system, but it does
2969 require arcane command incantations. See
2970 @inputfileref{input/test,piano-staff-distance.ly}.
2977 @node Automatic staff changes
2978 @subsection Automatic staff changes
2979 @cindex Automatic staff changes
2981 Voices can switch automatically between the top and the bottom
2982 staff. The syntax for this is
2984 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
2986 The two staves of the piano staff must be named @code{up} and
2989 The autochanger switches on basis of pitch (middle C is the turning
2990 point), and it looks ahead skipping over rests to switch in
2991 advance. Here is a practical example:
2993 @lilypond[verbatim,raggedright]
2994 \score { \notes \context PianoStaff <<
2995 \context Staff = "up" {
2996 \autochange \new Voice \relative c' {
2997 g4 a b c d r4 a g } }
2998 \context Staff = "down" {
3005 In this example, spacer rests are used to prevent the bottom staff from
3006 terminating too soon.
3011 In this manual: @ref{Manual staff switches}.
3013 Program reference: @internalsref{AutoChangeMusic}.
3019 The staff switches often do not end up in optimal places. For high
3020 quality output, staff switches should be specified manually.
3024 @node Manual staff switches
3025 @subsection Manual staff switches
3027 @cindex manual staff switches
3028 @cindex staff switch, manual
3030 Voices can be switched between staves manually, using the following command:
3032 \change Staff = @var{staffname} @var{music}
3036 The string @var{staffname} is the name of the staff. It switches the
3037 current voice from its current staff to the Staff called
3038 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3047 Pianos have pedals that alter the way sound are produced. Generally, a
3048 piano has three pedals, sustain, una corda, and sostenuto.
3051 Piano pedal instruction can be expressed by attaching
3052 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3053 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3056 @lilypond[fragment,verbatim]
3057 c'4\sustainDown c'4\sustainUp
3060 What is printed can be modified by setting @code{pedal@var{X}Strings},
3061 where @var{X} is one of the pedal types: @code{Sustain},
3062 @code{Sostenuto} or @code{UnaCorda}. Refer to
3063 @internalsref{SustainPedal} in the program reference for more
3066 Pedals can also be indicated by a sequence of brackets, by setting the
3067 @code{pedalSustainStyle} property to @code{bracket} objects:
3069 @lilypond[fragment,verbatim,relative=2]
3070 \set Staff.pedalSustainStyle = #'bracket
3072 b\sustainUp\sustainDown
3073 b g \sustainUp a \sustainDown \bar "|."
3076 A third style of pedal notation is a mixture of text and brackets,
3077 obtained by setting the @code{pedalSustainStyle} style property to
3080 @lilypond[fragment,verbatim,relative=2]
3081 \set Staff.pedalSustainStyle = #'mixed
3083 b\sustainUp\sustainDown
3084 b g \sustainUp a \sustainDown \bar "|."
3087 The default `*Ped.' style for sustain and damper pedals corresponds to
3088 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3091 @lilypond[fragment,verbatim,relative=2]
3092 c\sostenutoDown d e c, f g a\sostenutoUp
3095 For fine-tuning of the appearance of a pedal bracket, the properties
3096 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3097 @code{PianoPedalBracket} objects (see
3098 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3099 bracket may be extended to the end of the note head:
3101 @lilypond[fragment,verbatim]
3102 \override Staff.PianoPedalBracket
3103 #'shorten-pair = #'(0 . -1.0)
3104 c\sostenutoDown d e c, f g a\sostenutoUp
3108 @subsection Arpeggio
3111 @cindex broken arpeggio
3112 @cindex @code{\arpeggio}
3114 You can specify an arpeggio sign on a chord by attaching an
3115 @code{\arpeggio} to a chord:
3118 @lilypond[fragment,relative,verbatim]
3122 When an arpeggio crosses staves, you attach an arpeggio to the chords
3123 in both staves, and set
3124 @internalsref{PianoStaff}.@code{connectArpeggios}:
3126 @lilypond[fragment,relative,verbatim]
3127 \context PianoStaff <<
3128 \set PianoStaff.connectArpeggios = ##t
3129 \new Staff { <c' e g c>\arpeggio }
3130 \new Staff { \clef bass <c,, e g>\arpeggio }
3134 The direction of the arpeggio is sometimes denoted by adding an
3135 arrowhead to the wiggly line:
3137 @lilypond[fragment,relative,verbatim]
3146 A square bracket on the left indicates that the player should not
3147 arpeggiate the chord:
3149 @lilypond[fragment,relative,verbatim]
3156 @cindex @code{\arpeggio}
3158 @cindex @code{\arpeggioUp}
3160 @cindex @code{\arpeggioDown}
3162 @cindex @code{\arpeggioBoth}
3163 @code{\arpeggioBoth},
3164 @cindex @code{\arpeggioBracket}
3165 @code{\arpeggioBracket}.
3169 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3170 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3171 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3175 It is not possible to mix connected arpeggios and unconnected
3176 arpeggios in one @internalsref{PianoStaff} at the same time.
3178 @node Staff switch lines
3179 @subsection Staff switch lines
3182 @cindex follow voice
3183 @cindex staff switching
3186 @cindex @code{followVoice}
3188 Whenever a voice switches to another staff a line connecting the notes
3189 can be printed automatically. This is enabled if the property
3190 @code{PianoStaff.followVoice} is set to true:
3192 @lilypond[fragment,relative,verbatim]
3193 \context PianoStaff <<
3194 \set PianoStaff.followVoice = ##t
3195 \context Staff \context Voice {
3200 \context Staff=two { \clef bass \skip 1*2 }
3206 The associated object is @internalsref{VoiceFollower}.
3210 @cindex @code{\showStaffSwitch}
3211 @code{\showStaffSwitch},
3212 @cindex @code{\hideStaffSwitch}
3213 @code{\hideStaffSwitch}.
3217 @section Vocal music
3219 This section discusses how to enter and print lyrics.
3223 * The Lyrics context::
3228 @node Entering lyrics
3229 @subsection Entering lyrics
3233 @cindex @code{\lyrics}
3236 Lyrics are entered in a special input mode. This mode is is introduced
3237 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3238 punctuation and accents without any hassle. Syllables are entered like
3239 notes, but with pitches replaced by text. For example,
3241 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3244 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3245 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3246 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3247 any 8-bit character with ASCII code over 127, or a two-character
3248 combination of a backslash followed by one of @code{`}, @code{'},
3249 @code{"}, or @code{^}.
3251 Subsequent characters of a word can be any character that is not a digit
3252 and not white space. One important consequence of this is that a word
3253 can end with @code{@}}. The following example is usually a bug. The
3254 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3256 \lyrics @{ twinkle@}
3259 @cindex @code{\property}, in @code{\lyrics}
3260 Similarly, a period following a alphabetic sequence, is included in
3261 the resulting string. As a consequence, spaces must be inserted around
3264 \override Score . LyricText #'font-shape = #'italic
3268 @cindex spaces, in lyrics
3269 @cindex quotes, in lyrics
3271 Any @code{_} character which appears in an unquoted word is converted
3272 to a space. This provides a mechanism for introducing spaces into words
3273 without using quotes. Quoted words can also be used in Lyrics mode to
3274 specify words that cannot be written with the above rules:
3277 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3282 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3283 The hyphen will have variable length depending on the space between
3284 the syllables and it will be centered between the syllables.
3289 When a lyric is sung over many notes (this is called a melisma), this is
3290 indicated with a horizontal line centered between a syllable and the
3291 next one. Such a line is called an extender line, and it is entered as
3296 Program reference: events @internalsref{LyricEvent},
3297 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects:
3298 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3299 @internalsref{LyricText}.
3301 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3305 The definition of lyrics mode is too complex.
3309 @node The Lyrics context
3310 @subsection The Lyrics context
3312 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3314 \context Lyrics \lyrics @dots{}
3317 @cindex automatic syllable durations
3318 @cindex @code{\lyricsto}
3319 @cindex lyrics and melodies
3321 This will place the lyrics according to the durations that were
3322 entered. The lyrics can also be aligned under a given melody
3323 automatically. In this case, it is no longer necessary to enter the
3324 correct duration for each syllable. This is achieved by combining the
3325 melody and the lyrics with the @code{\lyricsto} expression:
3327 \lyricsto @var{name} \new Lyrics @dots{}
3330 This aligns the lyrics to the
3332 notes of the @internalsref{Voice} context called @var{name}, which has
3333 to exist. Therefore, normally the @code{Voice} is specified first, and
3334 then the lyrics are specified with @code{\lyricsto}.
3336 For different or more complex orderings, the best way is to setup the
3337 hierarchy of staves and lyrics first, e.g.
3339 \context ChoirStaff \notes <<
3340 \context Lyrics = sopranoLyrics @{ s1 @}
3341 \context Voice = soprano @{ @emph{music} @}
3342 \context Lyrics = tenorLyrics @{ s1 @}
3343 \context Voice = tenor @{ @emph{music} @}
3346 and then combine the appropriate melodies and lyric lines:
3348 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3353 The final input would resemble
3356 << \context ChoirStaff \notes << @emph{setup the music} >>
3357 \lyricsto "soprano" @emph{etc}
3358 \lyricsto "alto" @emph{etc}
3364 The @code{\lyricsto} command detects melismata: it only puts one
3365 syllable under a tied or slurred group of notes. If you want to force
3366 an unslurred group of notes to be a melisma, then insert
3367 @code{\melisma} after the first note of the group, and
3368 @code{\melismaEnd} after the last one, e.g.
3370 @lilypond[relative=1,raggedright,fragment,verbatim]
3371 << \context Voice = "lala" { \time 3/4
3377 \lyricsto "lala" \new Lyrics \lyrics {
3382 In addition, notes are considered a melisma if they are manually
3383 beamed, and automatic beaming (see @ref{Setting automatic beam
3384 behavior}) is switched off. The criteria for deciding melismata can
3385 be tuned with the property @code{melismaBusyProperties}. See
3386 @internalsref{Melisma_translator} in the program reference for more
3389 When multiple stanzas are put on the same melody, it can happen that
3390 two stanzas have melismata in different locations. This can be
3391 remedied by switching off melismata for one
3392 @internalsref{Lyrics}. This is achieved by setting
3393 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3394 in @inputfileref{input/regression,lyric-combine-new.ly}.
3397 @cindex choral score
3399 A complete example of a SATB score setup is in the file
3400 @inputfileref{input/template,satb.ly}.
3405 @code{\melisma}, @code{\melismaEnd}
3406 @cindex @code{\melismaEnd}
3407 @cindex @code{\melisma}
3411 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3412 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3414 Examples: @inputfileref{input/template,satb.ly},
3415 @inputfileref{input/regression,lyric-combine-new.ly}.
3419 Melismata are not detected automatically, and extender lines must be
3423 For proper processing of extender lines, the
3424 @internalsref{Lyrics} and @internalsref{Voice} should be
3425 linked. This can be achieved either by using @code{\lyricsto} or by
3426 setting corresponding names for both contexts. The latter is explained
3427 in @ref{More stanzas}.
3430 @subsection More stanzas
3432 @cindex phrasing, in lyrics
3435 The lyrics should be aligned with the note heads of the melody. To
3436 achieve this, each line of lyrics should be marked to correspond with
3437 the melodic line. This is done automatically when @code{\lyricsto},
3438 but it can also be done manually.
3440 To this end, give the @internalsref{Voice} context an identity:
3442 \context Voice = duet @{
3447 Then set the @internalsref{Lyrics} contexts to names starting with
3448 that identity followed by a dash. In the preceding example, the
3449 @internalsref{Voice} identity is @code{duet}, so the identities of the
3450 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3452 \context Lyrics = "duet-1" @{
3453 Hi, my name is Bert. @}
3454 \context Lyrics = "duet-2" @{
3455 Ooooo, ch\'e -- ri, je t'aime. @}
3458 The complete example is shown here:
3459 @lilypond[raggedright,verbatim]
3461 << \notes \relative c'' \context Voice = duet { \time 3/4
3463 \lyrics << \lyricsto "duet" \new Lyrics {
3464 \set vocalName = "Bert"
3465 Hi, my name is Bert. }
3466 \lyricsto "duet" \new Lyrics {
3467 \set vocalName = "Ernie"
3468 Ooooo, ch\'e -- ri, je t'aime.
3474 @cindex stanza number
3475 @cindex singer's names
3476 @cindex name of singer
3478 Stanza numbers can be added by setting @code{stanza}, e.g.
3480 @lilypond[verbatim,relative=2]
3481 << \context Voice = duet { \time 3/4
3483 \lyrics \lyricsto "duet" \new Lyrics {
3485 Hi, my name is Bert.
3490 This example also demonstrates how names of the singers can be added
3491 using @code{vocalName} analogous to instrument annotations for staves.
3492 A short version may be entered as @code{vocNam}.
3494 To make empty spaces in lyrics, use @code{\skip}.
3499 Program reference: Layout objects @internalsref{LyricText} and
3500 @internalsref{VocalName}. Music expressions:
3501 @internalsref{LyricEvent}.
3507 Input for lyrics introduces a syntactical ambiguity:
3514 is interpreted as assigning a string identifier @code{\foo} such that
3515 it contains @code{"bar"}. However, it could also be interpreted as
3516 making or a music identifier @code{\foo} containing the syllable
3517 `bar'. The force the latter interpretation, use
3527 The term @emph{ambitus} denotes a range of pitches for a given voice
3528 in a part of music. It also may denote the pitch range that a musical
3529 instrument is capable of playing. Ambituses are printed on vocal
3530 parts, so singers can easily determine if it meets his or her
3533 It denoted at the beginning of a piece near the initial clef. The
3534 range is graphically specified by two note heads, that represent the
3535 minimum and maximum pitch. To print such ambituses, add the
3536 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3543 \consists Ambitus_engraver
3548 This results in the following output:
3550 @lilypond[raggedright]
3553 \notes \relative c'' <<
3564 \consists Ambitus_engraver
3570 If you have multiple voices in a single staff, and you want a single
3571 ambitus per staff rather than per each voice, then add the
3572 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3573 rather than to the @internalsref{Voice} context.
3575 It is possible to tune individual ambituses for multiple voices on a
3576 single staff, for example by erasing or shifting them horizontally. An
3577 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3581 Program reference: @internalsref{Ambitus}.
3583 Examples: @inputfileref{input/regression,ambitus.ly},
3584 @inputfileref{input/test,ambitus-mixed.ly}.
3588 There is no collision handling in the case of multiple per-voice
3594 Tablature notation is used for notating music for plucked string
3595 instruments. It notates pitches not by using note heads, but by
3596 indicating on which string and fret a note must be played. LilyPond
3597 offers limited support for tablature.
3600 * Tablatures basic::
3601 * Non-guitar tablatures::
3604 @node Tablatures basic
3605 @subsection Tablatures basic
3606 @cindex Tablatures basic
3608 The string number associated to a note is given as a backslash
3609 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3610 string. By default, string 1 is the highest one, and the tuning
3611 defaults to the standard guitar tuning (with 6 strings). The notes
3612 are printed as tablature, by using @internalsref{TabStaff} and
3613 @internalsref{TabVoice} contexts:
3615 @lilypond[fragment,verbatim]
3616 \notes \context TabStaff {
3624 When no string is specified, the first string that does not give a
3625 fret number less than @code{minimumFret} is selected. The default
3626 value for @code{minimumFret} is 0:
3631 \set TabStaff.minimumFret = #8
3634 @lilypond[noindent,raggedright]
3638 \set TabStaff.minimumFret = #8
3642 \context StaffGroup <<
3643 \context Staff { \clef "G_8" \frag }
3644 \context TabStaff { \frag }
3651 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3652 @internalsref{StringNumberEvent}.
3656 Chords are not handled in a special way, and hence the automatic
3657 string selector may easily select the same string to two notes in a
3661 @node Non-guitar tablatures
3662 @subsection Non-guitar tablatures
3663 @cindex Non-guitar tablatures
3665 You can change the number of strings, by setting the number of lines
3666 in the @internalsref{TabStaff}.
3668 You can change the tuning of the strings. A string tuning is given as
3669 a Scheme list with one integer number for each string, the number
3670 being the pitch (measured in semitones relative to middle C) of an
3671 open string. The numbers specified for @code{stringTuning} are the
3672 numbers of semitones to subtract or add, starting the specified pitch
3673 by default middle C, in string order. Thus, the notes are e, a, d, and
3676 @lilypond[fragment,verbatim]
3677 \context TabStaff <<
3678 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3681 a,4 c' a e' e c' a e'
3688 No guitar special effects have been implemented.
3692 Program reference: @internalsref{Tab_note_heads_engraver}.
3696 @section Chord names
3699 LilyPond has support for both printing chord names. Chords may be
3700 entered in musical chord notation, i.e. @code{< .. >}, but they can
3701 also be entered by name. Internally, the chords are represented as a
3702 set of pitches, so they can be transposed:
3705 @lilypond[verbatim,raggedright]
3706 twoWays = \notes \transpose c c' {
3716 << \context ChordNames \twoWays
3717 \context Voice \twoWays >> }
3720 This example also shows that the chord printing routines do not try to
3721 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3727 * Printing chord names::
3732 @subsection Chords mode
3735 Chord mode is a mode where you can input sets of pitches using common
3736 names. It is introduced by the keyword @code{\chords}.
3737 In chords mode, a chord is entered by the root, which is entered
3738 like a common pitch:
3739 @lilypond[fragment,verbatim,relative=1]
3740 \chords { es4. d8 c2 }
3745 Other chords may be entered by suffixing a colon, and introducing a
3746 modifier, and optionally, a number:
3748 @lilypond[fragment,verbatim]
3749 \chords { e1:m e1:7 e1:m7 }
3751 The first number following the root is taken to be the `type' of the
3752 chord, thirds are added to the root until it reaches the specified
3754 @lilypond[fragment,verbatim]
3755 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3758 @cindex root of chord
3759 @cindex additions, in chords
3760 @cindex removals, in chords
3762 More complex chords may also be constructed adding separate steps
3763 to a chord. Additions are added after the number following
3764 the colon, and are separated by dots:
3766 @lilypond[verbatim,fragment]
3767 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3769 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3771 @lilypond[verbatim,fragment]
3772 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3774 Removals are specified similarly, and are introduced by a caret. They
3775 must come after the additions:
3776 @lilypond[verbatim,fragment]
3777 \chords { c^3 c:7^5 c:9^3.5 }
3780 Modifiers can be used to change pitches. The following modifiers are
3784 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3786 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3789 is the augmented chord. This modifier raises the 5th step.
3791 is the major 7th chord. This modifier raises the 7th step if present.
3793 is the suspended 4th or 2nd. This modifier removes the 3rd
3794 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3797 Modifiers can be mixed with additions:
3798 @lilypond[verbatim,fragment]
3799 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3802 @cindex modifiers, in chords.
3809 Since an unaltered 11 does not sound good when combined with an
3810 unaltered 13, the 11 is removed in this case (unless it is added
3813 @lilypond[fragment,verbatim]
3814 \chords { c:13 c:13.11 c:m13 }
3819 An inversion (putting one pitch of the chord on the bottom), as well
3820 as bass notes, can be specified by appending
3821 @code{/}@var{pitch} to the chord:
3822 @lilypond[fragment,verbatim]
3823 \chords { c1 c/g c/f }
3827 A bass note can be added instead of transposed out of the chord,
3828 by using @code{/+}@var{pitch}.
3830 @lilypond[fragment,verbatim]
3831 \chords { c1 c/+g c/+f }
3834 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3835 of the commands continue to work, for example, @code{r} and
3836 @code{\skip} can be used to insert rests and spaces, and property
3837 commands may be used to change various settings.
3843 Each step can only be present in a chord once. The following
3844 simply produces the augmented chord, since @code{5+} is interpreted
3847 @lilypond[verbatim,fragment]
3848 \chords { c:5.5-.5+ }
3852 @node Printing chord names
3853 @subsection Printing chord names
3855 @cindex printing chord names
3859 For displaying printed chord names, use the @internalsref{ChordNames} context.
3860 The chords may be entered either using the notation
3861 described above, or directly using @code{<} and @code{>}:
3863 @lilypond[verbatim,raggedright]
3865 \chords {a1 b c} <d' f' a'> <e' g' b'>
3869 \context ChordNames \scheme
3870 \context Staff \scheme
3875 You can make the chord changes stand out by setting
3876 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3877 display chord names when there is a change in the chords scheme and at
3878 the start of a new line:
3880 @lilypond[verbatim,linewidth=9\cm]
3882 c1:m c:m \break c:m c:m d
3886 \context ChordNames {
3887 \set chordChanges = ##t
3889 \context Staff \transpose c c' \scheme
3894 The default chord name layout is a system for Jazz music, proposed by
3895 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3896 following properties:
3899 @cindex chordNameExceptions
3900 @item chordNameExceptions
3901 This is a list that contains the chords that have special formatting.
3903 @inputfileref{input/regression,chord-name-exceptions.ly}.
3904 @cindex exceptions, chord names.
3907 @cindex majorSevenSymbol
3908 @item majorSevenSymbol
3909 This property contains the markup object used for the 7th step, when
3910 it is major. Predefined options are @code{whiteTriangleMarkup} and
3911 @code{blackTriangleMarkup}. See
3912 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3914 @cindex chordNameSeparator
3915 @item chordNameSeparator
3916 Different parts of a chord name are normally separated by a
3917 slash. By setting @code{chordNameSeparator}, you can specify other
3919 @lilypond[fragment,verbatim]
3920 \context ChordNames \chords {
3922 \set chordNameSeparator
3923 = \markup { \typewriter "|" }
3927 @cindex chordRootNamer
3928 @item chordRootNamer
3929 The root of a chord is usually printed as a letter with an optional
3930 alteration. The transformation from pitch to letter is done by this
3931 function. Special note names (for example, the German ``H'' for a
3932 B-chord) can be produced by storing a new function in this property.
3934 The predefined variables @code{\germanChords},
3935 @code{\semiGermanChords} set these variables.
3938 @cindex chordNoteNamer
3939 @item chordNoteNamer
3940 The default is to print single pitch, e.g. the bass note, using the
3941 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3942 to a specialized function to change this behavior. For example, the
3943 base can be printed in lower case.
3948 There are also two other chord name schemes implemented: an alternate
3949 Jazz chord notation, and a systematic scheme called Banter chords. The
3950 alternate jazz notation is also shown on the chart in @ref{Chord name
3951 chart}. Turning on these styles is described in the input file
3952 @inputfileref{input/test,chord-names-jazz.ly}.
3956 @cindex chords, jazz
3961 @cindex @code{\germanChords}
3962 @code{\germanChords},
3963 @cindex @code{\semiGermanChords}
3964 @code{\semiGermanChords}.
3971 Examples: @inputfileref{input/regression,chord-name-major7.ly},
3972 @inputfileref{input/regression,chord-name-exceptions.ly},
3973 @inputfileref{input/test,chord-names-jazz.ly},
3974 @inputfileref{input/test,chord-names-german.ly}.
3976 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3981 Chord names are determined solely from the list of pitches. Chord
3982 inversions are not identified, and neither are added bass notes. This
3983 may result in strange chord names when chords are entered with the
3984 @code{< .. >} syntax.
3989 @node Orchestral music
3990 @section Orchestral music
3992 @cindex Writing parts
3994 Orchestral music involves some special notation, both in the full
3995 score and the individual parts. This section explains how to tackle
3996 some common problems in orchestral music.
4001 * Multiple staff contexts::
4004 * Instrument names::
4006 * Instrument transpositions::
4007 * Multi measure rests::
4008 * Automatic part combining::
4010 * Different editions from one source::
4011 * Quoting other voices::
4014 @node Multiple staff contexts
4015 @subsection Multiple staff contexts
4017 Polyphonic scores consist of many staves. These staves can be
4018 constructed in three different ways:
4020 @item The group is started with a brace at the left, and bar lines are
4021 connected. This is done with the @internalsref{GrandStaff} context.
4023 @item The group is started with a bracket, and bar lines are connected. This is done with the
4024 @internalsref{StaffGroup} context
4027 @item The group is started with a vertical line. Bar lines are not
4028 connected. This is the default for the score.
4032 @cindex Staff, multiple
4033 @cindex bracket, vertical
4034 @cindex brace, vertical
4041 @node Rehearsal marks
4042 @subsection Rehearsal marks
4043 @cindex Rehearsal marks
4045 @cindex @code{\mark}
4047 To print a rehearsal mark, use the @code{\mark} command:
4048 @lilypond[fragment,verbatim]
4059 (The letter I is skipped in accordance with engraving traditions.)
4061 The mark is incremented automatically if you use @code{\mark
4062 \default}, but you can also use an integer argument to set the mark
4063 manually. The value to use is stored in the property
4064 @code{rehearsalMark}.
4066 The style is defined by the property @code{markFormatter}. It is a
4067 function taking the current mark (an integer) and the current context
4068 as argument. It should return a markup object. In the following
4069 example, @code{markFormatter} is set to a canned procedure. After a
4070 few measures, it is set to function that produces a boxed number.
4072 @lilypond[verbatim,fragment,relative=1]
4073 \set Score.markFormatter = #format-mark-numbers
4076 \set Score.markFormatter
4077 = #(lambda (mark context)
4078 (make-bold-markup (make-box-markup (number->string mark))))
4083 The file @file{scm/translation-functions.scm} contains the definitions
4084 of @code{format-mark-numbers} (the default format) and
4085 @code{format-mark-letters}. They can be used as inspiration for other
4086 formatting functions.
4089 @cindex coda on bar line
4090 @cindex segno on bar line
4091 @cindex fermata on bar line
4092 @cindex bar lines, symbols on
4094 The @code{\mark} command can also be used to put signs like coda,
4095 segno and fermatas on a bar line. Use @code{\markup} to
4096 to access the appropriate symbol:
4098 @lilypond[fragment,verbatim,relative=1]
4099 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4103 In the case of a line break, marks must also be printed at the end of
4104 the line, and not at the beginning. Use the following to force that
4107 \override Score.RehearsalMark
4108 #'break-visibility = #begin-of-line-invisible
4114 @cindex bar lines, putting symbols on
4118 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4120 Init files: @file{scm/translation-functions.scm} contains the
4121 definition of @code{format-mark-numbers} and
4122 @code{format-mark-letters}. They can be used as inspiration for other
4123 formatting functions.
4125 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4126 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4130 @subsection Bar numbers
4134 @cindex measure numbers
4135 @cindex currentBarNumber
4137 Bar numbers are printed by default at the start of the line. The
4138 number itself is stored in the
4139 @code{currentBarNumber} property,
4140 which is normally updated automatically for every measure.
4142 Bar numbers can be typeset at regular intervals instead of at the
4143 beginning of each line. This is illustrated in the following example,
4144 whose source is available as
4145 @inputfileref{input/test,bar-number-regular-interval.ly}:
4147 @lilypondfile[]{bar-number-regular-interval.ly}
4152 Program reference: @internalsref{BarNumber}.
4154 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4155 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4159 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4160 there is one at the top. To solve this, the
4161 @code{padding} property of @internalsref{BarNumber} can be
4162 used to position the number correctly.
4164 @node Instrument names
4165 @subsection Instrument names
4167 In an orchestral score, instrument names are printed left side of the
4170 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4171 and @internalsref{Staff}.@code{instr}. This will print a string before
4172 the start of the staff. For the first start, @code{instrument} is
4173 used, for the next ones @code{instr} is used.
4176 @lilypond[verbatim,raggedright,relative=2]
4177 \set Staff.instrument = "Ploink "
4178 \set Staff.instr = "Plk "
4185 You can also use markup texts to construct more complicated instrument
4189 @lilypond[fragment,verbatim,raggedright]
4191 \set Staff.instrument = \markup {
4192 \column < "Clarinetti"
4205 Program reference: @internalsref{InstrumentName}.
4209 When you put a name on a grand staff or piano staff the width of the
4210 brace is not taken into account. You must add extra spaces to the end of
4211 the name to avoid a collision.
4214 @subsection Transpose
4216 @cindex transposition of pitches
4217 @cindex @code{\transpose}
4219 A music expression can be transposed with @code{\transpose}. The syntax
4222 \transpose @var{from} @var{to} @var{musicexpr}
4225 This means that @var{musicexpr} is transposed by the interval between
4226 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4227 is changed to @code{to}.
4230 For example, consider a piece written in the key of D major. If
4231 this piece is a little too low for its performer, it can be
4232 transposed up to E major with
4234 \transpose d e @dots{}
4237 Consider a part written for violin (a C instrument). If
4238 this part is to be played on the A clarinet, the following
4239 transposition will produce the appropriate part
4242 \transpose a c @dots{}
4245 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4246 inside a @code{\notes} section. @code{\transpose} distinguishes
4247 between enharmonic pitches: both @code{\transpose c cis} or
4248 @code{\transpose c des} will transpose up half a tone. The first
4249 version will print sharps and the second version will print flats:
4251 @lilypond[raggedright,verbatim]
4252 mus =\notes { \key d \major cis d fis g }
4253 \score { \notes \context Staff {
4256 \transpose c g' \mus
4257 \transpose c f' \mus
4264 Program reference: @internalsref{TransposedMusic}, and
4265 @internalsref{UntransposableMusic}.
4269 If you want to use both @code{\transpose} and @code{\relative}, then
4270 you must put @code{\transpose} outside of @code{\relative}, since
4271 @code{\relative} will have no effect music that appears inside a
4274 @node Instrument transpositions
4275 @subsection Instrument transpositions
4277 The key of a transposing instrument can also be specified. This
4278 applies to many wind instruments, for example, clarinets (B-flat, A and
4279 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4282 The transposition is entered after the keyword @code{\transposition}:
4285 \transposition bes %% B-flat clarinet
4288 This command sets the property @code{instrumentTuning}. The value of
4289 this property is used for MIDI output and quotations. It does not
4290 affect how notes are printed in the current staff.
4292 @cindex transposition, MIDI
4293 @cindex transposition, instrument
4296 @node Multi measure rests
4297 @subsection Multi measure rests
4298 @cindex multi measure rests
4299 @cindex Rests, multi measure
4303 Multi measure rests are entered using `@code{R}'. It is specifically
4304 meant for full bar rests and for entering parts: the rest can expand
4305 to fill a score with rests, or it can be printed as a single
4306 multimeasure rest. This expansion is controlled by the property
4307 @code{Score.skipBars}. If this is set to true, empty measures will not
4308 be expanded, and the appropriate number is added automatically:
4310 @lilypond[fragment,verbatim]
4311 \time 4/4 r1 | R1 | R1*2
4312 \set Score.skipBars = ##t R1*17 R1*4
4315 The @code{1} in @code{R1} is similar to the duration notation used for
4316 notes. Hence, for time signatures other than 4/4, you must enter other
4317 durations. This can be done with augmentation dots or fractions:
4319 @lilypond[fragment,verbatim]
4320 \set Score.skipBars = ##t
4328 An @code{R} spanning a single measure is printed as either a whole rest
4329 or a breve, centered in the measure regardless of the time signature.
4331 @cindex text on multi-measure rest
4332 @cindex script on multi-measure rest
4333 @cindex fermata on multi-measure rest
4335 Texts can be added to multi-measure rests by using the
4336 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4337 replaced. If you need both texts and the number, you must add the
4338 number by hand. A variable (@code{\fermataMarkup}) is provided for
4342 @lilypond[verbatim,fragment]
4344 R2._\markup { "Ad lib" }
4348 If you want to have a text on the left end of a multi-measure rest,
4349 attach the text to a zero-length skip note, i.e.
4357 @cindex whole rests for a full measure
4361 Program reference: @internalsref{MultiMeasureRestEvent},
4362 @internalsref{MultiMeasureTextEvent},
4363 @internalsref{MultiMeasureRestMusicGroup}, and
4364 @internalsref{MultiMeasureRest}.
4366 The layout object @internalsref{MultiMeasureRestNumber} is for the
4367 default number, and @internalsref{MultiMeasureRestText} for user
4372 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4373 over multi-measure rests.
4375 @cindex condensing rests
4377 There is no way to automatically condense multiple rests into a single
4378 multimeasure rest. Multi measure rests do not take part in rest
4381 Be careful when entering multimeasure rests followed by whole
4382 notes. The following will enter two notes lasting four measures each:
4386 When @code{skipBars} is set, then the result will look OK, but the
4387 bar numbering will be off.
4389 @node Automatic part combining
4390 @subsection Automatic part combining
4391 @cindex automatic part combining
4392 @cindex part combiner
4395 Automatic part combining is used to merge two parts of music onto a
4396 staff. It is aimed at typesetting orchestral scores. When the two
4397 parts are identical for a period of time, only one is shown. In
4398 places where the two parts differ, they are typeset as separate
4399 voices, and stem directions are set automatically. Also, solo and
4400 @emph{a due} parts are identified and can be marked.
4403 The syntax for part combining is
4406 \partcombine @var{musicexpr1} @var{musicexpr2}
4409 The music expressions will be interpreted as @internalsref{Voice} contexts.
4411 The following example demonstrates the basic functionality of the part
4412 combiner: putting parts on one staff, and setting stem directions and
4415 @lilypond[verbatim,raggedright,fragment,relative=1]
4416 \new Staff \partcombine
4425 The first @code{g} appears only once, although it was
4426 specified twice (once in each part). Stem, slur and tie directions are
4427 set automatically, depending whether there is a solo or unisono. The
4428 first part (with context called @code{one}) always gets up stems, and
4429 `solo', while the second (called @code{two}) always gets down stems and
4432 If you just want the merging parts, and not the textual markings, you
4433 may set the property @var{soloADue} to false:
4435 @lilypond[verbatim,raggedright,fragment,relative=1]
4437 \set Staff.soloADue = ##f
4449 Program reference: @internalsref{PartCombineMusic},
4450 @internalsref{SoloOneEvent}, and
4451 @internalsref{SoloTwoEvent}, and
4452 @internalsref{UnisonoEvent}.
4456 In @code{soloADue} mode, when the two voices play the same notes on and
4457 off, the part combiner may typeset @code{a2} more than once in a
4460 @code{\partcombine} can not be inside @code{\times}.
4462 Internally, the @code{\partcombine} interprets both arguments as
4463 @code{Voice}s named @code{one} and @code{two}, and then decides when
4464 the parts can be combined. Consequently, if the arguments switch to
4465 differently named @internalsref{Voice} contexts, then the events in
4466 those will be ignored.
4469 @subsection Hiding staves
4471 @cindex Frenched scores
4472 @cindex Hiding staves
4474 In orchestral scores, staff lines that only have rests are usually
4475 removed. This saves some space. This style is called `French Score'.
4476 For @internalsref{Lyrics},
4477 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4478 switched on by default. When these line of these contexts turn out
4479 empty after the line-breaking process, they are removed.
4481 For normal staves, a specialized @internalsref{Staff} context is
4482 available, which does the same: staves containing nothing (or only
4483 multi measure rests) are removed. The context definition is stored in
4484 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4485 in this example disappears in the second line:
4490 \notes \relative c' <<
4491 \new Staff { e4 f g a \break c1 }
4492 \new Staff { c4 d e f \break R1 }
4496 \context { \RemoveEmptyStaffContext }
4501 The first page shows all staves in full. If empty staves should be
4502 removed from the first page too, set @code{remove-first} to false in
4503 @internalsref{RemoveEmptyVerticalGroup}.
4505 Another application is making ossia sections, i.e. alternative
4506 melodies on a separate piece of staff, with help of a Frenched
4507 staff. See @inputfileref{input/test,ossia.ly} for an example.
4510 @node Different editions from one source
4511 @subsection Different editions from one source
4513 The @code{\tag} command marks music expressions with a name. These
4514 tagged expressions can be filtered out later. With this mechanism it
4515 is possible to make different versions of the same music source.
4517 In the following example, we see two versions of a piece of music, one
4518 for the full score, and one with cue notes for the instrumental part:
4534 The same can be applied to articulations, texts, etc.: they are
4537 -\tag #@var{your-tag}
4539 to an articulation, for example,
4544 This defines a note with a conditional fingering indication.
4546 By applying the @code{remove-tag} function, tagged expressions can be
4547 filtered. For example,
4551 \apply #(remove-tag 'score) @var{the music}
4552 \apply #(remove-tag 'part) @var{the music}
4557 @lilypondfile[]{tag-filter.ly}
4559 The argument of the @code{\tag} command should be a symbol, or a list
4560 of symbols, for example,
4562 \tag #'(original-part transposed-part) @dots{}
4567 Examples: @inputfileref{input/regression,tag-filter.ly}.
4570 @node Quoting other voices
4571 @subsection Quoting other voices
4573 With quotations, fragments of other parts can be inserted into a part
4574 directly. Before a part can be quoted, it must be marked especially as
4575 quotable. This is done with code @code{\addquote} command. The
4576 quotation may then be done with @code{\quote}
4579 \addquote @var{name} @var{music}
4580 \quote @var{name} @var{duration}
4585 Here, @var{name} is an identifying string. The @var{music} is any kind
4586 of music. This is an example of @code{\addquote}:
4589 \addquote clarinet \notes\relative c' {
4594 During a part, a piece of music can be quoted with the @code{\quote}
4601 This would cite 3 quarter notes (a dotted half note) of the previously
4602 added clarinet voice.
4604 Quotations take into account the transposition both source and target
4605 instruments, if they are specified using the @code{\transposition} command.
4607 @lilypond[verbatim,fragment]
4608 \addquote clarinet \notes\relative c' {
4614 e'8 f'8 \quote clarinet 2
4620 Only the contents of the first @internalsref{Voice} occurring in an
4621 @code{\addquote} command will be considered for quotation, so
4622 @var{music} can not contain @code{\new} and @code{\context Voice}
4623 statements that would switch to a different Voice.
4628 In this manual: @ref{Instrument transpositions}.
4630 Examples: @inputfileref{input/regression,quote.ly}
4631 @inputfileref{input/regression,quote-transposition.ly}
4633 Program reference: @internalsref{QuoteMusic}.
4635 @node Ancient notation
4636 @section Ancient notation
4638 @cindex Vaticana, Editio
4639 @cindex Medicaea, Editio
4644 Support for ancient notation includes features for mensural notation
4645 and Gregorian Chant notation. There is also limited support for
4646 figured bass notation.
4648 Many graphical objects provide a @code{style} property, see
4649 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4650 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4651 signatures}. By manipulating such a grob property, the typographical
4652 appearance of the affected graphical objects can be accommodated for a
4653 specific notation flavor without need for introducing any new
4656 Other aspects of ancient notation can not that easily be expressed as
4657 in terms of just changing a style property of a graphical object.
4658 Therefore, some notational concepts are introduced specifically for
4659 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4660 @ref{Ligatures}, and @ref{Figured bass}.
4664 * Ancient note heads::
4665 * Ancient accidentals::
4669 * Ancient time signatures::
4674 * Vaticana style contexts::
4677 If this all is way too much of documentation for you, and you just
4678 want to dive into typesetting without worrying too much about the
4679 details on how to customize a context, then you may have a look at the
4680 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4681 set up predefined style-specific voice and staff contexts, and
4682 directly go ahead with the note entry.
4686 Ligatures need special spacing that has not yet been implemented. As
4687 a result, there is too much space between ligatures most of the time,
4688 and line breaking often is unsatisfactory. Also, lyrics do not
4689 correctly align with ligatures.
4691 Accidentals must not be printed within a ligature, but instead need to
4692 be collected and printed in front of it.
4694 Augmentum dots within ligatures are not handled correctly.
4697 @node Ancient note heads
4698 @subsection Ancient note heads
4703 For ancient notation, a note head style other than the @code{default}
4704 style may be chosen. This is accomplished by setting the @code{style}
4705 property of the NoteHead object to the desired value (@code{baroque},
4706 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4707 differs from the @code{default} style only in using a square shape for
4708 @code{\breve} note heads. The @code{neo_mensural} style differs from
4709 the @code{baroque} style in that it uses rhomboidal heads for whole
4710 notes and all smaller durations. Stems are centered on the note
4711 heads. This style is in particular useful when transcribing mensural
4712 music, e.g. for the incipit. The @code{mensural} style finally
4713 produces note heads that mimic the look of note heads in historic
4714 printings of the 16th century.
4716 The following example demonstrates the @code{neo_mensural} style:
4718 @lilypond[fragment,raggedright,verbatim]
4719 \override NoteHead #'style = #'neo_mensural
4720 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4723 When typesetting a piece in Gregorian Chant notation, a Gregorian
4724 ligature engraver will automatically select the proper note heads,
4725 such there is no need to explicitly set the note head style. Still,
4726 the note head style can be set e.g. to @code{vaticana_punctum} to
4727 produce punctum neumes. Similarly, a mensural ligature engraver is
4728 used to automatically assemble mensural ligatures. See
4729 @ref{Ligatures} for how ligature engravers work.
4734 @ref{Percussion staves} use note head styles of their own that are
4735 frequently used in contemporary music notation.
4737 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4738 overview over all available note head styles.
4741 @node Ancient accidentals
4742 @subsection Ancient accidentals
4747 Use the @code{style} property of grob @internalsref{Accidental} to
4748 select ancient accidentals. Supported styles are
4749 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4751 @lilypond[raggedright,staffsize=26]
4759 { " " \musicglyph #"accidentals-vaticana-1"
4760 " " \musicglyph #"accidentals-vaticana0" }
4764 { " " \musicglyph #"accidentals-medicaea-1" }
4768 { " " \musicglyph #"accidentals-hufnagel-1" }
4772 { " " \musicglyph #"accidentals-mensural-1"
4773 " " \musicglyph #"accidentals-mensural1" }
4782 \remove "Bar_number_engraver"
4786 \remove "Clef_engraver"
4787 \remove "Key_engraver"
4788 \remove "Time_signature_engraver"
4789 \remove "Staff_symbol_engraver"
4790 minimumVerticalExtent = ##f
4796 As shown, not all accidentals are supported by each style. When
4797 trying to access an unsupported accidental, LilyPond will switch to a
4798 different style, as demonstrated in
4799 @inputfileref{input/test,ancient-accidentals.ly}.
4801 Similarly to local accidentals, the style of the key signature can be
4802 controlled by the @code{style} property of the
4803 @internalsref{KeySignature} grob.
4807 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4808 @ref{Accidentals} give a general introduction into the use of
4809 accidentals. @ref{Key signature} gives a general introduction into
4810 the use of key signatures.
4812 Program reference: @internalsref{KeySignature}.
4814 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4817 @subsection Ancient rests
4822 Use the @code{style} property of grob @internalsref{Rest} to select
4823 ancient accidentals. Supported styles are @code{classical},
4824 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4825 from the @code{default} style only in that the quarter rest looks like
4826 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4827 well for e.g. the incipit of a transcribed mensural piece of music.
4828 The @code{mensural} style finally mimics the appearance of rests as
4829 in historic prints of the 16th century.
4831 The following example demonstrates the @code{neo_mensural} style:
4833 @lilypond[fragment,raggedright,verbatim]
4834 \override Rest #'style = #'neo_mensural
4835 r\longa r\breve r1 r2 r4 r8 r16
4838 There are no 32th and 64th rests specifically for the mensural or
4839 neo-mensural style. Instead, the rests from the default style will be
4840 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4843 There are no rests in Gregorian Chant notation; instead, it uses
4848 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4852 @subsection Ancient clefs
4857 LilyPond supports a variety of clefs, many of them ancient.
4859 The following table shows all ancient clefs that are supported via the
4860 @code{\clef} command. Some of the clefs use the same glyph, but
4861 differ only with respect to the line they are printed on. In such
4862 cases, a trailing number in the name is used to enumerate these clefs.
4863 Still, you can manually force a clef glyph to be typeset on an
4864 arbitrary line, as described in @ref{Clef}. The note printed to the
4865 right side of each clef in the example column denotes the @code{c'}
4866 with respect to that clef.
4868 @multitable @columnfractions .3 .3 .3 .1
4872 @b{Description} @tab
4873 @b{Supported Clefs} @tab
4877 @code{clefs-neo_mensural_c} @tab
4878 modern style mensural C clef @tab
4879 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4880 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4881 @lilypond[relative,notime]
4882 \override Staff.TimeSignature #'transparent = ##t
4883 \clef "neo_mensural_c2" c
4887 @code{clefs-petrucci_c1}
4888 @code{clefs-petrucci_c2}
4889 @code{clefs-petrucci_c3}
4890 @code{clefs-petrucci_c4}
4891 @code{clefs-petrucci_c5}
4894 petrucci style mensural C clefs, for use on different staff lines
4895 (the examples shows the 2nd staff line C clef).
4905 @lilypond[relative,notime]
4906 \override Staff.TimeSignature #'transparent = ##t
4907 \clef "petrucci_c2" c
4911 @code{clefs-petrucci_f} @tab
4912 petrucci style mensural F clef @tab
4913 @code{petrucci_f} @tab
4914 @lilypond[relative,notime]
4915 \override Staff.TimeSignature #'transparent = ##t
4916 \clef "petrucci_f" c
4920 @code{clefs-petrucci_g} @tab
4921 petrucci style mensural G clef @tab
4922 @code{petrucci_g} @tab
4923 @lilypond[relative,notime]
4924 \override Staff.TimeSignature #'transparent = ##t
4925 \clef "petrucci_g" c
4929 @code{clefs-mensural_c} @tab
4930 historic style mensural C clef @tab
4931 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4932 @code{mensural_c4} @tab
4933 @lilypond[relative,notime]
4934 \override Staff.TimeSignature #'transparent = ##t
4935 \clef "mensural_c2" c
4939 @code{clefs-mensural_f} @tab
4940 historic style mensural F clef @tab
4941 @code{mensural_f} @tab
4942 @lilypond[relative,notime]
4943 \override Staff.TimeSignature #'transparent = ##t
4944 \clef "mensural_f" c
4948 @code{clefs-mensural_g} @tab
4949 historic style mensural G clef @tab
4950 @code{mensural_g} @tab
4951 @lilypond[relative,notime]
4952 \override Staff.TimeSignature #'transparent = ##t
4953 \clef "mensural_g" c
4957 @code{clefs-vaticana_do} @tab
4958 Editio Vaticana style do clef @tab
4959 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4960 @lilypond[relative,notime]
4961 \override Staff.StaffSymbol #'line-count = #4
4962 \override Staff.TimeSignature #'transparent = ##t
4963 \clef "vaticana_do2" c
4967 @code{clefs-vaticana_fa} @tab
4968 Editio Vaticana style fa clef @tab
4969 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4970 @lilypond[relative,notime]
4971 \override Staff.StaffSymbol #'line-count = #4
4972 \override Staff.TimeSignature #'transparent = ##t
4973 \clef "vaticana_fa2" c
4977 @code{clefs-medicaea_do} @tab
4978 Editio Medicaea style do clef @tab
4979 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4980 @lilypond[relative,notime]
4981 \override Staff.StaffSymbol #'line-count = #4
4982 \override Staff.TimeSignature #'transparent = ##t
4983 \clef "medicaea_do2" c
4987 @code{clefs-medicaea_fa} @tab
4988 Editio Medicaea style fa clef @tab
4989 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4990 @lilypond[relative,notime]
4991 \override Staff.StaffSymbol #'line-count = #4
4992 \override Staff.TimeSignature #'transparent = ##t
4993 \clef "medicaea_fa2" c
4997 @code{clefs-hufnagel_do} @tab
4998 historic style hufnagel do clef @tab
4999 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5000 @lilypond[relative,notime]
5001 \override Staff.StaffSymbol #'line-count = #4
5002 \override Staff.TimeSignature #'transparent = ##t
5003 \clef "hufnagel_do2" c
5007 @code{clefs-hufnagel_fa} @tab
5008 historic style hufnagel fa clef @tab
5009 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5010 @lilypond[relative,notime]
5011 \override Staff.StaffSymbol #'line-count = #4
5012 \override Staff.TimeSignature #'transparent = ##t
5013 \clef "hufnagel_fa2" c
5017 @code{clefs-hufnagel_do_fa} @tab
5018 historic style hufnagel combined do/fa clef @tab
5019 @code{hufnagel_do_fa} @tab
5020 @lilypond[relative,notime]
5021 \override Staff.TimeSignature #'transparent = ##t
5022 \clef "hufnagel_do_fa" c
5029 @emph{Modern style} means ``as is typeset in contemporary editions of
5030 transcribed mensural music''.
5032 @emph{Petrucci style} means ``inspired by printings published by the
5033 famous engraver Petrucci (1466-1539)''.
5035 @emph{Historic style} means ``as was typeset or written in historic
5036 editions (other than those of Petrucci)''.
5038 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5040 Petrucci used C clefs with differently balanced left-side vertical
5041 beams, depending on which staff line it is printed.
5045 In this manual: see @ref{Clef}.
5049 The mensural g clef is mapped to the Petrucci g clef, until a new
5050 mensural g clef is implemented.
5055 @subsection Ancient flags
5060 Use the @code{flag-style} property of grob @internalsref{Stem} to
5061 select ancient flags. Besides the @code{default} flag style,
5062 only @code{mensural} style is supported:
5064 @lilypond[fragment,raggedright,verbatim]
5065 \override Stem #'flag-style = #'mensural
5066 \override Stem #'thickness = #1.0
5067 \override NoteHead #'style = #'mensural
5069 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
5070 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5073 Note that the innermost flare of each mensural flag always is
5074 vertically aligned with a staff line. If you do not like this
5075 behavior, you can set the @code{adjust-if-on-staffline} property of
5076 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5077 of the end of each flare is different between notes on staff lines and
5078 notes between staff lines:
5080 @lilypond[fragment,raggedright]
5081 \override Stem #'flag-style = #'mensural
5082 \override Stem #'thickness = #1.0
5083 \override Stem #'adjust-if-on-staffline = ##f
5084 \override NoteHead #'style = #'mensural
5086 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
5087 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5090 There is no particular flag style for neo-mensural notation. Hence,
5091 when typesetting e.g. the incipit of a transcribed piece of mensural
5092 music, the default flag style should be used. There are no flags in
5093 Gregorian Chant notation.
5096 @node Ancient time signatures
5097 @subsection Ancient time signatures
5099 @cindex time signatures
5102 There is limited support for mensural time signatures. The
5103 glyphs are hard-wired to particular time fractions. In other words,
5104 to get a particular mensural signature glyph with the @code{\time n/m}
5105 command, @code{n} and @code{m} have to be chosen according to the
5111 \set Score.timing = ##f
5112 \set Score.barAlways = ##t
5113 s_\markup { "$\\backslash$time 4/4" }
5114 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5116 s_\markup { "$\\backslash$time 2/2" }
5117 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5119 s_\markup { "$\\backslash$time 6/4" }
5120 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5122 s_\markup { "$\\backslash$time 6/8" }
5123 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5125 s_\markup { "$\\backslash$time 3/2" }
5126 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5128 s_\markup { "$\\backslash$time 3/4" }
5129 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5131 s_\markup { "$\\backslash$time 9/4" }
5132 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5134 s_\markup { "$\\backslash$time 9/8" }
5135 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5137 s_\markup { "$\\backslash$time 4/8" }
5138 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5140 s_\markup { "$\\backslash$time 2/4" }
5141 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5149 \remove Staff_symbol_engraver
5150 \remove Clef_engraver
5151 \remove Time_signature_engraver
5157 Use the @code{style} property of grob @internalsref{TimeSignature} to
5158 select ancient time signatures. Supported styles are
5159 @code{neo_mensural} and @code{mensural}. The above table uses the
5160 @code{neo_mensural} style. This style is appropriate e.g. for the
5161 incipit of transcriptions of mensural pieces. The @code{mensural}
5162 style mimics the look of historical printings of the 16th century.
5164 @inputfileref{input/test,time.ly} gives an overview over all available
5165 ancient and modern styles.
5169 Program reference: @ref{Time signature} gives a general introduction into the use of time
5174 Mensural signature glyphs are mapped to time fractions in a hard-wired
5175 way. This mapping is sensible, but still arbitrary: given a mensural
5176 time signature, the time fraction represents a modern meter that
5177 usually will be a good choice when transcribing a mensural piece of
5178 music. For a particular piece of mensural music, however, the mapping
5179 may be unsatisfactory. In particular, the mapping assumes a fixed
5180 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5181 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5182 accessible through the @code{\time} command.
5184 Mensural time signatures are supported typographically, but not yet
5185 musically. The internal representation of durations is
5186 based on a purely binary system; a ternary division such as 1 brevis =
5187 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5188 prolatione maiori) is not correctly handled: event times in ternary
5189 modes will be badly computed, resulting e.g. in horizontally
5190 misaligned note heads, and bar checks are likely to erroneously fail.
5192 The syntax and semantics of the @code{\time} command for mensural
5193 music is subject to change.
5196 @subsection Custodes
5201 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5202 symbol that appears at the end of a staff. It anticipates the pitch
5203 of the first note(s) of the following line and thus helps the player
5204 or singer to manage line breaks during performance, thus enhancing
5205 readability of a score.
5207 Custodes were frequently used in music notation until the 17th
5208 century. Nowadays, they have survived only in a few particular forms
5209 of musical notation such as contemporary editions of Gregorian chant
5210 like the @emph{editio vaticana}. There are different custos glyphs
5211 used in different flavors of notational style.
5213 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5214 @internalsref{Staff} context when declaring the @code{\paper} block,
5215 as shown in the following example:
5221 \consists Custos_engraver
5222 Custos \override #'style = #'mensural
5227 The result looks like this:
5229 @lilypond[raggedright]
5233 \override Staff.Custos #'style = #'mensural
5240 \consists Custos_engraver
5246 The custos glyph is selected by the @code{style} property. The styles
5247 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5248 @code{mensural}. They are demonstrated in the following fragment:
5252 \new Lyrics \lyrics {
5256 { " " \musicglyph #"custodes-vaticana-u0" }
5260 { " " \musicglyph #"custodes-medicaea-u0" }
5265 { " " \musicglyph #"custodes-hufnagel-u0" }
5270 { " " \musicglyph #"custodes-mensural-u0" }
5282 Program reference: @internalsref{Custos}.
5284 Examples: @inputfileref{input/regression,custos.ly}.
5288 @subsection Divisiones
5294 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5295 `division') is a staff context symbol that is used to structure
5296 Gregorian music into phrases and sections. The musical meaning of
5297 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5298 can be characterized as short, medium and long pause, somewhat like
5299 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5300 a chant, but is also frequently used within a single
5301 antiphonal/responsorial chant to mark the end of each section.
5304 To use divisiones, include the file @code{gregorian-init.ly}. It
5305 contains definitions that you can apply by just inserting
5306 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5307 and @code{\finalis} at proper places in the input. Some editions use
5308 @emph{virgula} or @emph{caesura} instead of divisio minima.
5309 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5312 @lilypondfile[]{divisiones.ly}
5316 @cindex @code{\virgula}
5318 @cindex @code{\caesura}
5320 @cindex @code{\divisioMinima}
5321 @code{\divisioMinima},
5322 @cindex @code{\divisioMaior}
5323 @code{\divisioMaior},
5324 @cindex @code{\divisioMaxima}
5325 @code{\divisioMaxima},
5326 @cindex @code{\finalis}
5331 In this manual: @ref{Breath marks}.
5333 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5335 Examples: @inputfileref{input/test,divisiones.ly}.
5338 @subsection Ligatures
5342 @c TODO: Should double check if I recalled things correctly when I wrote
5343 @c down the following paragraph by heart.
5345 A ligature is a coherent graphical symbol that represents at least two
5346 distinct notes. Ligatures originally appeared in the manuscripts of
5347 Gregorian chant notation roughly since the 9th century to denote
5348 ascending or descending sequences of notes.
5350 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5351 Some ligature styles may need additional input syntax specific for
5352 this particular type of ligature. By default, the
5353 @internalsref{LigatureBracket} engraver just puts a square bracket
5356 @lilypond[raggedright,verbatim]
5358 \notes \transpose c c' {
5366 To select a specific style of ligatures, a proper ligature engraver
5367 has to be added to the @internalsref{Voice} context, as explained in
5368 the following subsections. Only white mensural ligatures
5369 are supported with certain limitations.
5372 * White mensural ligatures::
5373 * Gregorian square neumes ligatures::
5376 @node White mensural ligatures
5377 @subsubsection White mensural ligatures
5379 @cindex Mensural ligatures
5380 @cindex White mensural ligatures
5382 There is limited support for white mensural ligatures.
5384 To engrave white mensural ligatures, in the paper block the
5385 @internalsref{Mensural_ligature_engraver} has to be put into the
5386 @internalsref{Voice} context, and remove the
5387 @internalsref{Ligature_bracket_engraver}:
5393 \remove Ligature_bracket_engraver
5394 \consists Mensural_ligature_engraver
5399 There is no additional input language to describe the shape of a
5400 white mensural ligature. The shape is rather determined solely from
5401 the pitch and duration of the enclosed notes. While this approach may
5402 take a new user a while to get accustomed, it has the great advantage
5403 that the full musical information of the ligature is known internally.
5404 This is not only required for correct MIDI output, but also allows for
5405 automatic transcription of the ligatures.
5410 \set Score.timing = ##f
5411 \set Score.defaultBarType = "empty"
5412 \override NoteHead #'style = #'neo_mensural
5413 \override Staff.TimeSignature #'style = #'neo_mensural
5415 \[ g\longa c\breve a\breve f\breve d'\longa \]
5417 \[ e1 f1 a\breve g\longa \]
5419 @lilypond[raggedright]
5421 \notes \transpose c c' {
5422 \set Score.timing = ##f
5423 \set Score.defaultBarType = "empty"
5424 \override NoteHead #'style = #'neo_mensural
5425 \override Staff.TimeSignature #'style = #'neo_mensural
5427 \[ g\longa c\breve a\breve f\breve d'\longa \]
5429 \[ e1 f1 a\breve g\longa \]
5434 \remove Ligature_bracket_engraver
5435 \consists Mensural_ligature_engraver
5441 Without replacing @internalsref{Ligature_bracket_engraver} with
5442 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5445 @lilypond[raggedright]
5447 \notes \transpose c c' {
5448 \set Score.timing = ##f
5449 \set Score.defaultBarType = "empty"
5450 \override NoteHead #'style = #'neo_mensural
5451 \override Staff.TimeSignature #'style = #'neo_mensural
5453 \[ g\longa c\breve a\breve f\breve d'\longa \]
5455 \[ e1 f1 a\breve g\longa \]
5462 The implementation is experimental; it may output strange warnings or
5463 even crash in some cases or produce weird results on more complex
5466 @node Gregorian square neumes ligatures
5467 @subsubsection Gregorian square neumes ligatures
5469 @cindex Square neumes ligatures
5470 @cindex Gregorian square neumes ligatures
5472 Gregorian square neumes notation (following the style of the Editio
5473 Vaticana) is under heavy development, but not yet really usable for
5474 production purposes. Core ligatures can already be typeset, but
5475 essential issues for serious typesetting are still under development,
5476 such as (among others) horizontal alignment of multiple ligatures,
5477 lyrics alignment and proper accidentals handling. Still, this section
5478 gives a sneak preview of what Gregorian chant may look like once it
5481 The following table contains the extended neumes table of the 2nd
5482 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5483 1983 by the monks of Solesmes.
5485 @multitable @columnfractions .4 .2 .2 .2
5488 @b{Neuma aut@*Neumarum Elementa} @tab
5489 @b{Figurae@*Rectae} @tab
5490 @b{Figurae@*Liquescentes Auctae} @tab
5491 @b{Figurae@*Liquescentes Deminutae}
5493 @c TODO: \paper block is identical in all of the below examples.
5494 @c Therefore, it should somehow be included rather than duplicated all
5497 @c why not make identifiers in ly/engraver-init.ly? --hwn
5499 @c Because it's just used to typeset plain notes without
5500 @c a staff for demonstration purposes rather than something
5501 @c special of Gregorian chant notation. --jr
5506 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5507 \include "gregorian-init.ly"
5509 \notes \transpose c c' {
5512 \noBreak s^\markup {"a"} \noBreak
5514 % Punctum Inclinatum
5516 \noBreak s^\markup {"b"}
5522 \remove "Bar_number_engraver"
5526 \remove "Clef_engraver"
5527 \remove "Key_engraver"
5528 \override StaffSymbol #'transparent = ##t
5529 \remove "Time_signature_engraver"
5530 \remove "Bar_engraver"
5531 minimumVerticalExtent = ##f
5535 \remove Ligature_bracket_engraver
5536 \consists Vaticana_ligature_engraver
5537 \override NoteHead #'style = #'vaticana_punctum
5538 \override Stem #'transparent = ##t
5544 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5545 \include "gregorian-init.ly"
5547 \notes \transpose c c' {
5548 % Punctum Auctum Ascendens
5549 \[ \auctum \ascendens b \]
5550 \noBreak s^\markup {"c"} \noBreak
5552 % Punctum Auctum Descendens
5553 \[ \auctum \descendens b \]
5554 \noBreak s^\markup {"d"} \noBreak
5556 % Punctum Inclinatum Auctum
5557 \[ \inclinatum \auctum b \]
5558 \noBreak s^\markup {"e"}
5564 \remove "Bar_number_engraver"
5568 \remove "Clef_engraver"
5569 \remove "Key_engraver"
5570 \override StaffSymbol #'transparent = ##t
5571 \remove "Time_signature_engraver"
5572 \remove "Bar_engraver"
5573 minimumVerticalExtent = ##f
5577 \remove Ligature_bracket_engraver
5578 \consists Vaticana_ligature_engraver
5579 \override NoteHead #'style = #'vaticana_punctum
5580 \override Stem #'transparent = ##t
5586 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5587 \include "gregorian-init.ly"
5589 \notes \transpose c c' {
5590 % Punctum Inclinatum Parvum
5591 \[ \inclinatum \deminutum b \]
5592 \noBreak s^\markup {"f"}
5598 \remove "Bar_number_engraver"
5602 \remove "Clef_engraver"
5603 \remove "Key_engraver"
5604 \override StaffSymbol #'transparent = ##t
5605 \remove "Time_signature_engraver"
5606 \remove "Bar_engraver"
5607 minimumVerticalExtent = ##f
5611 \remove Ligature_bracket_engraver
5612 \consists Vaticana_ligature_engraver
5613 \override NoteHead #'style = #'vaticana_punctum
5614 \override Stem #'transparent = ##t
5623 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5624 \include "gregorian-init.ly"
5626 \notes \transpose c c' {
5629 \noBreak s^\markup {"g"}
5635 \remove "Bar_number_engraver"
5639 \remove "Clef_engraver"
5640 \remove "Key_engraver"
5641 \override StaffSymbol #'transparent = ##t
5642 \remove "Time_signature_engraver"
5643 \remove "Bar_engraver"
5644 minimumVerticalExtent = ##f
5648 \remove Ligature_bracket_engraver
5649 \consists Vaticana_ligature_engraver
5650 \override NoteHead #'style = #'vaticana_punctum
5651 \override Stem #'transparent = ##t
5660 @code{3. Apostropha vel Stropha}
5662 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5663 \include "gregorian-init.ly"
5665 \notes \transpose c c' {
5668 \noBreak s^\markup {"h"}
5674 \remove "Bar_number_engraver"
5678 \remove "Clef_engraver"
5679 \remove "Key_engraver"
5680 \override StaffSymbol #'transparent = ##t
5681 \remove "Time_signature_engraver"
5682 \remove "Bar_engraver"
5683 minimumVerticalExtent = ##f
5687 \remove Ligature_bracket_engraver
5688 \consists Vaticana_ligature_engraver
5689 \override NoteHead #'style = #'vaticana_punctum
5690 \override Stem #'transparent = ##t
5696 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5697 \include "gregorian-init.ly"
5699 \notes \transpose c c' {
5701 \[ \stropha \auctum b \]
5702 \noBreak s^\markup {"i"}
5708 \remove "Bar_number_engraver"
5712 \remove "Clef_engraver"
5713 \remove "Key_engraver"
5714 \override StaffSymbol #'transparent = ##t
5715 \remove "Time_signature_engraver"
5716 \remove "Bar_engraver"
5717 minimumVerticalExtent = ##f
5721 \remove Ligature_bracket_engraver
5722 \consists Vaticana_ligature_engraver
5723 \override NoteHead #'style = #'vaticana_punctum
5724 \override Stem #'transparent = ##t
5734 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5735 \include "gregorian-init.ly"
5737 \notes \transpose c c' {
5740 \noBreak s^\markup {"j"}
5746 \remove "Bar_number_engraver"
5750 \remove "Clef_engraver"
5751 \remove "Key_engraver"
5752 \override StaffSymbol #'transparent = ##t
5753 \remove "Time_signature_engraver"
5754 \remove "Bar_engraver"
5755 minimumVerticalExtent = ##f
5759 \remove Ligature_bracket_engraver
5760 \consists Vaticana_ligature_engraver
5761 \override NoteHead #'style = #'vaticana_punctum
5762 \override Stem #'transparent = ##t
5771 @code{5. Clivis vel Flexa}
5773 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5774 \include "gregorian-init.ly"
5776 \notes \transpose c c' {
5785 \remove "Bar_number_engraver"
5789 \remove "Clef_engraver"
5790 \remove "Key_engraver"
5791 \override StaffSymbol #'transparent = ##t
5792 \remove "Time_signature_engraver"
5793 \remove "Bar_engraver"
5794 minimumVerticalExtent = ##f
5798 \remove Ligature_bracket_engraver
5799 \consists Vaticana_ligature_engraver
5800 \override NoteHead #'style = #'vaticana_punctum
5801 \override Stem #'transparent = ##t
5807 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5808 \include "gregorian-init.ly"
5810 \notes \transpose c c' {
5811 % Clivis Aucta Descendens
5812 \[ b \flexa \auctum \descendens g \]
5813 \noBreak s^\markup {"l"} \noBreak
5815 % Clivis Aucta Ascendens
5816 \[ b \flexa \auctum \ascendens g \]
5817 \noBreak s^\markup {"m"}
5823 \remove "Bar_number_engraver"
5827 \remove "Clef_engraver"
5828 \remove "Key_engraver"
5829 \override StaffSymbol #'transparent = ##t
5830 \remove "Time_signature_engraver"
5831 \remove "Bar_engraver"
5832 minimumVerticalExtent = ##f
5836 \remove Ligature_bracket_engraver
5837 \consists Vaticana_ligature_engraver
5838 \override NoteHead #'style = #'vaticana_punctum
5839 \override Stem #'transparent = ##t
5845 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5846 \include "gregorian-init.ly"
5848 \notes \transpose c c' {
5850 \[ b \flexa \deminutum g \]
5857 \remove "Bar_number_engraver"
5861 \remove "Clef_engraver"
5862 \remove "Key_engraver"
5863 \override StaffSymbol #'transparent = ##t
5864 \remove "Time_signature_engraver"
5865 \remove "Bar_engraver"
5866 minimumVerticalExtent = ##f
5870 \remove Ligature_bracket_engraver
5871 \consists Vaticana_ligature_engraver
5872 \override NoteHead #'style = #'vaticana_punctum
5873 \override Stem #'transparent = ##t
5880 @code{6. Podatus vel Pes}
5882 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5883 \include "gregorian-init.ly"
5885 \notes \transpose c c' {
5894 \remove "Bar_number_engraver"
5898 \remove "Clef_engraver"
5899 \remove "Key_engraver"
5900 \override StaffSymbol #'transparent = ##t
5901 \remove "Time_signature_engraver"
5902 \remove "Bar_engraver"
5903 minimumVerticalExtent = ##f
5907 \remove Ligature_bracket_engraver
5908 \consists Vaticana_ligature_engraver
5909 \override NoteHead #'style = #'vaticana_punctum
5910 \override Stem #'transparent = ##t
5916 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5917 \include "gregorian-init.ly"
5919 \notes \transpose c c' {
5920 % Pes Auctus Descendens
5921 \[ g \pes \auctum \descendens b \]
5922 \noBreak s^\markup {"p"} \noBreak
5924 % Pes Auctus Ascendens
5925 \[ g \pes \auctum \ascendens b \]
5926 \noBreak s^\markup {"q"}
5932 \remove "Bar_number_engraver"
5936 \remove "Clef_engraver"
5937 \remove "Key_engraver"
5938 \override StaffSymbol #'transparent = ##t
5939 \remove "Time_signature_engraver"
5940 \remove "Bar_engraver"
5941 minimumVerticalExtent = ##f
5945 \remove Ligature_bracket_engraver
5946 \consists Vaticana_ligature_engraver
5947 \override NoteHead #'style = #'vaticana_punctum
5948 \override Stem #'transparent = ##t
5954 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5955 \include "gregorian-init.ly"
5957 \notes \transpose c c' {
5959 \[ g \pes \deminutum b \]
5966 \remove "Bar_number_engraver"
5970 \remove "Clef_engraver"
5971 \remove "Key_engraver"
5972 \override StaffSymbol #'transparent = ##t
5973 \remove "Time_signature_engraver"
5974 \remove "Bar_engraver"
5975 minimumVerticalExtent = ##f
5979 \remove Ligature_bracket_engraver
5980 \consists Vaticana_ligature_engraver
5981 \override NoteHead #'style = #'vaticana_punctum
5982 \override Stem #'transparent = ##t
5989 @code{7. Pes Quassus}
5991 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5992 \include "gregorian-init.ly"
5994 \notes \transpose c c' {
5996 \[ \oriscus g \pes \virga b \]
6003 \remove "Bar_number_engraver"
6007 \remove "Clef_engraver"
6008 \remove "Key_engraver"
6009 \override StaffSymbol #'transparent = ##t
6010 \remove "Time_signature_engraver"
6011 \remove "Bar_engraver"
6012 minimumVerticalExtent = ##f
6016 \remove Ligature_bracket_engraver
6017 \consists Vaticana_ligature_engraver
6018 \override NoteHead #'style = #'vaticana_punctum
6019 \override Stem #'transparent = ##t
6025 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6026 \include "gregorian-init.ly"
6028 \notes \transpose c c' {
6029 % Pes Quassus Auctus Descendens
6030 \[ \oriscus g \pes \auctum \descendens b \]
6037 \remove "Bar_number_engraver"
6041 \remove "Clef_engraver"
6042 \remove "Key_engraver"
6043 \override StaffSymbol #'transparent = ##t
6044 \remove "Time_signature_engraver"
6045 \remove "Bar_engraver"
6046 minimumVerticalExtent = ##f
6050 \remove Ligature_bracket_engraver
6051 \consists Vaticana_ligature_engraver
6052 \override NoteHead #'style = #'vaticana_punctum
6053 \override Stem #'transparent = ##t
6061 @code{8. Quilisma Pes}
6063 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6064 \include "gregorian-init.ly"
6066 \notes \transpose c c' {
6068 \[ \quilisma g \pes b \]
6075 \remove "Bar_number_engraver"
6079 \remove "Clef_engraver"
6080 \remove "Key_engraver"
6081 \override StaffSymbol #'transparent = ##t
6082 \remove "Time_signature_engraver"
6083 \remove "Bar_engraver"
6084 minimumVerticalExtent = ##f
6088 \remove Ligature_bracket_engraver
6089 \consists Vaticana_ligature_engraver
6090 \override NoteHead #'style = #'vaticana_punctum
6091 \override Stem #'transparent = ##t
6097 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6098 \include "gregorian-init.ly"
6100 \notes \transpose c c' {
6101 % Quilisma Pes Auctus Descendens
6102 \[ \quilisma g \pes \auctum \descendens b \]
6109 \remove "Bar_number_engraver"
6113 \remove "Clef_engraver"
6114 \remove "Key_engraver"
6115 \override StaffSymbol #'transparent = ##t
6116 \remove "Time_signature_engraver"
6117 \remove "Bar_engraver"
6118 minimumVerticalExtent = ##f
6122 \remove Ligature_bracket_engraver
6123 \consists Vaticana_ligature_engraver
6124 \override NoteHead #'style = #'vaticana_punctum
6125 \override Stem #'transparent = ##t
6133 @code{9. Podatus Initio Debilis}
6135 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6136 \include "gregorian-init.ly"
6138 \notes \transpose c c' {
6139 % Pes Initio Debilis
6140 \[ \deminutum g \pes b \]
6147 \remove "Bar_number_engraver"
6151 \remove "Clef_engraver"
6152 \remove "Key_engraver"
6153 \override StaffSymbol #'transparent = ##t
6154 \remove "Time_signature_engraver"
6155 \remove "Bar_engraver"
6156 minimumVerticalExtent = ##f
6160 \remove Ligature_bracket_engraver
6161 \consists Vaticana_ligature_engraver
6162 \override NoteHead #'style = #'vaticana_punctum
6163 \override Stem #'transparent = ##t
6169 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6170 \include "gregorian-init.ly"
6172 \notes \transpose c c' {
6173 % Pes Auctus Descendens Initio Debilis
6174 \[ \deminutum g \pes \auctum \descendens b \]
6181 \remove "Bar_number_engraver"
6185 \remove "Clef_engraver"
6186 \remove "Key_engraver"
6187 \override StaffSymbol #'transparent = ##t
6188 \remove "Time_signature_engraver"
6189 \remove "Bar_engraver"
6190 minimumVerticalExtent = ##f
6194 \remove Ligature_bracket_engraver
6195 \consists Vaticana_ligature_engraver
6196 \override NoteHead #'style = #'vaticana_punctum
6197 \override Stem #'transparent = ##t
6207 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6208 \include "gregorian-init.ly"
6210 \notes \transpose c c' {
6212 \[ a \pes b \flexa g \]
6219 \remove "Bar_number_engraver"
6223 \remove "Clef_engraver"
6224 \remove "Key_engraver"
6225 \override StaffSymbol #'transparent = ##t
6226 \remove "Time_signature_engraver"
6227 \remove "Bar_engraver"
6228 minimumVerticalExtent = ##f
6232 \remove Ligature_bracket_engraver
6233 \consists Vaticana_ligature_engraver
6234 \override NoteHead #'style = #'vaticana_punctum
6235 \override Stem #'transparent = ##t
6241 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6242 \include "gregorian-init.ly"
6244 \notes \transpose c c' {
6245 % Torculus Auctus Descendens
6246 \[ a \pes b \flexa \auctum \descendens g \]
6253 \remove "Bar_number_engraver"
6257 \remove "Clef_engraver"
6258 \remove "Key_engraver"
6259 \override StaffSymbol #'transparent = ##t
6260 \remove "Time_signature_engraver"
6261 \remove "Bar_engraver"
6262 minimumVerticalExtent = ##f
6266 \remove Ligature_bracket_engraver
6267 \consists Vaticana_ligature_engraver
6268 \override NoteHead #'style = #'vaticana_punctum
6269 \override Stem #'transparent = ##t
6275 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6276 \include "gregorian-init.ly"
6278 \notes \transpose c c' {
6279 % Torculus Deminutus
6280 \[ a \pes b \flexa \deminutum g \]
6287 \remove "Bar_number_engraver"
6291 \remove "Clef_engraver"
6292 \remove "Key_engraver"
6293 \override StaffSymbol #'transparent = ##t
6294 \remove "Time_signature_engraver"
6295 \remove "Bar_engraver"
6296 minimumVerticalExtent = ##f
6300 \remove Ligature_bracket_engraver
6301 \consists Vaticana_ligature_engraver
6302 \override NoteHead #'style = #'vaticana_punctum
6303 \override Stem #'transparent = ##t
6310 @code{11. Torculus Initio Debilis}
6312 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6313 \include "gregorian-init.ly"
6315 \notes \transpose c c' {
6316 % Torculus Initio Debilis
6317 \[ \deminutum a \pes b \flexa g \]
6324 \remove "Bar_number_engraver"
6328 \remove "Clef_engraver"
6329 \remove "Key_engraver"
6330 \override StaffSymbol #'transparent = ##t
6331 \remove "Time_signature_engraver"
6332 \remove "Bar_engraver"
6333 minimumVerticalExtent = ##f
6337 \remove Ligature_bracket_engraver
6338 \consists Vaticana_ligature_engraver
6339 \override NoteHead #'style = #'vaticana_punctum
6340 \override Stem #'transparent = ##t
6346 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6347 \include "gregorian-init.ly"
6349 \notes \transpose c c' {
6350 % Torculus Auctus Descendens Initio Debilis
6351 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6358 \remove "Bar_number_engraver"
6362 \remove "Clef_engraver"
6363 \remove "Key_engraver"
6364 \override StaffSymbol #'transparent = ##t
6365 \remove "Time_signature_engraver"
6366 \remove "Bar_engraver"
6367 minimumVerticalExtent = ##f
6371 \remove Ligature_bracket_engraver
6372 \consists Vaticana_ligature_engraver
6373 \override NoteHead #'style = #'vaticana_punctum
6374 \override Stem #'transparent = ##t
6380 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6381 \include "gregorian-init.ly"
6383 \notes \transpose c c' {
6384 % Torculus Deminutus Initio Debilis
6385 \[ \deminutum a \pes b \flexa \deminutum g \]
6392 \remove "Bar_number_engraver"
6396 \remove "Clef_engraver"
6397 \remove "Key_engraver"
6398 \override StaffSymbol #'transparent = ##t
6399 \remove "Time_signature_engraver"
6400 \remove "Bar_engraver"
6401 minimumVerticalExtent = ##f
6405 \remove Ligature_bracket_engraver
6406 \consists Vaticana_ligature_engraver
6407 \override NoteHead #'style = #'vaticana_punctum
6408 \override Stem #'transparent = ##t
6415 @code{12. Porrectus}
6417 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6418 \include "gregorian-init.ly"
6420 \notes \transpose c c' {
6422 \[ a \flexa g \pes b \]
6429 \remove "Bar_number_engraver"
6433 \remove "Clef_engraver"
6434 \remove "Key_engraver"
6435 \override StaffSymbol #'transparent = ##t
6436 \remove "Time_signature_engraver"
6437 \remove "Bar_engraver"
6438 minimumVerticalExtent = ##f
6442 \remove Ligature_bracket_engraver
6443 \consists Vaticana_ligature_engraver
6444 \override NoteHead #'style = #'vaticana_punctum
6445 \override Stem #'transparent = ##t
6451 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6452 \include "gregorian-init.ly"
6454 \notes \transpose c c' {
6455 % Porrectus Auctus Descendens
6456 \[ a \flexa g \pes \auctum \descendens b \]
6463 \remove "Bar_number_engraver"
6467 \remove "Clef_engraver"
6468 \remove "Key_engraver"
6469 \override StaffSymbol #'transparent = ##t
6470 \remove "Time_signature_engraver"
6471 \remove "Bar_engraver"
6472 minimumVerticalExtent = ##f
6476 \remove Ligature_bracket_engraver
6477 \consists Vaticana_ligature_engraver
6478 \override NoteHead #'style = #'vaticana_punctum
6479 \override Stem #'transparent = ##t
6485 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6486 \include "gregorian-init.ly"
6488 \notes \transpose c c' {
6489 % Porrectus Deminutus
6490 \[ a \flexa g \pes \deminutum b \]
6497 \remove "Bar_number_engraver"
6501 \remove "Clef_engraver"
6502 \remove "Key_engraver"
6503 \override StaffSymbol #'transparent = ##t
6504 \remove "Time_signature_engraver"
6505 \remove "Bar_engraver"
6506 minimumVerticalExtent = ##f
6510 \remove Ligature_bracket_engraver
6511 \consists Vaticana_ligature_engraver
6512 \override NoteHead #'style = #'vaticana_punctum
6513 \override Stem #'transparent = ##t
6522 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6523 \include "gregorian-init.ly"
6525 \notes \transpose c c' {
6527 \[ \virga b \inclinatum a \inclinatum g \]
6534 \remove "Bar_number_engraver"
6538 \remove "Clef_engraver"
6539 \remove "Key_engraver"
6540 \override StaffSymbol #'transparent = ##t
6541 \remove "Time_signature_engraver"
6542 \remove "Bar_engraver"
6543 minimumVerticalExtent = ##f
6547 \remove Ligature_bracket_engraver
6548 \consists Vaticana_ligature_engraver
6549 \override NoteHead #'style = #'vaticana_punctum
6550 \override Stem #'transparent = ##t
6556 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6557 \include "gregorian-init.ly"
6559 \notes \transpose c c' {
6561 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6568 \remove "Bar_number_engraver"
6572 \remove "Clef_engraver"
6573 \remove "Key_engraver"
6574 \override StaffSymbol #'transparent = ##t
6575 \remove "Time_signature_engraver"
6576 \remove "Bar_engraver"
6577 minimumVerticalExtent = ##f
6581 \remove Ligature_bracket_engraver
6582 \consists Vaticana_ligature_engraver
6583 \override NoteHead #'style = #'vaticana_punctum
6584 \override Stem #'transparent = ##t
6590 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6591 \include "gregorian-init.ly"
6593 \notes \transpose c c' {
6594 % Climacus Deminutus
6595 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6602 \remove "Bar_number_engraver"
6606 \remove "Clef_engraver"
6607 \remove "Key_engraver"
6608 \override StaffSymbol #'transparent = ##t
6609 \remove "Time_signature_engraver"
6610 \remove "Bar_engraver"
6611 minimumVerticalExtent = ##f
6615 \remove Ligature_bracket_engraver
6616 \consists Vaticana_ligature_engraver
6617 \override NoteHead #'style = #'vaticana_punctum
6618 \override Stem #'transparent = ##t
6625 @code{14. Scandicus}
6627 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6628 \include "gregorian-init.ly"
6630 \notes \transpose c c' {
6632 \[ g \pes a \virga b \]
6639 \remove "Bar_number_engraver"
6643 \remove "Clef_engraver"
6644 \remove "Key_engraver"
6645 \override StaffSymbol #'transparent = ##t
6646 \remove "Time_signature_engraver"
6647 \remove "Bar_engraver"
6648 minimumVerticalExtent = ##f
6652 \remove Ligature_bracket_engraver
6653 \consists Vaticana_ligature_engraver
6654 \override NoteHead #'style = #'vaticana_punctum
6655 \override Stem #'transparent = ##t
6661 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6662 \include "gregorian-init.ly"
6664 \notes \transpose c c' {
6665 % Scandicus Auctus Descendens
6666 \[ g \pes a \pes \auctum \descendens b \]
6673 \remove "Bar_number_engraver"
6677 \remove "Clef_engraver"
6678 \remove "Key_engraver"
6679 \override StaffSymbol #'transparent = ##t
6680 \remove "Time_signature_engraver"
6681 \remove "Bar_engraver"
6682 minimumVerticalExtent = ##f
6686 \remove Ligature_bracket_engraver
6687 \consists Vaticana_ligature_engraver
6688 \override NoteHead #'style = #'vaticana_punctum
6689 \override Stem #'transparent = ##t
6695 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6696 \include "gregorian-init.ly"
6698 \notes \transpose c c' {
6699 % Scandicus Deminutus
6700 \[ g \pes a \pes \deminutum b \]
6707 \remove "Bar_number_engraver"
6711 \remove "Clef_engraver"
6712 \remove "Key_engraver"
6713 \override StaffSymbol #'transparent = ##t
6714 \remove "Time_signature_engraver"
6715 \remove "Bar_engraver"
6716 minimumVerticalExtent = ##f
6720 \remove Ligature_bracket_engraver
6721 \consists Vaticana_ligature_engraver
6722 \override NoteHead #'style = #'vaticana_punctum
6723 \override Stem #'transparent = ##t
6732 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6733 \include "gregorian-init.ly"
6735 \notes \transpose c c' {
6737 \[ g \oriscus a \pes \virga b \]
6744 \remove "Bar_number_engraver"
6748 \remove "Clef_engraver"
6749 \remove "Key_engraver"
6750 \override StaffSymbol #'transparent = ##t
6751 \remove "Time_signature_engraver"
6752 \remove "Bar_engraver"
6753 minimumVerticalExtent = ##f
6757 \remove Ligature_bracket_engraver
6758 \consists Vaticana_ligature_engraver
6759 \override NoteHead #'style = #'vaticana_punctum
6760 \override Stem #'transparent = ##t
6766 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6767 \include "gregorian-init.ly"
6769 \notes \transpose c c' {
6770 % Salicus Auctus Descendens
6771 \[ g \oriscus a \pes \auctum \descendens b \]
6778 \remove "Bar_number_engraver"
6782 \remove "Clef_engraver"
6783 \remove "Key_engraver"
6784 \override StaffSymbol #'transparent = ##t
6785 \remove "Time_signature_engraver"
6786 \remove "Bar_engraver"
6787 minimumVerticalExtent = ##f
6791 \remove Ligature_bracket_engraver
6792 \consists Vaticana_ligature_engraver
6793 \override NoteHead #'style = #'vaticana_punctum
6794 \override Stem #'transparent = ##t
6804 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6805 \include "gregorian-init.ly"
6807 \notes \transpose c c' {
6809 \[ \stropha b \stropha b \stropha a \]
6816 \remove "Bar_number_engraver"
6820 \remove "Clef_engraver"
6821 \remove "Key_engraver"
6822 \override StaffSymbol #'transparent = ##t
6823 \remove "Time_signature_engraver"
6824 \remove "Bar_engraver"
6825 minimumVerticalExtent = ##f
6829 \remove Ligature_bracket_engraver
6830 \consists Vaticana_ligature_engraver
6831 \override NoteHead #'style = #'vaticana_punctum
6832 \override Stem #'transparent = ##t
6843 Unlike most other neumes notation systems, the input language for
6844 neumes does not necessarily reflect directly the typographical
6845 appearance, but is designed to solely focuse on musical meaning. For
6846 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6847 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6848 a Porrectus with a curved flexa shape and only a single Punctum head.
6849 There is no command to explicitly typeset the curved flexa shape; the
6850 decision of when to typeset a curved flexa shape is purely taken from
6851 the musical input. The idea of this approach is to separate the
6852 musical aspects of the input from the notation style of the output.
6853 This way, the same input can be reused to typeset the same music in a
6854 different style of Gregorian chant notation.
6856 The following table shows the code fragments that produce the
6857 ligatures in the above neumes table. The letter in the first column
6858 in each line of the below table indicates to which ligature in the
6859 above table it refers. The second column gives the name of the
6860 ligature. The third column shows the code fragment that produces this
6861 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6863 @multitable @columnfractions .1 .4 .5
6877 Punctum Inclinatum @tab
6878 @code{\[ \inclinatum b \]}
6882 Punctum Auctum Ascendens @tab
6883 @code{\[ \auctum \ascendens b \]}
6887 Punctum Auctum Descendens @tab
6888 @code{\[ \auctum \descendens b \]}
6892 Punctum Inclinatum Auctum @tab
6893 @code{\[ \inclinatum \auctum b \]}
6897 Punctum Inclinatum Parvum @tab
6898 @code{\[ \inclinatum \deminutum b \]}
6903 @code{\[ \virga b \]}
6908 @code{\[ \stropha b \]}
6913 @code{\[ \stropha \auctum b \]}
6918 @code{\[ \oriscus b \]}
6922 Clivis vel Flexa @tab
6923 @code{\[ b \flexa g \]}
6927 Clivis Aucta Descendens @tab
6928 @code{\[ b \flexa \auctum \descendens g \]}
6932 Clivis Aucta Ascendens @tab
6933 @code{\[ b \flexa \auctum \ascendens g \]}
6938 @code{\[ b \flexa \deminutum g \]}
6942 Podatus vel Pes @tab
6943 @code{\[ g \pes b \]}
6947 Pes Auctus Descendens @tab
6948 @code{\[ g \pes \auctum \descendens b \]}
6952 Pes Auctus Ascendens @tab
6953 @code{\[ g \pes \auctum \ascendens b \]}
6958 @code{\[ g \pes \deminutum b \]}
6963 @code{\[ \oriscus g \pes \virga b \]}
6967 Pes Quassus Auctus Descendens @tab
6968 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6973 @code{\[ \quilisma g \pes b \]}
6977 Quilisma Pes Auctus Descendens @tab
6978 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6982 Pes Initio Debilis @tab
6983 @code{\[ \deminutum g \pes b \]}
6987 Pes Auctus Descendens Initio Debilis @tab
6988 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6993 @code{\[ a \pes b \flexa g \]}
6997 Torculus Auctus Descendens @tab
6998 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7002 Torculus Deminutus @tab
7003 @code{\[ a \pes b \flexa \deminutum g \]}
7007 Torculus Initio Debilis @tab
7008 @code{\[ \deminutum a \pes b \flexa g \]}
7012 Torculus Auctus Descendens Initio Debilis @tab
7013 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7017 Torculus Deminutus Initio Debilis @tab
7018 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7023 @code{\[ a \flexa g \pes b \]}
7027 Porrectus Auctus Descendens @tab
7028 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7032 Porrectus Deminutus @tab
7033 @code{\[ a \flexa g \pes \deminutum b \]}
7038 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7042 Climacus Auctus @tab
7043 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7047 Climacus Deminutus @tab
7048 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7053 @code{\[ g \pes a \virga b \]}
7057 Scandicus Auctus Descendens @tab
7058 @code{\[ g \pes a \pes \auctum \descendens b \]}
7062 Scandicus Deminutus @tab
7063 @code{\[ g \pes a \pes \deminutum b \]}
7068 @code{\[ g \oriscus a \pes \virga b \]}
7072 Salicus Auctus Descendens @tab
7073 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7078 @code{\[ \stropha b \stropha b \stropha a \]}
7084 The following head prefixes are supported:
7086 @cindex @code{\virga}
7088 @cindex @code{\stropha}
7090 @cindex @code{\inclinatum}
7092 @cindex @code{\auctum}
7094 @cindex @code{\descendens}
7096 @cindex @code{\ascendens}
7098 @cindex @code{\oriscus}
7100 @cindex @code{\quilisma}
7102 @cindex @code{\deminutum}
7105 Head prefixes can be accumulated, though restrictions apply. For
7106 example, either @code{\descendens} or @code{\ascendens} can be applied
7107 to a head, but not both to the same head.
7110 @cindex @code{\flexa}
7111 Two adjacent heads can be tied together with the @code{\pes} and
7112 @code{\flexa} infix commands for a rising and falling line of melody,
7117 @node Vaticana style contexts
7118 @subsection Vaticana style contexts
7120 @cindex VaticanaVoiceContext
7121 @cindex VaticanaStaffContext
7123 The predefined @code{VaticanaVoiceContext} and
7124 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7125 Gregorian Chant in the style of the Editio Vaticana. These contexts
7126 initialize all relevant context properties and grob properties to
7127 proper values. With these contexts, you can immediately go ahead
7128 entering the chant, as the following short excerpt demonstrates:
7130 @lilypond[raggedright,verbatim,noindent]
7131 \include "gregorian-init.ly"
7134 \context VaticanaVoice = "cantus" {
7135 \override Score.BarNumber #'transparent = ##t
7137 \[ c'\melisma c' \flexa a \]
7138 \[ a \flexa \deminutum g\melismaEnd \]
7140 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7141 c' \divisioMinima \break
7142 \[ c'\melisma c' \flexa a \]
7143 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7146 \lyricsto "cantus" \new Lyrics \lyrics {
7147 San- ctus, San- ctus, San- ctus
7154 @subsection Figured bass
7156 @cindex Basso continuo
7158 @c TODO: musicological blurb about FB
7161 LilyPond has limited support for figured bass:
7163 @lilypond[verbatim,fragment]
7165 \context Voice \notes { \clef bass dis4 c d ais}
7166 \context FiguredBass
7168 < 6 >4 < 7 >8 < 6+ [_!] >
7174 The support for figured bass consists of two parts: there is an input
7175 mode, introduced by @code{\figures}, where you can enter bass figures
7176 as numbers, and there is a context called @internalsref{FiguredBass} that
7177 takes care of making @internalsref{BassFigure} objects.
7179 In figures input mode, a group of bass figures is delimited by
7180 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7185 \context FiguredBass
7189 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7196 \context FiguredBass
7197 \figures { <4- 6+ 7!> }
7200 Spaces or dashes may be inserted by using @code{_}. Brackets are
7201 introduced with @code{[} and @code{]}:
7207 \context FiguredBass
7208 \figures { < [4 6] 8 [_! 12]> }
7211 Although the support for figured bass may superficially resemble chord
7212 support, it works much simpler. The @code{\figures} mode simply
7213 stores the numbers , and @internalsref{FiguredBass} context prints
7214 them as entered. There is no conversion to pitches, and no
7215 realizations of the bass are played in the MIDI file.
7217 Internally, the code produces markup texts. You can use any of the
7218 markup text properties to override formatting. For example, the
7219 vertical spacing of the figures may be set with @code{baseline-skip}.
7223 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7224 and @internalsref{FiguredBass} context.
7228 Slash notation for alterations is not supported.
7230 @node Contemporary notation
7231 @section Contemporary notation
7233 In the 20th century, composers have greatly expanded the musical
7234 vocabulary. With this expansion, many innovations in musical notation
7235 have been tried. The book by Stone (1980) gives a comprehensive
7236 overview (see @ref{Literature list}). In general, the use of new,
7237 innovative notation makes a piece harder to understand and perform and
7238 its use should therefore be avoided if possible. For this reason,
7239 support for contemporary notation in LilyPond is limited.
7248 @subsection Clusters
7252 A cluster indicates a continuous range of pitches to be played. They
7253 can be denoted as the envelope of a set of notes. They are entered by
7254 applying the function @code{notes-to-clusters} to a sequence of
7257 @lilypond[relative=1,verbatim]
7258 \apply #notes-to-clusters { <c e > <b f'> }
7261 The following example (from
7262 @inputfileref{input/regression,cluster.ly}) shows what the result
7265 @lilypondfile[]{cluster.ly}
7267 Ordinary notes and clusters can be put together in the same staff,
7268 even simultaneously. In such a case no attempt is made to
7269 automatically avoid collisions between ordinary notes and clusters.
7273 Program reference: @internalsref{ClusterSpanner},
7274 @internalsref{ClusterSpannerBeacon},
7275 @internalsref{Cluster_spanner_engraver}, and
7276 @internalsref{ClusterNoteEvent}.
7278 Examples: @inputfileref{input/regression,cluster.ly}.
7282 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7283 accurately. Use @code{<g a>8 <e a>8} instead.
7288 @subsection Fermatas
7294 Contemporary music notation frequently uses special fermata symbols to
7295 indicate fermatas of differing lengths. The following fermatas are
7298 @lilypond[raggedright]
7300 << \addlyrics \notes {
7320 \context Lyrics \lyrics {
7321 \override LyricText #'font-family = #'typewriter
7322 "shortfermata" "fermata" "longfermata" "verylongfermata"
7327 See @ref{Articulations} for general instructions how to apply scripts
7328 such as fermatas to a @code{\notes@{@}} block.
7331 @node Special notation
7332 @section Special notation
7336 * Easy Notation note heads::
7340 @subsection Balloon help
7342 Elements of notation can be marked and named with the help of a square
7343 balloon. The primary purpose of this feature is to explain notation.
7345 The following example demonstrates its use.
7347 @lilypond[verbatim,fragment,raggedright,relative=1]
7350 #(add-balloon-text 'NoteHead "heads, or tails?"
7356 The function @code{add-balloon-text} takes the name of a grob, the
7357 label to print and where to put the label relative to the object. In
7358 the above example, the text ``heads or tails?'' ends 3 spaces below
7362 @cindex notation, explaining
7366 Program reference: @internalsref{text-balloon-interface}.
7368 Examples: @inputfileref{input/regression,balloon.ly}.
7370 @node Easy Notation note heads
7371 @subsection Easy Notation note heads
7373 @cindex easy notation
7376 The `easy play' note head includes a name inside the head. It is
7377 used in music for beginners:
7379 @lilypond[raggedright,verbatim,staffsize=26]
7384 The command @code{\setEasyHeads} overrides settings for the
7385 @internalsref{NoteHead} object. To make the letters readable, it has
7386 to be printed in a large font size. To print with a larger font, see
7387 @ref{Setting global staff size}.
7392 If you view the result with Xdvi, then staff lines may show through
7393 the letters. Printing the PostScript file obtained does produce the
7398 @cindex \setEasyHeads
7399 @code{\setEasyHeads}
7405 Entered music can also be converted to MIDI output. The performance
7406 is intended for proof-hearing the music for errors.
7408 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7409 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7410 marks translate to a fixed fraction of the available MIDI volume
7411 range, crescendi and decrescendi make the volume vary linearly between
7412 their two extremities. The fractions can be adjusted by
7413 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7414 For each type of MIDI instrument, a volume range can be defined. This
7415 gives a basic equalizer control, which can enhance the quality of
7416 the MIDI output remarkably. The equalizer can be controlled by
7417 setting @code{instrumentEqualizer}.
7421 Many musically interesting effects, such as swing, articulation,
7422 slurring, etc., are not translated to MIDI.
7424 The MIDI output allocates a channel for each Staff, and one for global
7425 settings. Hence, the MIDI file should not have more than 15 staves
7426 (or 14 if you do not use drums). Other staves will remain silent.
7431 * MIDI instrument names::
7436 @subsection MIDI block
7440 The MIDI block is analogous to the paper block, but it is somewhat
7441 simpler. The @code{\midi} block can contain:
7445 @item a @code{\tempo} definition, and
7446 @item context definitions.
7449 A number followed by a period is interpreted as a real number, so
7450 for setting the tempo for dotted notes, an extra space should be
7451 inserted, for example:
7454 \midi @{ \tempo 4 . = 120 @}
7458 @cindex context definition
7460 Context definitions follow precisely the same syntax as within the
7461 \paper block. Translation modules for sound are called performers.
7462 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7465 @node MIDI instrument names
7466 @subsection MIDI instrument names
7468 @cindex instrument names
7469 @cindex @code{Staff.midiInstrument}
7471 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7472 property. The instrument name should be chosen from the list in
7473 @ref{MIDI instruments}.
7477 If the selected string does not exactly match, then the default is
7478 used, which is the Grand Piano.