2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[quote,fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C
90 @lilypond[quote,fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[fragment,quote,verbatim,relative=3]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave
153 @lilypond[quote,fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch
186 @lilypond[quote,fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
209 @lilypond[fragment,quote,relative=1]
220 Rests are entered like notes, with the note name @code{r}
222 @lilypond[fragment,quote,raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone
238 @lilypond[fragment,quote,raggedright,verbatim]
244 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
251 @cindex Invisible rest
254 An invisible rest (also called a `skip') can be entered like a note
255 with note name `@code{s}' or with @code{\skip @var{duration}}
257 @lilypond[fragment,quote,raggedright,verbatim]
261 The @code{s} syntax is only available in note mode and chord mode. In
262 other situations, you should use the @code{\skip} command
264 @lilypond[quote,raggedright,verbatim]
267 { \time 4/8 \skip 2 \time 4/4 }
268 \notes\relative c'' { a2 a1 }
273 The skip command is merely an empty musical placeholder. It does not
274 produce any output, not even transparent output.
276 The @code{s} skip command does create @internalsref{Staff} and
277 @internalsref{Voice} when necessary, similar to note and rest
278 commands. For example, the following results in an empty staff.
280 @lilypond[quote,raggedright,verbatim]
281 \score { \notes { s4 } }
284 The same fragment using @code{\skip} results in an empty page.
288 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
293 @subsection Durations
297 @cindex @code{\longa}
298 @cindex @code{\breve}
299 @cindex @code{\maxima}
302 In Note, Chord, and Lyrics mode, durations are designated by numbers
303 and dots: durations are entered as their reciprocal values. For example,
304 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
305 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
306 longer than a whole you must use variables
310 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
312 r1 r2 r4 r8 r16 r32 r64 r64
317 \notes \relative c'' {
318 a\breve*1/2 \autoBeamOff
319 a1 a2 a4 a8 a16 a32 a64 a64
320 r\longa*1/4 r\breve *1/2
321 r1 r2 r4 r8 r16 r32 r64 r64
327 \remove "Clef_engraver"
328 \override StaffSymbol #'transparent = ##t
329 \override TimeSignature #'transparent = ##t
330 \override BarLine #'transparent = ##t
331 \consists "Pitch_squash_engraver"
338 If the duration is omitted then it is set to the previously entered
339 duration. The default for the first note is a quarter note. The duration
340 can be followed by dots (`@code{.}') in order to obtain dotted note
344 @lilypond[quote,fragment,verbatim]
345 a' b' c''8 b' a'4 a'4. b'4.. c'8.
350 You can alter the length of duration by a fraction @var{N/M}
351 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
352 will not affect the appearance of the notes or rests produced.
354 In the following example, the first three notes take up exactly two
355 beats, but no triplet bracket is printed.
356 @lilypond[quote,fragment,relative=3,verbatim]
358 a4*2/3 gis4*2/3 a4*2/3
364 Dots are normally moved up to avoid staff lines, except in polyphonic
365 situations. The following commands may be used to force a particular
368 @cindex @code{\dotsUp}
370 @cindex @code{\dotsDown}
372 @cindex @code{\dotsBoth}
377 This manual: @ref{Tuplets}
379 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
384 Whenever a note is found, a @internalsref{Stem} object is created
385 automatically. For whole notes and rests, they are also created but
390 @cindex @code{\stemUp}
392 @cindex @code{\stemDown}
394 @cindex @code{\stemBoth}
405 A tie connects two adjacent note heads of the same pitch. The tie in
406 effect extends the length of a note. Ties should not be confused with
407 slurs, which indicate articulation, or phrasing slurs, which indicate
408 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
410 @lilypond[quote,fragment,verbatim]
411 e' ~ e' <c' e' g'> ~ <c' e' g'>
414 When a tie is applied to a chord, all note heads whose pitches match
415 are connected. When no note heads match, no ties will be created.
417 In its meaning a tie is just a way of extending a note duration, similar
418 to the augmentation dot; in the following example there are two ways of
419 notating exactly the same concept
421 @lilypond[quote,fragment,raggedright]
422 \time 3/4 c'2. c'2 ~ c'4
424 If you need to tie a lot of notes over bars, it may be easier to use automatic
425 note splitting (see @ref{Automatic note splitting}).
430 @cindex @code{\tieUp}
432 @cindex @code{\tieDown}
434 @cindex @code{\tieBoth}
436 @cindex @code{\tieDotted}
438 @cindex @code{\tieSolid}
443 In this manual: @ref{Automatic note splitting}.
445 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
447 For tying only a subset of the note heads of a pair of chords, see
448 @inputfileref{input/regression,tie-chord-partial.ly}.
453 Switching staves when a tie is active will not produce a slanted tie.
455 Formatting of ties is a difficult subject. The results are often not
465 @cindex @code{\times}
467 Tuplets are made out of a music expression by multiplying all durations
470 @cindex @code{\times}
472 \times @var{fraction} @var{musicexpr}
476 The duration of @var{musicexpr} will be multiplied by the fraction.
477 The fraction's denominator will be printed over the notes, optionally
478 with a bracket. The most common tuplet is the triplet in which 3
479 notes have the length of 2, so the notes are 2/3 of their written
482 @lilypond[quote,fragment,verbatim]
483 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
486 The property @code{tupletSpannerDuration} specifies how long each
487 bracket should last. With this, you can make lots of tuplets while
488 typing @code{\times} only once, saving lots of typing. In the next
489 example, there are two triplets shown, while @code{\times} was only
492 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
493 \set tupletSpannerDuration = #(ly:make-moment 1 4)
494 \times 2/3 { c'8 c c c c c }
497 The format of the number is determined by the property
498 @code{tupletNumberFormatFunction}. The default prints only the
499 denominator, but if it is set to the Scheme function
500 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
504 @cindex @code{tupletNumberFormatFunction}
505 @cindex tuplet formatting
510 @cindex @code{\tupletUp}
512 @cindex @code{\tupletDown}
514 @cindex @code{\tupletBoth}
519 User manual: @ref{Changing context properties on the fly} for the
523 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
525 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
529 Nested tuplets are not formatted automatically. In this case, outer
530 tuplet brackets should be moved manually, which is demonstrated in
531 @inputfileref{input/regression,tuplet-nest.ly}.
535 @node Easier music entry
536 @section Easier music entry
539 This section deals with tricks and features of the input language that
540 were added solely to help entering music, finding and correcting
541 mistakes. There are also external tools that make debugging easier.
542 See @ref{Point and click} for more information.
544 It is also possible to enter and edit music using other programs. For
545 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
546 website for more information.
553 * Skipping corrected music::
554 * Automatic note splitting::
560 @node Relative octaves
561 @subsection Relative octaves
563 @cindex relative octave specification
565 Octaves are specified by adding @code{'} and @code{,} to pitch names.
566 When you copy existing music, it is easy to accidentally put a pitch
567 in the wrong octave and hard to find such an error. The relative
568 octave mode prevents these errors: a single error puts the rest of the
569 piece off by one octave
571 @cindex @code{\relative}
573 \relative @var{startpitch} @var{musicexpr}
576 The octave of notes that appear in @var{musicexpr} are calculated as
577 follows: If no octave changing marks are used, the basic interval
578 between this and the last note is always taken to be a fourth or
579 less. This distance is determined without regarding alterations; a
580 @code{fisis} following a @code{ceses} will be put above the
583 The octave changing marks @code{'} and @code{,} can be added to raise
584 or lower the pitch by an extra octave. Upon entering relative mode,
585 an absolute starting pitch must be specified that will act as the
586 predecessor of the first note of @var{musicexpr}.
588 Here is the relative mode shown in action
589 @lilypond[quote,fragment,raggedright,verbatim]
595 Octave changing marks are used for intervals greater than a fourth
596 @lilypond[quote,fragment,verbatim]
602 If the preceding item is a chord, the first note of the chord is used
603 to determine the first note of the next chord
605 @lilypond[quote,fragment,verbatim]
612 @cindex @code{\notes}
614 The pitch after the @code{\relative} contains a note name. To parse
615 the note name as a pitch, it must be surrounded by @code{\notes}
617 The relative conversion will not affect @code{\transpose},
618 @code{\chords} or @code{\relative} sections in its argument. If you
619 want to use relative within transposed music, you must place an
620 additional @code{\relative} inside the @code{\transpose}.
623 @subsection Octave check
626 Octave checks make octave errors easier to correct: a note may be
627 followed by @code{=}@var{quotes} which indicates what its absolute
628 octave should be. In the following example,
630 \relative c'' @{ c='' b=' d,='' @}
634 @c take care with @code, adds confusing quotes.
635 the d will generate a warning, because a d'' is expected, but a d' is
636 found. In the output, the octave is corrected for this and the
641 There is also a syntax that is separate from the notes. The syntax
647 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
648 quotes) in \relative mode. If not, a warning is printed, and the
649 octave is corrected, for example, the first check is passed
650 successfully. The second check fails with an error message. The
651 octave is adjusted so the following notes are in the correct octave
662 The octave of a note following an octave check is determined with
663 respect to the note preceding it. In the next fragment, the last note
664 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
665 be deleted without changing the meaning of the piece.
667 @lilypond[quote,verbatim,fragment]
676 @subsection Bar check
680 @cindex @code{barCheckSynchronize}
683 Bar checks help detect errors in the durations. A bar check is
684 entered using the bar symbol, `@code{|}'. Whenever it is encountered
685 during interpretation, it should fall on a measure boundary. If it
686 does not, a warning is printed. In the next example, the second bar
687 check will signal an error
689 \time 3/4 c2 e4 | g2 |
692 Bar checks can also be used in lyrics, for example
697 Twin -- kle | Twin -- kle
702 @cindex skipTypesetting
704 Failed bar checks are caused by entering incorrect
705 durations. Incorrect durations often completely garble up the score,
706 especially if it is polyphonic, so you should start correcting the
707 score by scanning for failed bar checks and incorrect durations. To
708 speed up this process, you can use @code{skipTypesetting}, described
711 It is also possible to redefine the meaning of @code{|}. This is done
712 by assigning a music expression to @code{pipeSymbol},
715 pipeSymbol = \bar "||"
718 \notes { c'2 c'2 | c'2 c'2 | }
723 @node Skipping corrected music
724 @subsection Skipping corrected music
726 The property @code{Score.skipTypesetting} can be used to switch on and
727 off typesetting completely during the interpretation phase. When
728 typesetting is switched off, the music is processed much more quickly.
729 This can be used to skip over the parts of a score that have already
730 been checked for errors
732 @lilypond[quote,fragment,raggedright,verbatim]
735 \set Score.skipTypesetting = ##t
737 \set Score.skipTypesetting = ##f
741 @node Automatic note splitting
742 @subsection Automatic note splitting
744 Long notes can be converted automatically to tied notes. This is done
745 by replacing the @internalsref{Note_heads_engraver} by the
746 @internalsref{Completion_heads_engraver}.
747 In the following examples, notes crossing the bar line are split and tied.
750 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
752 \remove "Note_heads_engraver"
753 \consists "Completion_heads_engraver"
755 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
759 This engraver splits all running notes at the bar line, and inserts
760 ties. One of its uses is to debug complex scores: if the measures are
761 not entirely filled, then the ties exactly show how much each measure
766 Not all durations (especially those containing tuplets) can be
767 represented exactly; the engraver will not insert tuplets.
771 Examples: @inputfileref{input/regression,completion-heads.ly}.
773 Program reference: @internalsref{Completion_heads_engraver}.
777 @section Staff notation
779 This section describes music notation that occurs on staff level,
780 such as keys, clefs and time signatures.
782 @cindex Staff notation
796 @subsection Staff symbol
798 @cindex adjusting staff symbol
800 Notes, dynamic signs, etc. are grouped
801 with a set of horizontal lines, into a staff (plural `staves'). In our
802 system, these lines are drawn using a separate layout object called
806 @cindex staff lines, setting number of
807 @cindex staff lines, setting thickness of
808 @cindex thickness of staff lines, setting
809 @cindex number of staff lines, setting
813 Program reference: @internalsref{StaffSymbol}.
815 Examples: @inputfileref{input/test,staff-lines.ly},
816 @inputfileref{input/test,staff-size.ly}.
820 If a staff is ended halfway a piece, the staff symbol may not end
821 exactly on the bar line.
825 @subsection Key signature
826 @cindex Key signature
830 The key signature indicates the scale in which a piece is played. It
831 is denoted by a set of alterations (flats or sharps) at the start of
835 Setting or changing the key signature is done with the @code{\key}
838 @code{\key} @var{pitch} @var{type}
841 @cindex @code{\minor}
842 @cindex @code{\major}
843 @cindex @code{\minor}
844 @cindex @code{\ionian}
845 @cindex @code{\locrian}
846 @cindex @code{\aeolian}
847 @cindex @code{\mixolydian}
848 @cindex @code{\lydian}
849 @cindex @code{\phrygian}
850 @cindex @code{\dorian}
852 Here, @var{type} should be @code{\major} or @code{\minor} to get
853 @var{pitch}-major or @var{pitch}-minor, respectively.
854 The standard mode names @code{\ionian},
855 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
856 @code{\phrygian}, and @code{\dorian} are also defined.
858 This command sets the context property
859 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
860 can be specified by setting this property directly.
862 Accidentals and key signatures often confuse new users, because
863 unaltered notes get natural signs depending on the key signature. For
864 more information, see @ref{More about pitches}.
868 The ordering of a key cancellation is wrong when it is combined with
869 repeat bar lines. The cancellation is also printed after a line break.
873 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
875 @cindex @code{keySignature}
882 The clef indicates which lines of the staff correspond to which
886 The clef can be set or changed with the @code{\clef} command
887 @lilypond[quote,fragment,verbatim]
888 \key f\major c''2 \clef alto g'2
891 Supported clef-names include
892 @c Moved standard clefs to the top /MB
896 @item treble, violin, G, G2
909 G clef on 1st line, so-called French violin clef
914 @cindex mezzosoprano clef
917 @cindex baritone clef
920 @cindex varbaritone clef
931 By adding @code{_8} or @code{^8} to the clef name, the clef is
932 transposed one octave down or up, respectively, and @code{_15} and
933 @code{^15} transposes by two octaves. The argument @var{clefname}
934 must be enclosed in quotes when it contains underscores or digits. For
938 @cindex choral tenor clef
939 @lilypond[quote,verbatim,fragment,relative=1]
943 This command is equivalent to setting @code{clefGlyph},
944 @code{clefPosition} (which controls the Y position of the clef),
945 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
946 when any of these properties are changed.
950 Program reference: the object for this symbol is @internalsref{Clef}.
954 @node Ottava brackets
955 @subsection Ottava brackets
957 ``Ottava'' brackets introduce an extra transposition of an octave for
958 the staff. They are created by invoking the function
959 @code{set-octavation}
965 @lilypond[quote,verbatim,fragment]
975 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
976 (for 15ma) as arguments. Internally the function sets the properties
977 @code{ottavation} (e.g. to @code{"8va"}) and
978 @code{centralCPosition}. For overriding the text of the bracket, set
979 @code{ottavation} after invoking @code{set-octavation}, i.e.,
983 \set Staff.ottavation = #"8"
988 Program reference: @internalsref{OttavaBracket}.
990 Examples: @inputfileref{input/regression,ottava.ly},
991 @inputfileref{input/regression,ottava-broken.ly}.
995 @code{set-octavation} will get confused when clef changes happen
996 during an octavation bracket.
999 @subsection Time signature
1000 @cindex Time signature
1002 @cindex @code{\time}
1004 Time signature indicates the metrum of a piece: a regular pattern of
1005 strong and weak beats. It is denoted by a fraction at the start of the
1009 The time signature is set or changed by the @code{\time}
1011 @lilypond[quote,fragment,verbatim]
1012 \time 2/4 c'2 \time 3/4 c'2.
1015 The symbol that is printed can be customized with the @code{style}
1016 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1017 2/2 time. There are many more options for its layout. See
1018 @inputfileref{input/test,time.ly} for more examples.
1021 This command sets the property @code{timeSignatureFraction},
1022 @code{beatLength} and @code{measureLength} in the @code{Timing}
1023 context, which is normally aliased to @internalsref{Score}. The
1024 property @code{measureLength} determines where bar lines should be
1025 inserted, and how automatic beams should be generated. Changing the
1026 value of @code{timeSignatureFraction} also causes the symbol to be
1029 More options are available through the Scheme function
1030 @code{set-time-signature}. In combination with the
1031 @internalsref{Measure_grouping_engraver}, it will create
1032 @internalsref{MeasureGrouping} signs. Such signs ease reading
1033 rhythmically complex modern music. In the following example, the 9/8
1034 measure is subdivided in 2, 2, 2 and 3. This is passed to
1035 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1037 @lilypond[quote,raggedright,verbatim]
1039 \notes \relative c'' {
1040 #(set-time-signature 9 8 '(2 2 2 3))
1041 g8[ g] d[ d] g[ g] a8[( bes g]) |
1042 #(set-time-signature 5 8 '(3 2))
1048 \consists "Measure_grouping_engraver"
1056 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1061 Automatic beaming does not use the measure grouping specified with
1062 @code{set-time-signature}.
1064 @node Partial measures
1065 @subsection Partial measures
1068 @cindex partial measure
1069 @cindex measure, partial
1070 @cindex shorten measures
1071 @cindex @code{\partial}
1073 Partial measures, for example in upsteps, are entered using the
1074 @code{\partial} command
1075 @lilypond[quote,fragment,verbatim,relative=2]
1076 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1079 The syntax for this command is
1081 \partial @var{duration}
1083 This is internally translated into
1085 \set Timing.measurePosition = -@var{length of duration}
1088 The property @code{measurePosition} contains a rational number
1089 indicating how much of the measure has passed at this point.
1091 @node Unmetered music
1092 @subsection Unmetered music
1096 Bar lines and bar numbers are calculated automatically. For unmetered
1097 music (e.g. cadenzas), this is not desirable. By setting
1098 @code{Score.timing} to false, this automatic timing can be switched
1099 off. Empty bar lines,
1106 indicate where line breaks can occur.
1111 @cindex @code{\cadenzaOn}
1113 @cindex @code{\cadenzaOff}
1117 @subsection Bar lines
1121 @cindex measure lines
1125 Bar lines delimit measures, but are also used to indicate repeats.
1126 Normally, they are inserted automatically. Line breaks may only
1127 happen on bar lines.
1129 Special types of bar lines can be forced with the @code{\bar} command
1131 @lilypond[quote,relative=2,fragment,verbatim]
1135 The following bar types are available
1136 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1149 For allowing line breaks, there is a special command,
1153 This will insert an invisible bar line, and allow line breaks at this
1156 In scores with many staves, a @code{\bar} command in one staff is
1157 automatically applied to all staves. The resulting bar lines are
1158 connected between different staves of a @internalsref{StaffGroup}
1160 @lilypond[quote,fragment,verbatim]
1162 \context StaffGroup <<
1168 \new Staff { \clef bass c4 g e g }
1170 \new Staff { \clef bass c2 c2 }
1174 A bar line is created whenever the @code{whichBar} property is set.
1175 At the start of a measure it is set to the contents of
1176 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1177 to override default measure bars.
1179 The command @code{\bar }@var{bartype} is a short cut for doing
1180 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1181 is set to a string, a bar line of that type is created.
1184 @cindex @code{repeatCommands}
1185 @cindex defaultBarType
1187 You are encouraged to use @code{\repeat} for repetitions. See
1194 In this manual: @ref{Repeats}.
1197 Program reference: the bar line objects that are created at
1198 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1199 lines that span staves are @internalsref{SpanBar} objects.
1201 @cindex bar lines at start of system
1202 @cindex start of system
1204 The bar lines at the start of each system are
1205 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1206 @internalsref{SystemStartBracket}. Only one of these types is created
1207 in every context, and that type is determined by the property
1208 @code{systemStartDelimiter}.
1210 Examples: @inputfileref{input/test,bar-lines.ly},
1216 The easiest way to enter fragments with more than one voice on a staff
1217 is to split chords using the separator @code{\\}. You can use it for
1218 small, short-lived voices or for single chords
1222 @lilypond[quote,verbatim,fragment]
1223 \context Staff \relative c'' {
1224 c4 << { f d e } \\ { b c2 } >>
1225 c4 << g' \\ b, \\ f' \\ d >>
1229 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1230 voices are sometimes called "layers" other notation packages}
1232 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1233 each of these contexts, vertical direction of slurs, stems, etc. is set
1236 @cindex @code{\voiceOne}
1237 @cindex @code{\voiceFour}
1239 This can also be done by instantiating @internalsref{Voice} contexts
1240 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1241 a stem directions and horizontal shift for each part
1244 @lilypond[quote,raggedright,verbatim]
1247 \new Voice { \voiceOne cis2 b }
1248 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1249 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1253 The command @code{\oneVoice} will revert back to the normal setting.
1254 @cindex @code{\oneVoice}
1257 Normally, note heads with a different number of dots are not merged, but
1258 when the object property @code{merge-differently-dotted} is set in
1259 the @internalsref{NoteCollision} object, they are merged
1260 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1263 \override Staff.NoteCollision
1264 #'merge-differently-dotted = ##t
1266 } \\ { g8.[ f16] g8.[ f16] } >>
1269 Similarly, you can merge half note heads with eighth notes, by setting
1270 @code{merge-differently-headed}
1271 @lilypond[quote,fragment,relative=2,verbatim]
1274 \override Staff.NoteCollision
1275 #'merge-differently-headed = ##t
1276 c8 c4. } \\ { c2 c2 } >>
1279 LilyPond also vertically shifts rests that are opposite of a stem,
1282 @lilypond[quote,raggedright,fragment,verbatim]
1283 \context Voice << c''4 \\ r4 >>
1291 @cindex @code{\oneVoice}
1293 @cindex @code{\voiceOne}
1295 @cindex @code{\voiceTwo}
1297 @cindex @code{\voiceThree}
1299 @cindex @code{\voiceFour}
1303 The following commands specify in what chords of the current voice
1304 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1305 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1308 @cindex @code{\shiftOn}
1310 @cindex @code{\shiftOnn}
1312 @cindex @code{\shiftOnnn}
1314 @cindex @code{\shiftOff}
1321 Program reference: the objects responsible for resolving collisions are
1322 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1324 Examples: See also example files
1325 @inputfileref{input/regression,collision-dots.ly},
1326 @inputfileref{input/regression,collision-head-chords.ly},
1327 @inputfileref{input/regression,collision-heads.ly},
1328 @inputfileref{input/regression,collision-mesh.ly}, and
1329 @inputfileref{input/regression,collisions.ly}.
1334 Resolving collisions is a intricate subject, and only a few situations
1335 are handled. When LilyPond cannot cope, the @code{force-hshift}
1336 property of the @internalsref{NoteColumn} object and pitched rests can
1337 be used to override typesetting decisions.
1339 When using @code{merge-differently-headed} with an upstem eighth or a
1340 shorter note, and a downstem half note, the eighth note gets the wrong
1343 There is no support for clusters where the same note occurs with
1344 different accidentals in the same chord. In this case, it is
1345 recommended to use enharmonic transcription, or to use special cluster
1346 notation (see @ref{Clusters}).
1351 Beams are used to group short notes into chunks that are aligned with
1352 the metrum. They are inserted automatically
1354 @lilypond[quote,fragment,verbatim,relative=2]
1355 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1358 When these automatic decisions are not good enough, beaming can be
1359 entered explicitly. It is also possible to define beaming patterns
1360 that differ from the defaults.
1362 Individual notes may be marked with @code{\noBeam}, to prevent them
1365 @lilypond[quote,fragment,verbatim,relative=2]
1366 \time 2/4 c8 c\noBeam c c
1372 Program reference: @internalsref{Beam}.
1375 @cindex Automatic beams
1378 * Setting automatic beam behavior::
1382 @subsection Manual beams
1383 @cindex beams, manual
1387 In some cases it may be necessary to override the automatic beaming
1388 algorithm. For example, the autobeamer will not put beams over rests
1389 or bar lines. Such beams are specified by manually: the begin and end
1390 point are marked with @code{[} and @code{]}
1392 @lilypond[quote,fragment,relative=1,verbatim]
1394 r4 r8[ g' a r8] r8 g[ | a] r8
1398 @cindex @code{stemLeftBeamCount}
1400 Normally, beaming patterns within a beam are determined automatically.
1401 If necessary, the properties @code{stemLeftBeamCount} and
1402 @code{stemRightBeamCount} can be used to override the defaults. If
1403 either property is set, its value will be used only once, and then it
1406 @lilypond[quote,fragment,relative=1,verbatim]
1409 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1412 @cindex @code{stemRightBeamCount}
1415 The property @code{subdivideBeams} can be set in order to subdivide
1416 all 16th or shorter beams at beat positions, as defined by the
1417 @code{beatLength} property.
1420 @lilypond[fragment,quote,relative=2,verbatim,noindent]
1422 \set subdivideBeams = ##t
1424 \set Score.beatLength = #(ly:make-moment 1 8)
1427 @cindex subdivideBeams
1429 Kneed beams are inserted automatically, when a large gap is detected
1430 between the note heads. This behavior can be tuned through the object
1431 property @code{auto-knee-gap}.
1433 Normally, line breaks are forbidden when beams cross bar lines. This
1434 behavior can be changed by setting @code{allowBeamBreak}.
1436 @cindex @code{allowBeamBreak}
1437 @cindex beams and line breaks
1439 @cindex beams, kneed
1441 @cindex auto-knee-gap
1446 User manual: @ref{Changing context properties on the fly} for the
1452 @cindex Frenched staves
1454 Automatically kneed cross-staff beams cannot be used together with
1457 Beams do not avoid collisions with symbols around the notes, such as
1458 texts and accidentals.
1462 @node Setting automatic beam behavior
1463 @subsection Setting automatic beam behavior
1465 @cindex @code{autoBeamSettings}
1466 @cindex @code{(end * * * *)}
1467 @cindex @code{(begin * * * *)}
1468 @cindex automatic beams, tuning
1469 @cindex tuning automatic beaming
1471 @c [TODO: use \applycontext]
1473 In normal time signatures, automatic beams can start on any note but can
1474 only end in a few positions within the measure: beams can end on a beat,
1475 or at durations specified by the properties in
1476 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1477 are defined in @file{scm/auto-beam.scm}.
1479 The value of @code{autoBeamSettings} is changed with two functions,
1481 #(override-auto-beam-setting
1482 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1484 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1486 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1487 @var{context} is an optional context (default: @code{'Voice}). It
1488 determines whether the rule applies to begin or end-points. The
1489 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1490 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1491 to a time signature (wildcards `@code{* *}' may be entered to
1492 designate all time signatures), @var{a}/@var{b} is a duration. By
1493 default, this command changes settings for the current voice. It is
1494 also possible to adjust settings at higher contexts, by adding a
1495 @var{context} argument.
1497 For example, if automatic beams should end on every quarter note, use
1500 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1502 Since the duration of a quarter note is 1/4 of a whole note, it is
1503 entered as @code{(ly:make-moment 1 4)}.
1505 The same syntax can be used to specify beam starting points. In this
1506 example, automatic beams can only end on a dotted quarter note
1508 #(override-auto-beam-setting '(end * * * *) 3 8)
1510 In 4/4 time signature, this means that automatic beams could end only on
1511 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1512 3/8, has passed within the measure).
1514 Rules can also be restricted to specific time signatures. A rule that
1515 should only be applied in @var{N}/@var{M} time signature is formed by
1516 replacing the second asterisks by @var{N} and @var{M}. For example, a
1517 rule for 6/8 time exclusively looks like
1519 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1522 If a rule should be to applied only to certain types of beams, use the
1523 first pair of asterisks. Beams are classified according to the
1524 shortest note they contain. For a beam ending rule that only applies
1525 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1528 @cindex automatic beam generation
1530 @cindex @code{autoBeaming}
1533 If beams are used to indicate melismata in songs, then automatic
1534 beaming should be switched off. This is done by setting
1535 @code{autoBeaming} to @code{#f}.
1539 @cindex @code{\autoBeamOff}
1540 @code{\autoBeamOff},
1541 @cindex @code{\autoBeamOn}
1547 If a score ends while an automatic beam has not been ended and is
1548 still accepting notes, this last beam will not be typeset at all. The
1549 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1550 >>}. If a polyphonic voice ends while an automatic beam is still
1551 accepting notes, it is not typeset.
1553 The rules for ending a beam depend on the shortest note in a beam.
1554 So, while it is possible to have different ending rules for eight
1555 beams and sixteenth beams, a beam that contains both eight and
1556 sixteenth notes will use the rules for the sixteenth beam.
1558 In the example below, the autobeamer makes eight beams and sixteenth
1559 end at 3 eights; the third beam can only be corrected by specifying
1562 @lilypond[quote,raggedright,fragment,relative=1]
1563 #(override-auto-beam-setting '(end * * * *) 3 8)
1564 % rather show case where it goes wrong
1565 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1566 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1568 It is not possible to specify beaming parameters that act differently in
1569 different parts of a measure. This means that it is not possible to use
1570 automatic beaming in irregular meters such as @code{5/8}.
1573 @section Accidentals
1576 This section describes how to change the way that accidentals are
1577 inserted automatically before the running notes.
1579 Common rules for typesetting accidentals have been canned in a
1580 function. This function is called as follows
1582 @cindex @code{set-accidental-style}
1584 #(set-accidental-style 'modern 'Voice)
1587 The function takes two arguments: a symbol that denotes the style (in
1588 the example, @code{modern}), and another symbol that denotes the
1589 context name (in this example, @code{Voice}). If no context name is
1590 supplied, @code{Staff} is the default.
1592 The following styles are supported
1595 This is the default typesetting behavior. It should correspond
1596 to 18th century common practice: Accidentals are
1597 remembered to the end of the measure in which they occur and
1598 only on their own octave.
1602 The normal behavior is to remember the accidentals on
1603 Staff-level. This variable, however, typesets accidentals
1604 individually for each voice. Apart from that, the rule is similar to
1607 This leads to some weird and often unwanted results
1608 because accidentals from one voice do not get canceled in other
1610 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1612 #(set-accidental-style 'voice)
1618 Hence you should only use @code{voice} if the voices
1619 are to be read solely by individual musicians. If the staff is to be
1620 used by one musician (e.g. a conductor) then you use
1621 @code{modern} or @code{modern-cautionary}
1625 @cindex @code{modern} style accidentals
1626 This rule corresponds to the common practice in the 20th
1628 This rule prints the same accidentals as @code{default}, but temporary
1629 accidentals also are canceled in other octaves. Furthermore,
1630 in the same octave, they also get canceled in the following
1633 @lilypond[quote,raggedright,fragment,verbatim]
1634 #(set-accidental-style 'modern)
1635 cis' c'' cis'2 | c'' c'
1638 @item @code{modern-cautionary}
1639 @cindex @code{modern-cautionary}
1640 This rule is similar to @code{modern}, but the
1641 ``extra'' accidentals (the ones not typeset by
1642 @code{default}) are typeset as cautionary accidentals.
1643 They are printed in reduced size or with parentheses
1644 @lilypond[quote,raggedright,fragment,verbatim]
1645 #(set-accidental-style 'modern-cautionary)
1646 cis' c'' cis'2 | c'' c'
1649 @cindex @code{modern-voice}
1651 This rule is used for multivoice accidentals to be read both by musicians
1652 playing one voice and musicians playing all voices. Accidentals are
1653 typeset for each voice, but they @emph{are} canceled across voices in
1654 the same @internalsref{Staff}.
1656 @cindex @code{modern-voice-cautionary}
1657 @item modern-voice-cautionary
1658 This rule is the same as @code{modern-voice}, but with the extra
1659 accidentals (the ones not typeset by @code{voice}) typeset
1660 as cautionaries. Even though all accidentals typeset by
1661 @code{default} @emph{are} typeset by this variable then
1662 some of them are typeset as cautionaries.
1665 @cindex @code{piano} accidentals
1666 This rule reflects 20th century practice for piano notation. Very similar to
1667 @code{modern} but accidentals also get canceled
1668 across the staves in the same @internalsref{GrandStaff} or
1669 @internalsref{PianoStaff}.
1671 @item piano-cautionary
1672 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1673 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1674 typeset as cautionaries.
1677 @cindex @code{no-reset} accidental style
1679 This is the same as @code{default} but with accidentals lasting
1680 ``forever'' and not only until the next measure
1681 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1682 #(set-accidental-style 'no-reset)
1687 This is sort of the opposite of @code{no-reset}: Accidentals
1688 are not remembered at all---and hence all accidentals are
1689 typeset relative to the key signature, regardless of what was
1692 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1693 #(set-accidental-style 'forget)
1694 \key d\major c4 c cis cis d d dis dis
1701 Program reference: @internalsref{Accidental_engraver},
1702 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1707 Simultaneous notes are considered to be entered in sequential
1708 mode. This means that in a chord the accidentals are typeset as if the
1709 notes in the chord happened once at a time - in the order in which
1710 they appear in the input file.
1712 This is only a problem when accidentals in a chord depend on each
1713 other. This problem can be solved by manually inserting @code{!} and
1714 @code{?} for the problematic notes.
1716 In the default scheme, accidentals only depend on other
1717 accidentals with the same pitch on the same staff, so no conflicts are
1720 @node Expressive marks
1721 @section Expressive marks
1724 @c todo: should change ordering
1725 @c where to put text spanners, metronome marks,
1734 * Analysis brackets::
1736 * Fingering instructions::
1747 A slur indicates that notes are to be played bound or @emph{legato}.
1750 They are entered using parentheses
1751 @lilypond[quote,relative=2,fragment,verbatim]
1752 f( g)( a) a8 b( a4 g2 f4)
1756 The direction of a slur can be set with the
1760 \override Slur #'direction = #UP
1761 \slurUp % shortcut for the previous line
1765 However, there is a convenient shorthand for forcing slur
1766 directions. By adding @code{_} or @code{^} before the opening
1767 parentheses, the direction is also set. For example,
1769 @lilypond[relative=2,fragment]
1776 @cindex @code{\slurUp}
1778 @cindex @code{\slurDown}
1780 @cindex @code{\slurBoth}
1782 @cindex @code{\slurDotted}
1784 @cindex @code{\slurSolid}
1789 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1793 @cindex Adjusting slurs
1795 @node Phrasing slurs
1796 @subsection Phrasing slurs
1798 @cindex phrasing slurs
1799 @cindex phrasing marks
1801 A phrasing slur (or phrasing mark) connects chords and is used to
1802 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1805 @lilypond[quote,fragment,verbatim,relative=1]
1806 \time 6/4 c'\( d( e) f( e) d\)
1809 Typographically, the phrasing slur behaves almost exactly like a
1810 normal slur. However, they are treated as different objects. A
1811 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1812 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1813 @code{\phrasingSlurBoth}.
1815 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1816 will only affect normal slurs and not phrasing slurs.
1820 @cindex @code{\phrasingSlurUp}
1821 @code{\phrasingSlurUp},
1822 @cindex @code{\phrasingSlurDown}
1823 @code{\phrasingSlurDown},
1824 @cindex @code{\phrasingSlurBoth}
1825 @code{\phrasingSlurBoth}.
1829 Program reference: see also @internalsref{PhrasingSlur}, and
1830 @internalsref{PhrasingSlurEvent}.
1834 Putting phrasing slurs over rests leads to spurious warnings.
1837 @subsection Breath marks
1839 Breath marks are entered using @code{\breathe}
1842 @lilypond[quote,fragment,relative=1,verbatim]
1846 The glyph of the breath mark can be tuned by overriding the
1847 @code{text} property of the @code{BreathingSign} layout object with
1848 any markup text. For example,
1849 @lilypond[quote,fragment,verbatim,relative=1]
1851 \override BreathingSign #'text
1852 = #(make-musicglyph-markup "scripts-rvarcomma")
1859 Program reference: @internalsref{BreathingSign},
1860 @internalsref{BreathingSignEvent}.
1862 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1865 @node Metronome marks
1866 @subsection Metronome marks
1869 @cindex beats per minute
1870 @cindex metronome marking
1872 Metronome settings can be entered as follows
1874 \tempo @var{duration} = @var{per-minute}
1877 In the MIDI output, they are interpreted as a tempo change, and in the
1878 paper output, a metronome marking is printed
1879 @cindex @code{\tempo}
1880 @lilypond[quote,fragment,verbatim]
1886 Program reference: @internalsref{MetronomeChangeEvent}.
1891 @subsection Text spanners
1892 @cindex Text spanners
1894 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1895 are written as texts, and extended over many measures with dotted
1896 lines. You can create such texts using text spanners: attach
1897 @code{\startTextSpan} and @code{\stopTextSpan} to the
1898 start and ending note of the spanner.
1900 The string to be printed, as well as the style, is set through object
1903 @lilypond[quote,fragment,relative=1,verbatim]
1906 \override TextSpanner #'direction = #-1
1907 \override TextSpanner #'edge-text = #'("rall " . "")
1908 c2\startTextSpan b c\stopTextSpan a
1915 Internals @internalsref{TextSpanEvent},
1916 @internalsref{TextSpanner}.
1918 Examples: @inputfileref{input/regression,text-spanner.ly}.
1921 @node Analysis brackets
1922 @subsection Analysis brackets
1924 @cindex phrasing brackets
1925 @cindex musicological analysis
1926 @cindex note grouping bracket
1928 Brackets are used in musical analysis to indicate structure in musical
1929 pieces. LilyPond supports a simple form of nested horizontal brackets.
1930 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1931 @internalsref{Staff} context. A bracket is started with
1932 @code{\startGroup} and closed with @code{\stopGroup}
1934 @lilypond[quote,raggedright,verbatim]
1936 \notes \relative c'' {
1937 c4\startGroup\startGroup
1940 c4\stopGroup\stopGroup
1944 \Staff \consists "Horizontal_bracket_engraver"
1950 Program reference: @internalsref{HorizontalBracket},
1951 @internalsref{NoteGroupingEvent}.
1953 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1957 @subsection Articulations
1958 @cindex Articulations
1960 @cindex articulations
1964 A variety of symbols can appear above and below notes to indicate
1965 different characteristics of the performance. They are added to a note
1966 by adding a dash and the character signifying the
1967 articulation. They are demonstrated here
1969 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1971 The meanings of these shorthands can be changed. See
1972 @file{ly/script-init.ly} for examples.
1975 The script is automatically placed, but if you need to force
1976 directions, you can use @code{_} to force them down, or @code{^} to
1978 @lilypond[quote,fragment,verbatim]
1982 Other symbols can be added using the syntax
1983 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1984 can be forced up or down using @code{^} and @code{_},
1987 @lilypond[quote,verbatim,fragment,relative=3]
1988 c\fermata c^\fermata c_\fermata
1995 @cindex staccatissimo
2004 @cindex organ pedal marks
2013 @cindex prallmordent
2017 @cindex thumb marking
2022 @lilypondfile[quote,raggedright]{script-chart.ly}
2026 @cindex @code{\scriptUp}
2028 @cindex @code{\scriptDown}
2030 @cindex @code{\scriptBoth}
2035 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2039 These note ornaments appear in the printed output but have no
2040 effect on the MIDI rendering of the music.
2043 @node Fingering instructions
2044 @subsection Fingering instructions
2048 Fingering instructions can be entered using
2050 @var{note}-@var{digit}
2052 For finger changes, use markup texts
2054 @lilypond[quote,verbatim,raggedright,fragment]
2055 c'4-1 c'4-2 c'4-3 c'4-4
2056 c'^\markup { \finger "2-3" }
2059 @cindex finger change
2064 You can use the thumb-script to indicate that a note should be
2065 played with the thumb (e.g. in cello music)
2067 @lilypond[quote,verbatim,raggedright,fragment]
2068 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2071 Fingerings for chords can also be added to individual notes
2072 of the chord by adding them after the pitches
2073 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2074 < c-1 e-2 g-3 b-5 >4
2078 iIn this case, setting @code{fingeringOrientations} will put fingerings next
2081 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2082 \set fingeringOrientations = #'(left down)
2083 <c-1 es-2 g-4 bes-5 > 4
2084 \set fingeringOrientations = #'(up right down)
2085 <c-1 es-2 g-4 bes-5 > 4
2086 \set fingeringOrientations = #'(right)
2090 The last note demonstrates how fingering instructions can be put close
2091 to note heads in monophonic music, using this feature.
2095 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2097 Examples: @inputfileref{input/regression,finger-chords.ly}.
2100 @subsection Text scripts
2101 @cindex Text scripts
2103 @cindex text items, non-empty
2104 @cindex non-empty texts
2106 It is possible to place arbitrary strings of text or markup text (see
2107 @ref{Text markup}) above or below notes by using a string
2108 @code{c^"text"}. By default, these indications do not influence the
2109 note spacing, but by using the command @code{\fatText}, the widths
2110 will be taken into account
2112 @lilypond[quote,fragment,raggedright,verbatim]
2114 c4^"longtext" \fatText c4_"longlongtext" c4
2118 It is possible to use @TeX{} commands in the strings, but this should
2119 be avoided because the exact dimensions of the string can then no
2124 @cindex @code{\fatText}
2126 @cindex @code{\emptyText}
2131 In this manual: @ref{Text markup}.
2133 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2139 @subsection Grace notes
2142 @c should have blurb about accaciatura / appogiatura
2144 @cindex @code{\grace}
2148 Grace notes are ornaments that are written out. The most common ones
2149 are acciaccatura, which should be played as very short. It is denoted
2150 by a slurred small note with a slashed stem. The appoggiatura is a
2151 grace note that takes a fixed fraction of the main note, is and
2152 denoted as a slurred note in small print without a slash.
2153 They are entered with the commands @code{\acciaccatura} and
2154 @code{\appoggiatura}, as demonstrated in the following example
2157 @cindex appoggiatura
2158 @cindex acciaccatura
2160 @lilypond[quote,relative=2,verbatim,fragment]
2161 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2162 \acciaccatura { g16[ f] } e4
2165 Both are special forms of the @code{\grace} command. By prefixing this
2166 keyword to a music expression, a new one is formed, which will be
2167 printed in a smaller font and takes up no logical time in a measure.
2169 @lilypond[quote,relative=2,verbatim,fragment]
2171 \grace { c16[ d16] } c2 c4
2175 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2176 @code{\grace} command does not start a slur.
2178 Internally, timing for grace notes is done using a second, `grace'
2179 time. Every point in time consists of two rational numbers: one
2180 denotes the logical time, one denotes the grace timing. The above
2181 example is shown here with timing tuples
2183 @lilypond[quote,raggedright]
2186 c4 \grace c16 c4 \grace {
2189 \new Lyrics \lyrics {
2192 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2193 \markup { (\fraction 1 4 , 0 ) } 4
2195 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2196 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2198 \markup { ( \fraction 2 4 , 0 ) }
2204 The placement of grace notes is synchronized between different staves.
2205 In the following example, there are two sixteenth graces notes for
2206 every eighth grace note
2208 @lilypond[quote,relative=2,verbatim,fragment]
2209 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2210 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2215 If you want to end a note with a grace, the standard trick is to put
2216 the grace notes after a ``space note''
2218 @lilypond[quote,fragment,verbatim,relative=2]
2221 { s2 \grace { c16[ d] } } >>
2227 By adjusting the duration of the skip note (here it is a half-note),
2228 the space between the main-note and the grace is adjusted.
2231 A @code{\grace} section will introduce special typesetting settings,
2232 for example, to produce smaller type, and set directions. Hence, when
2233 introducing layout tweaks, they should be inside the grace section,
2235 @lilypond[quote,fragment,verbatim,relative=2]
2238 \override Stem #'direction = #-1
2240 \revert Stem #'direction
2247 The overrides should also be reverted inside the grace section.
2249 If the layout of grace sections must be changed throughout the music,
2250 then this can be accomplished through the function
2251 @code{add-grace-property}. The following example undefines the Stem
2252 direction for this grace, so stems do not always point up.
2256 #(add-grace-property 'Voice 'Stem 'direction '())
2262 Another option is to change the variables @code{startGraceMusic},
2263 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2264 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2265 @code{stopAppoggiaturaMusic}. More information is in the file
2266 @file{ly/grace-init.ly}.
2271 Program reference: @internalsref{GraceMusic}.
2275 A score that starts with an @code{\grace} section needs an explicit
2276 @code{\context Voice} declaration, otherwise the main note and grace
2277 note end up on different staves.
2279 Grace note synchronization can also lead to surprises. Staff notation,
2280 such as key signatures, bar lines, etc. are also synchronized. Take
2281 care when you mix staves with grace notes and staves without, for example,
2283 @lilypond[quote,relative=2,verbatim,fragment]
2284 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2285 \new Staff { c4 \bar "|:" d4 } >>
2289 This can be remedied by inserting grace skips, for the above example
2292 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2295 Grace sections should only be used within sequential music
2296 expressions. Nesting or juxtaposing grace sections is not supported,
2297 and might produce crashes or other errors.
2301 @subsection Glissando
2304 @cindex @code{\glissando}
2306 A glissando is a smooth change in pitch. It is denoted by a line or a
2307 wavy line between two notes.
2310 A glissando line can be requested by attaching a @code{\glissando} to
2313 @lilypond[quote,fragment,relative=1,verbatim]
2319 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2321 Example files: @file{input/regression,glissando.ly}
2327 Printing text over the line (such as @emph{gliss.}) is not supported.
2331 @subsection Dynamics
2344 @cindex @code{\ffff}
2354 Absolute dynamic marks are specified using a command after a note
2355 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2356 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2357 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2358 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2360 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2361 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2371 A crescendo mark is started with @code{\<} and terminated with
2372 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2373 with @code{\!}. Because these marks are bound to notes, if you must
2374 use spacer notes if multiple marks during one note are needed
2376 @lilypond[quote,fragment,verbatim]
2377 c''\< c''\! d''\> e''\!
2378 << f''1 { s4 s4\< s4\! \> s4\! } >>
2380 This may give rise to very short hairpins. Use @code{minimum-length}
2381 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2385 \override Staff.Hairpin #'minimum-length = #5
2388 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2389 is an example how to do it
2391 @lilypond[quote,fragment,relative=2,verbatim]
2401 You can also supply your own texts
2402 @lilypond[quote,fragment,relative=1,verbatim]
2404 \set crescendoText = \markup { \italic "cresc. poco" }
2405 \set crescendoSpanner = #'dashed-line
2415 @cindex @code{\dynamicUp}
2417 @cindex @code{\dynamicDown}
2418 @code{\dynamicDown},
2419 @cindex @code{\dynamicBoth}
2420 @code{\dynamicBoth}.
2422 @cindex direction, of dynamics
2426 Program reference: @internalsref{CrescendoEvent},
2427 @internalsref{DecrescendoEvent}, and
2428 @internalsref{AbsoluteDynamicEvent}.
2430 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2431 objects. Vertical positioning of these symbols is handled by the
2432 @internalsref{DynamicLineSpanner} object.
2440 @cindex @code{\repeat}
2443 Repetition is a central concept in music, and multiple notations exist
2444 for repetitions. In LilyPond, most of these notations can be captured
2445 in a uniform syntax. One of the advantages is that they can be
2446 rendered in MIDI accurately.
2448 The following types of repetition are supported
2452 Repeated music is fully written (played) out. Useful for MIDI
2453 output, and entering repetitive music.
2456 This is the normal notation: Repeats are not written out, but
2457 alternative endings (volte) are printed, left to right.
2461 Alternative endings are written stacked. This has limited use but may be
2462 used to typeset two lines of lyrics in songs with repeats, see
2463 @inputfileref{input,star-spangled-banner.ly}.
2471 Make beat or measure repeats. These look like percent signs.
2477 * Repeats and MIDI::
2478 * Manual repeat commands::
2480 * Tremolo subdivisions::
2485 @subsection Repeat syntax
2488 LilyPond has one syntactic construct for specifying different types of
2489 repeats. The syntax is
2492 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2495 If you have alternative endings, you may add
2496 @cindex @code{\alternative}
2498 \alternative @code{@{} @var{alternative1}
2500 @var{alternative3} @dots{} @code{@}}
2502 where each @var{alternative} is a music expression. If you do not
2503 give enough alternatives for all of the repeats, the first alternative
2504 is assumed to be played more than once.
2506 Normal notation repeats are used like this
2507 @lilypond[quote,fragment,verbatim,relative=2]
2509 \repeat volta 2 { c4 d e f }
2510 \repeat volta 2 { f e d c }
2513 With alternative endings
2514 @lilypond[quote,fragment,verbatim,relative=2]
2516 \repeat volta 2 {c4 d e f}
2517 \alternative { {d2 d} {f f,} }
2521 @lilypond[quote,fragment,verbatim,relative=2]
2524 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2525 \alternative { { g4 g g } { a | a a a a | b2. } }
2531 Brackets for the repeat are normally only printed over the topmost
2532 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2533 property @inputfileref{input/regression,volta-multi-staff.ly},
2534 @inputfileref{input/regression,volta-chord-names.ly}
2538 A nested repeat like
2547 is ambiguous, since it is is not clear to which @code{\repeat} the
2548 @code{\alternative} belongs. This ambiguity is resolved by always
2549 having the @code{\alternative} belong to the inner @code{\repeat}.
2550 For clarity, it is advisable to use braces in such situations.
2555 Timing information is not remembered at the start of an alternative,
2556 so after a repeat timing information must be reset by hand, for
2557 example by setting @code{Score.measurePosition} or entering
2558 @code{\partial}. Similarly, slurs or ties are also not repeated.
2563 @node Repeats and MIDI
2564 @subsection Repeats and MIDI
2566 @cindex expanding repeats
2568 For instructions on how to expand repeats for MIDI output, see the
2569 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2573 @node Manual repeat commands
2574 @subsection Manual repeat commands
2576 @cindex @code{repeatCommands}
2578 The property @code{repeatCommands} can be used to control the layout of
2579 repeats. Its value is a Scheme list of repeat commands, where each repeat
2583 @item the symbol @code{start-repeat},
2584 which prints a @code{|:} bar line,
2585 @item the symbol @code{end-repeat},
2586 which prints a @code{:|} bar line,
2587 @item the list @code{(volta @var{text})},
2588 which prints a volta bracket saying @var{text}: The text can be specified as
2589 a text string or as a markup text, see @ref{Text markup}. Do not
2590 forget to change the font, as the default number font does not contain
2591 alphabetic characters. Or,
2592 @item the list @code{(volta #f)}, which
2593 stops a running volta bracket
2596 @lilypond[quote,verbatim,fragment,relative=2]
2598 \set Score.repeatCommands = #'((volta "93") end-repeat)
2600 \set Score.repeatCommands = #'((volta #f))
2607 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2608 @internalsref{VoltaRepeatedMusic},
2609 @internalsref{UnfoldedRepeatedMusic}, and
2610 @internalsref{FoldedRepeatedMusic}.
2612 @node Tremolo repeats
2613 @subsection Tremolo repeats
2614 @cindex tremolo beams
2616 To place tremolo marks between notes, use @code{\repeat} with tremolo
2618 @lilypond[quote,verbatim,raggedright]
2620 \context Voice \notes\relative c' {
2621 \repeat "tremolo" 8 { c16 d16 }
2622 \repeat "tremolo" 4 { c16 d16 }
2623 \repeat "tremolo" 2 { c16 d16 }
2628 Tremolo marks can also be put on a single note. In this case, the
2629 note should not be surrounded by braces.
2630 @lilypond[quote,verbatim,raggedright]
2631 \repeat "tremolo" 4 c'16
2634 A similar mechanism is the tremolo subdivision, described in
2635 @ref{Tremolo subdivisions}.
2639 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2641 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2642 tremolos are @internalsref{StemTremolo} objects. The music expression is
2643 @internalsref{TremoloEvent}.
2645 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2646 @inputfileref{input/regression,stem-tremolo.ly}.
2648 @node Tremolo subdivisions
2649 @subsection Tremolo subdivisions
2650 @cindex tremolo marks
2651 @cindex @code{tremoloFlags}
2653 Tremolo marks can be printed on a single note by adding
2654 `@code{:}[@var{length}]' after the note. The length must be at least
2655 8. A @var{length} value of 8 gives one line across the note stem. If
2656 the length is omitted, the last value (stored in @code{tremoloFlags})
2659 @lilypond[quote,verbatim,fragment]
2660 c'2:8 c':32 | c': c': |
2663 @c [TODO : stok is te kort bij 32en]
2667 Tremolos entered in this way do not carry over into the MIDI output.
2671 In this manual: @ref{Tremolo repeats}.
2673 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2675 @node Measure repeats
2676 @subsection Measure repeats
2678 @cindex percent repeats
2679 @cindex measure repeats
2681 In the @code{percent} style, a note pattern can be repeated. It is
2682 printed once, and then the pattern is replaced with a special sign.
2683 Patterns of a one and two measures are replaced by percent-like signs,
2684 patterns that divide the measure length are replaced by slashes
2686 @lilypond[quote,verbatim,raggedright]
2687 \repeat "percent" 4 { c'4 }
2688 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2693 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2694 @internalsref{PercentRepeatedMusic}, and
2695 @internalsref{DoublePercentRepeat}.
2699 @node Rhythmic music
2700 @section Rhythmic music
2704 * Showing melody rhythms::
2705 * Entering percussion::
2706 * Percussion staves::
2710 @node Showing melody rhythms
2711 @subsection Showing melody rhythms
2713 Sometimes you might want to show only the rhythm of a melody. This
2714 can be done with the rhythmic staff. All pitches of notes on such a
2715 staff are squashed, and the staff itself has a single line
2717 @lilypond[quote,fragment,relative=1,verbatim]
2718 \context RhythmicStaff {
2720 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2726 Program reference: @internalsref{RhythmicStaff}.
2728 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2731 @node Entering percussion
2732 @subsection Entering percussion
2738 Percussion notes may be entered in @code{\drums} mode, which is
2739 similar to @code{notes}. Each piece of percussion has a full name and
2740 an abbreviated name, and both be used in input files
2743 hihat hh bassdrum bd
2745 @lilypond[quote,raggedright]
2746 \new DrumStaff \drums { hihat hh bassdrum bd }
2749 The complete list of drum names is in the init file
2750 @file{ly/drumpitch-init.ly}.
2751 @c TODO: properly document this.
2755 Program reference: @internalsref{DrumNoteEvent}.
2757 @node Percussion staves
2758 @subsection Percussion staves
2762 A percussion part for more than one instrument typically uses a
2763 multiline staff where each position in the staff refers to one piece
2767 To typeset the music, the notes must be interpreted in a
2768 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2771 @lilypond[quote,raggedright,verbatim]
2772 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2773 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2776 \new DrumVoice { \voiceOne \up }
2777 \new DrumVoice { \voiceTwo \down }
2782 The above example shows verbose polyphonic notation. The short
2783 polyphonic notation, described in @ref{Polyphony}, can also be used if
2784 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2786 @lilypond[quote,fragment,verbatim]
2788 \context DrumVoice = "1" { s1 *2 }
2789 \context DrumVoice = "2" { s1 *2 }
2793 { \repeat unfold 16 hh16 }
2802 There are also other layout possibilities. To use these, set the
2803 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2804 The following variables have been predefined
2808 is the default. It typesets a typical drum kit on a five-line staff
2810 @lilypond[quote,noindent]
2811 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2812 bd sn ss tomh tommh tomml toml tomfh tomfl }
2813 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2814 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2816 << \new DrumStaff\with {
2817 \remove Bar_engraver
2818 \remove Time_signature_engraver
2819 \override Stem #'transparent = ##t
2820 \override Stem #'Y-extent-callback = ##f
2821 minimumVerticalExtent = #'(-4.0 . 5.0)
2823 \context Lyrics \nam
2826 %% need to do this, because of indented @itemize
2829 \override LyricText #'font-family = #'typewriter
2830 \override BarNumber #'transparent =##T
2834 The drum scheme supports six different toms. When there fewer toms, simply
2835 select the toms that produce the desired result, i.e. to get toms on
2836 the three middle lines you use @code{tommh}, @code{tomml} and
2839 @item timbales-style
2840 to typeset timbales on a two line staff
2842 @lilypond[quote,raggedright]
2843 nam = \lyrics { timh ssh timl ssl cb }
2844 mus = \drums { timh ssh timl ssl cb s16 }
2847 \context DrumStaff \with {
2848 \remove Bar_engraver
2849 \remove Time_signature_engraver
2850 \override Stem #'transparent = ##t
2851 \override Stem #'Y-extent-callback = ##f
2852 \override StaffSymbol #'line-count = #2
2853 \override StaffSymbol #'staff-space = #2
2854 minimumVerticalExtent = #'(-3.0 . 4.0)
2855 drumStyleTable = #timbales-style
2858 \override LyricText #'font-family = #'typewriter
2865 to typeset congas on a two line staff
2867 @lilypond[quote,raggedright]
2868 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2869 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2872 \context DrumStaff\with {
2873 \remove Bar_engraver
2874 \remove Time_signature_engraver
2875 drumStyleTable = #congas-style
2876 \override StaffSymbol #'line-count = #2
2878 %% this sucks; it will lengthen stems.
2879 \override StaffSymbol #'staff-space = #2
2880 \override Stem #'transparent = ##t
2881 \override Stem #'Y-extent-callback = ##f
2884 \override LyricText #'font-family = #'typewriter
2890 to typeset bongos on a two line staff
2892 @lilypond[quote,raggedright]
2893 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2894 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2897 \context DrumStaff\with {
2898 \remove Bar_engraver
2899 \remove Time_signature_engraver
2900 \override StaffSymbol #'line-count = #2
2901 drumStyleTable = #bongos-style
2903 %% this sucks; it will lengthen stems.
2904 \override StaffSymbol #'staff-space = #2
2905 \override Stem #'transparent = ##t
2906 \override Stem #'Y-extent-callback = ##f
2909 \override LyricText #'font-family = #'typewriter
2915 @item percussion-style
2916 to typeset all kinds of simple percussion on one line staves
2917 @lilypond[quote,raggedright]
2918 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2919 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2922 \context DrumStaff\with{
2923 \remove Bar_engraver
2924 drumStyleTable = #percussion-style
2925 \override StaffSymbol #'line-count = #1
2926 \remove Time_signature_engraver
2927 \override Stem #'transparent = ##t
2928 \override Stem #'Y-extent-callback = ##f
2932 \override LyricText #'font-family = #'typewriter
2939 If you do not like any of the predefined lists you can define your own
2940 list at the top of your file
2942 @lilypond[quote,raggedright,verbatim]
2944 (bassdrum default #f -1)
2945 (snare default #f 0)
2947 (pedalhihat xcircle "stopped" 2)
2948 (lowtom diamond #f 3)))
2949 up = \drums { hh8 hh hh hh hhp4 hhp }
2950 down = \drums { bd4 sn bd toml8 toml }
2953 \set DrumStaff.drumStyleTable
2954 = #(alist->hash-table mydrums)
2955 \new DrumVoice { \voiceOne \up }
2956 \new DrumVoice { \voiceTwo \down }
2964 Init files: @file{ly/drumpitch-init.ly}.
2966 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2970 Because general MIDI does not contain rim shots, the sidestick is used
2971 for this purpose instead.
2974 @section Piano music
2976 Piano staves are two normal staves coupled with a brace. The staves
2977 are largely independent, but sometimes voices can cross between the
2978 two staves. The same notation is also used for harps and other key
2979 instruments. The @internalsref{PianoStaff} is especially built to
2980 handle this cross-staffing behavior. In this section we discuss the
2981 @internalsref{PianoStaff} and some other pianistic peculiarities.
2985 * Automatic staff changes::
2986 * Manual staff switches::
2989 * Staff switch lines::
2994 There is no support for putting chords across staves. You can get
2995 this result by increasing the length of the stem in the lower stave so
2996 it reaches the stem in the upper stave, or vice versa. An example is
2997 included with the distribution as
2998 @inputfileref{input/test,stem-cross-staff.ly}.
3000 Dynamics are not centered, but kludges do exist. See
3001 @inputfileref{input/template,piano-dynamics.ly}.
3003 @cindex cross staff stem
3004 @cindex stem, cross staff
3005 @cindex distance between staves in piano music
3007 The distance between the two staves is normally fixed across the
3008 entire score. It is possible to tune this per system, but it does
3009 require arcane command incantations. See
3010 @inputfileref{input/test,piano-staff-distance.ly}.
3013 @node Automatic staff changes
3014 @subsection Automatic staff changes
3015 @cindex Automatic staff changes
3017 Voices can switch automatically between the top and the bottom
3018 staff. The syntax for this is
3022 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3027 The two staves of the piano staff must be named @code{up} and
3030 A @code{\relative} section that is outside of @code{\autochange} has
3031 no effect on the pitches of @var{music}, so, if necessary, put
3032 @code{\relative} inside @code{\autochange} like
3036 \autochange \relative @dots{} \new Voice @dots{}
3041 The autochanger switches on basis of pitch (middle C is the turning
3042 point), and it looks ahead skipping over rests to switch in
3043 advance. Here is a practical example
3045 @lilypond[quote,verbatim,raggedright]
3046 \score { \notes \context PianoStaff <<
3047 \context Staff = "up" {
3048 \autochange \new Voice \relative c' {
3049 g4 a b c d r4 a g } }
3050 \context Staff = "down" {
3057 In this example, spacer rests are used to prevent the bottom staff from
3058 terminating too soon.
3063 In this manual: @ref{Manual staff switches}.
3065 Program reference: @internalsref{AutoChangeMusic}.
3071 The staff switches often do not end up in optimal places. For high
3072 quality output, staff switches should be specified manually.
3075 @code{\autochange} cannot be inside @code{\times}.
3077 Internally, the @code{\partcombine} interprets both arguments as
3078 @code{Voice}s named @code{one} and @code{two}, and then decides when
3079 the parts can be combined. Consequently, if the arguments switch to
3080 differently named @internalsref{Voice} contexts, the events in those
3084 @node Manual staff switches
3085 @subsection Manual staff switches
3087 @cindex manual staff switches
3088 @cindex staff switch, manual
3090 Voices can be switched between staves manually, using the following command
3092 \change Staff = @var{staffname} @var{music}
3096 The string @var{staffname} is the name of the staff. It switches the
3097 current voice from its current staff to the Staff called
3098 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3099 @code{"down"}. The @context{Staff} referred to must already exist, so
3100 usually the setup for a score will start with a setup of the staves,
3104 \context Staff = up @{
3105 \skip 1 * 10 %@emph{ keep staff alive}
3107 \context Staff = down @{
3108 \skip 1 * 10 %@emph{idem}
3114 and the @context{Voice} is inserted afterwards
3117 \context Staff = down
3118 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3126 Pianos have pedals that alter the way sound are produced. Generally, a
3127 piano has three pedals, sustain, una corda, and sostenuto.
3130 Piano pedal instruction can be expressed by attaching
3131 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3132 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3135 @lilypond[quote,fragment,verbatim]
3136 c'4\sustainDown c'4\sustainUp
3139 What is printed can be modified by setting @code{pedal@var{X}Strings},
3140 where @var{X} is one of the pedal types: @code{Sustain},
3141 @code{Sostenuto} or @code{UnaCorda}. Refer to
3142 @internalsref{SustainPedal} in the program reference for more
3145 Pedals can also be indicated by a sequence of brackets, by setting the
3146 @code{pedalSustainStyle} property to @code{bracket} objects
3148 @lilypond[quote,fragment,verbatim,relative=2]
3149 \set Staff.pedalSustainStyle = #'bracket
3151 b\sustainUp\sustainDown
3152 b g \sustainUp a \sustainDown \bar "|."
3155 A third style of pedal notation is a mixture of text and brackets,
3156 obtained by setting the @code{pedalSustainStyle} style property to
3159 @lilypond[quote,fragment,verbatim,relative=2]
3160 \set Staff.pedalSustainStyle = #'mixed
3162 b\sustainUp\sustainDown
3163 b g \sustainUp a \sustainDown \bar "|."
3166 The default `*Ped.' style for sustain and damper pedals corresponds to
3167 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3170 @lilypond[quote,fragment,verbatim,relative=2]
3171 c\sostenutoDown d e c, f g a\sostenutoUp
3174 For fine-tuning of the appearance of a pedal bracket, the properties
3175 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3176 @code{PianoPedalBracket} objects (see
3177 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3178 bracket may be extended to the end of the note head
3180 @lilypond[quote,fragment,verbatim,relative=2]
3181 \override Staff.PianoPedalBracket
3182 #'shorten-pair = #'(0 . -1.0)
3183 c\sostenutoDown d e c, f g a\sostenutoUp
3187 @subsection Arpeggio
3190 @cindex broken arpeggio
3191 @cindex @code{\arpeggio}
3193 You can specify an arpeggio sign on a chord by attaching an
3194 @code{\arpeggio} to a chord
3197 @lilypond[quote,fragment,relative=1,verbatim]
3201 When an arpeggio crosses staves, you attach an arpeggio to the chords
3202 in both staves, and set
3203 @internalsref{PianoStaff}.@code{connectArpeggios}
3205 @lilypond[quote,fragment,relative=1,verbatim]
3206 \context PianoStaff <<
3207 \set PianoStaff.connectArpeggios = ##t
3208 \new Staff { <c' e g c>\arpeggio }
3209 \new Staff { \clef bass <c,, e g>\arpeggio }
3213 The direction of the arpeggio is sometimes denoted by adding an
3214 arrowhead to the wiggly line
3216 @lilypond[quote,fragment,relative=1,verbatim]
3225 A square bracket on the left indicates that the player should not
3226 arpeggiate the chord
3228 @lilypond[quote,fragment,relative=1,verbatim]
3235 @cindex @code{\arpeggio}
3237 @cindex @code{\arpeggioUp}
3239 @cindex @code{\arpeggioDown}
3241 @cindex @code{\arpeggioBoth}
3242 @code{\arpeggioBoth},
3243 @cindex @code{\arpeggioBracket}
3244 @code{\arpeggioBracket}.
3248 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3249 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3250 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3254 It is not possible to mix connected arpeggios and unconnected
3255 arpeggios in one @internalsref{PianoStaff} at the same time.
3257 @node Staff switch lines
3258 @subsection Staff switch lines
3261 @cindex follow voice
3262 @cindex staff switching
3265 @cindex @code{followVoice}
3267 Whenever a voice switches to another staff a line connecting the notes
3268 can be printed automatically. This is enabled if the property
3269 @code{PianoStaff.followVoice} is set to true
3271 @lilypond[quote,fragment,relative=1,verbatim]
3272 \context PianoStaff <<
3273 \set PianoStaff.followVoice = ##t
3274 \context Staff \context Voice {
3279 \context Staff=two { \clef bass \skip 1*2 }
3285 The associated object is @internalsref{VoiceFollower}.
3289 @cindex @code{\showStaffSwitch}
3290 @code{\showStaffSwitch},
3291 @cindex @code{\hideStaffSwitch}
3292 @code{\hideStaffSwitch}.
3296 @section Vocal music
3299 The easiest way to add lyrics to a melody, is by appending
3304 \newlyrics @{ @var{the lyrics} @}
3307 to a melody. Here is an example,
3309 @lilypond[raggedright,verbatim]
3310 \relative { \time 3/4 c2 e4 g2. }
3311 \newlyrics { play the game }
3314 More stanzas can be added by adding more
3315 @code{\newlyrics} sections
3317 @lilypond[raggedright,verbatim]
3318 \relative { \time 3/4 c2 e4 g2. }
3319 \newlyrics { play the game }
3320 \newlyrics { speel het spel }
3321 \newlyrics { joue le jeu }
3324 The @code{\newlyrics} keyword has three functions: it interprets the
3325 following words as texts instead of notes, it sets up a context for
3326 printing texts (the @code{Lyrics} context), and it couples the melody
3327 with the lyrics, so the durations of both are aligned.
3329 These three functions can be controlled separately, and that is what
3330 the following sections are about.
3335 * The Lyrics context::
3340 @node Entering lyrics
3341 @subsection Entering lyrics
3345 @cindex @code{\lyrics}
3348 Lyrics are entered in a special input mode. This mode is is introduced
3349 by the keyword @code{\lyrics}. In this mode you can enter lyrics,
3350 with punctuation and accents without any hassle. Syllables are
3351 entered like notes, but with pitches replaced by text. For example,
3353 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3356 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3357 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3358 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3359 any 8-bit character with ASCII code over 127, or a two-character
3360 combination of a backslash followed by one of @code{`}, @code{'},
3361 @code{"}, or @code{^}.
3363 Subsequent characters of a word can be any character that is not a digit
3364 and not white space. One important consequence of this is that a word
3365 can end with @code{@}}. The following example is usually a bug. The
3366 syllable includes a @code{@}}, and hence the opening brace is not balanced
3368 \lyrics @{ twinkle@}
3371 @cindex @code{\property}, in @code{\lyrics}
3372 Similarly, a period following a alphabetic sequence, is included in
3373 the resulting string. As a consequence, spaces must be inserted around
3376 \override Score . LyricText #'font-shape = #'italic
3380 @cindex spaces, in lyrics
3381 @cindex quotes, in lyrics
3383 Any @code{_} character which appears in an unquoted word is converted
3384 to a space. This provides a mechanism for introducing spaces into words
3385 without using quotes. Quoted words can also be used in Lyrics mode to
3386 specify words that cannot be written with the above rules. The
3387 following example incorporates double quotes
3390 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3393 This example is slightly academic, since it gives better looking
3394 results to use matched single quotes, @code{``} and @code{''}
3396 \lyrics @{ He said: ``Let my peo ple go'' @}
3401 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3402 The hyphen will have variable length depending on the space between
3403 the syllables and it will be centered between the syllables.
3408 When a lyric is sung over many notes (this is called a melisma), this is
3409 indicated with a horizontal line centered between a syllable and the
3410 next one. Such a line is called an extender line, and it is entered as
3415 Program reference: events @internalsref{LyricEvent},
3416 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3417 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3418 @internalsref{LyricText}.
3420 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3424 The definition of lyrics mode is too complex.
3428 @node The Lyrics context
3429 @subsection The Lyrics context
3432 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3434 \context Lyrics \lyrics @dots{}
3437 @cindex automatic syllable durations
3438 @cindex @code{\lyricsto}
3439 @cindex lyrics and melodies
3441 This will place the lyrics according to the durations that were
3442 entered. The lyrics can also be aligned under a given melody
3443 automatically. In this case, it is no longer necessary to enter the
3444 correct duration for each syllable. This is achieved by combining the
3445 melody and the lyrics with the @code{\lyricsto} expression
3447 \lyricsto @var{name} \new Lyrics \lyrics @dots{}
3450 This aligns the lyrics to the
3452 notes of the @internalsref{Voice} context called @var{name}, which has
3453 to exist. Therefore, normally the @code{Voice} is specified first, and
3454 then the lyrics are specified with @code{\lyricsto}.
3456 For different or more complex orderings, the best way is to setup the
3457 hierarchy of staves and lyrics first, e.g.
3459 \context ChoirStaff \notes <<
3460 \context Lyrics = sopranoLyrics @{ s1 @}
3461 \context Voice = soprano @{ @emph{music} @}
3462 \context Lyrics = tenorLyrics @{ s1 @}
3463 \context Voice = tenor @{ @emph{music} @}
3466 and then combine the appropriate melodies and lyric lines
3468 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3473 The final input would resemble
3476 << \context ChoirStaff \notes << @emph{setup the music} >>
3477 \lyricsto "soprano" @emph{etc}
3478 \lyricsto "alto" @emph{etc}
3484 The @code{\lyricsto} command detects melismata: it only puts one
3485 syllable under a tied or slurred group of notes. If you want to force
3486 an unslurred group of notes to be a melisma, insert @code{\melisma}
3487 after the first note of the group, and @code{\melismaEnd} after the
3490 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3492 \context Voice = "lala" {
3500 \lyricsto "lala" \new Lyrics \lyrics {
3506 In addition, notes are considered a melisma if they are manually
3507 beamed, and automatic beaming (see @ref{Setting automatic beam
3508 behavior}) is switched off. The criteria for deciding melismata can
3509 be tuned with the property @code{melismaBusyProperties}. See
3510 @internalsref{Melisma_translator} in the program reference for more
3513 Lyrics can also be entered without @code{\lyricsto}. In this case the
3514 durations of each syllable must be entered explicitly, for example,
3521 Alignment to a melody can be specified with the @code{associatedVoice}
3525 \set associatedVoice = #"melody"
3528 Here is an example demonstrating manual lyric durations,
3530 @lilypond[relative=1,verbatim,fragment]
3531 << \context Voice = melody {
3535 \new Lyrics \lyrics {
3536 \set associatedVoice = #"melody"
3544 When multiple stanzas are put on the same melody, it can happen that
3545 two stanzas have melismata in different locations. This can be
3546 remedied by switching off melismata for one
3547 @internalsref{Lyrics}. This is achieved by setting
3548 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3549 in @inputfileref{input/regression,lyric-combine-new.ly}.
3552 @cindex choral score
3554 A complete example of a SATB score setup is in the file
3555 @inputfileref{input/template,satb.ly}.
3560 @code{\melisma}, @code{\melismaEnd}
3561 @cindex @code{\melismaEnd}
3562 @cindex @code{\melisma}
3566 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3567 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3569 Examples: @inputfileref{input/template,satb.ly},
3570 @inputfileref{input/regression,lyric-combine-new.ly}.
3574 Melismata are not detected automatically, and extender lines must be
3578 For proper processing of extender lines, the
3579 @internalsref{Lyrics} and @internalsref{Voice} should be
3580 linked. This can be achieved either by using @code{\lyricsto} or by
3581 setting corresponding names for both contexts. The latter is explained
3582 in @ref{More stanzas}.
3584 @c TODO: document \new Staff << Voice \lyricsto >> bug
3587 @subsection More stanzas
3589 @cindex phrasing, in lyrics
3592 The lyrics should be aligned with the note heads of the melody. To
3593 achieve this, each line of lyrics should be marked to correspond with
3594 the melodic line. This is done automatically when @code{\lyricsto},
3595 but it can also be done manually.
3597 To this end, give the @internalsref{Voice} context an identity
3599 \context Voice = duet @{
3604 Then set the @internalsref{Lyrics} contexts to names starting with
3605 that identity followed by a dash. In the preceding example, the
3606 @internalsref{Voice} identity is @code{duet}, so the identities of the
3607 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3609 \context Lyrics = "duet-1" @{
3610 Hi, my name is Bert. @}
3611 \context Lyrics = "duet-2" @{
3612 Ooooo, ch\'e -- ri, je t'aime. @}
3615 The complete example is shown here
3616 @lilypond[quote,raggedright,verbatim]
3619 \notes \relative c'' \context Voice = duet {
3623 \lyricsto "duet" \new Lyrics \lyrics {
3624 \set vocalName = "Bert"
3625 Hi, my name is Bert. }
3626 \lyricsto "duet" \new Lyrics \lyrics {
3627 \set vocalName = "Ernie"
3628 Ooooo, ch\'e -- ri, je t'aime. }
3634 @cindex stanza number
3635 @cindex singer's names
3636 @cindex name of singer
3638 Stanza numbers can be added by setting @code{stanza}, e.g.
3640 @lilypond[quote,verbatim,relative=2]
3642 \context Voice = duet {
3643 \time 3/4 g2 e4 a2 f4 g2. }
3644 \lyricsto "duet" \new Lyrics \lyrics {
3646 Hi, my name is Bert. }
3650 This example also demonstrates how names of the singers can be added
3651 using @code{vocalName} analogous to instrument annotations for staves.
3652 A short version may be entered as @code{vocNam}.
3654 To make empty spaces in lyrics, use @code{\skip}.
3659 Program reference: Layout objects @internalsref{LyricText} and
3660 @internalsref{VocalName}. Music expressions
3661 @internalsref{LyricEvent}.
3669 The term @emph{ambitus} denotes a range of pitches for a given voice
3670 in a part of music. It also may denote the pitch range that a musical
3671 instrument is capable of playing. Ambituses are printed on vocal
3672 parts, so singers can easily determine if it meets his or her
3675 It denoted at the beginning of a piece near the initial clef. The
3676 range is graphically specified by two note heads, that represent the
3677 minimum and maximum pitch. To print such ambituses, add the
3678 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3685 \consists Ambitus_engraver
3690 This results in the following output
3692 @lilypond[quote,raggedright]
3695 \notes \relative c' <<
3706 \consists Ambitus_engraver
3712 If you have multiple voices in a single staff, and you want a single
3713 ambitus per staff rather than per each voice, add the
3714 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3715 rather than to the @internalsref{Voice} context.
3717 It is possible to tune individual ambituses for multiple voices on a
3718 single staff, for example by erasing or shifting them horizontally. An
3719 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3723 Program reference: @internalsref{Ambitus}.
3725 Examples: @inputfileref{input/regression,ambitus.ly},
3726 @inputfileref{input/test,ambitus-mixed.ly}.
3730 There is no collision handling in the case of multiple per-voice
3737 @cindex guitar tablature
3739 Tablature notation is used for notating music for plucked string
3740 instruments. It notates pitches not by using note heads, but by
3741 indicating on which string and fret a note must be played. LilyPond
3742 offers limited support for tablature.
3745 * Tablatures basic::
3746 * Non-guitar tablatures::
3749 @node Tablatures basic
3750 @subsection Tablatures basic
3751 @cindex Tablatures basic
3753 The string number associated to a note is given as a backslash
3754 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3755 string. By default, string 1 is the highest one, and the tuning
3756 defaults to the standard guitar tuning (with 6 strings). The notes
3757 are printed as tablature, by using @internalsref{TabStaff} and
3758 @internalsref{TabVoice} contexts
3760 @lilypond[quote,fragment,verbatim]
3761 \notes \context TabStaff {
3770 When no string is specified, the first string that does not give a
3771 fret number less than @code{minimumFret} is selected. The default
3772 value for @code{minimumFret} is 0
3777 \set TabStaff.minimumFret = #8
3780 @lilypond[quote,noindent,raggedright]
3784 \set TabStaff.minimumFret = #8
3788 \context StaffGroup <<
3789 \context Staff { \clef "G_8" \frag }
3790 \context TabStaff { \frag }
3797 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3798 @internalsref{StringNumberEvent}.
3802 Chords are not handled in a special way, and hence the automatic
3803 string selector may easily select the same string to two notes in a
3807 @node Non-guitar tablatures
3808 @subsection Non-guitar tablatures
3809 @cindex Non-guitar tablatures
3811 You can change the number of strings, by setting the number of lines
3812 in the @internalsref{TabStaff}.
3814 You can change the tuning of the strings. A string tuning is given as
3815 a Scheme list with one integer number for each string, the number
3816 being the pitch (measured in semitones relative to middle C) of an
3817 open string. The numbers specified for @code{stringTuning} are the
3818 numbers of semitones to subtract or add, starting the specified pitch
3819 by default middle C, in string order. Thus, the notes are e, a, d, and
3822 @lilypond[quote,fragment,verbatim]
3823 \context TabStaff <<
3824 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3827 a,4 c' a e' e c' a e'
3834 No guitar special effects have been implemented.
3838 Program reference: @internalsref{Tab_note_heads_engraver}.
3842 @section Chord names
3845 LilyPond has support for both printing chord names. Chords may be
3846 entered in musical chord notation, i.e. @code{< .. >}, but they can
3847 also be entered by name. Internally, the chords are represented as a
3848 set of pitches, so they can be transposed
3851 @lilypond[quote,verbatim,raggedright]
3852 twoWays = \notes \transpose c c' {
3862 << \context ChordNames \twoWays
3863 \context Voice \twoWays >> }
3866 This example also shows that the chord printing routines do not try to
3867 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3873 * Printing chord names::
3878 @subsection Chords mode
3881 Chord mode is a mode where you can input sets of pitches using common
3882 names. It is introduced by the keyword @code{\chords}.
3883 In chords mode, a chord is entered by the root, which is entered
3885 @lilypond[quote,fragment,verbatim,relative=2]
3886 \chords { es4. d8 c2 }
3891 Other chords may be entered by suffixing a colon, and introducing a
3892 modifier, and optionally, a number
3894 @lilypond[quote,fragment,verbatim]
3895 \chords { e1:m e1:7 e1:m7 }
3897 The first number following the root is taken to be the `type' of the
3898 chord, thirds are added to the root until it reaches the specified
3900 @lilypond[quote,fragment,verbatim]
3901 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3904 @cindex root of chord
3905 @cindex additions, in chords
3906 @cindex removals, in chords
3908 More complex chords may also be constructed adding separate steps
3909 to a chord. Additions are added after the number following
3910 the colon, and are separated by dots
3912 @lilypond[quote,verbatim,fragment]
3913 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3915 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3917 @lilypond[quote,verbatim,fragment]
3918 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3920 Removals are specified similarly, and are introduced by a caret. They
3921 must come after the additions
3922 @lilypond[quote,verbatim,fragment]
3923 \chords { c^3 c:7^5 c:9^3.5 }
3926 Modifiers can be used to change pitches. The following modifiers are
3930 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3932 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3935 is the augmented chord. This modifier raises the 5th step.
3937 is the major 7th chord. This modifier raises the 7th step if present.
3939 is the suspended 4th or 2nd. This modifier removes the 3rd
3940 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3943 Modifiers can be mixed with additions
3944 @lilypond[quote,verbatim,fragment]
3945 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3948 @cindex modifiers, in chords.
3955 Since an unaltered 11 does not sound good when combined with an
3956 unaltered 3, the 11 is removed in this case (unless it is added
3959 @lilypond[quote,fragment,verbatim]
3960 \chords { c:13 c:13.11 c:m13 }
3965 An inversion (putting one pitch of the chord on the bottom), as well
3966 as bass notes, can be specified by appending
3967 @code{/}@var{pitch} to the chord
3968 @lilypond[quote,fragment,verbatim]
3969 \chords { c1 c/g c/f }
3973 A bass note can be added instead of transposed out of the chord,
3974 by using @code{/+}@var{pitch}.
3976 @lilypond[quote,fragment,verbatim]
3977 \chords { c1 c/+g c/+f }
3980 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3981 of the commands continue to work, for example, @code{r} and
3982 @code{\skip} can be used to insert rests and spaces, and property
3983 commands may be used to change various settings.
3989 Each step can only be present in a chord once. The following
3990 simply produces the augmented chord, since @code{5+} is interpreted
3993 @lilypond[quote,verbatim,fragment]
3994 \chords { c:5.5-.5+ }
3998 @node Printing chord names
3999 @subsection Printing chord names
4001 @cindex printing chord names
4005 For displaying printed chord names, use the @internalsref{ChordNames} context.
4006 The chords may be entered either using the notation
4007 described above, or directly using @code{<} and @code{>}
4009 @lilypond[quote,verbatim,raggedright]
4011 \chords {a1 b c} <d' f' a'> <e' g' b'>
4015 \context ChordNames \scheme
4016 \context Staff \scheme
4021 You can make the chord changes stand out by setting
4022 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4023 display chord names when there is a change in the chords scheme and at
4024 the start of a new line
4026 @lilypond[quote,verbatim,linewidth=9\cm]
4028 c1:m c:m \break c:m c:m d
4032 \context ChordNames {
4033 \set chordChanges = ##t
4035 \context Staff \transpose c c' \scheme
4040 The default chord name layout is a system for Jazz music, proposed by
4041 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4042 following properties
4045 @cindex chordNameExceptions
4046 @item chordNameExceptions
4047 This is a list that contains the chords that have special formatting.
4049 @inputfileref{input/regression,chord-name-exceptions.ly}.
4050 @cindex exceptions, chord names.
4053 @cindex majorSevenSymbol
4054 @item majorSevenSymbol
4055 This property contains the markup object used for the 7th step, when
4056 it is major. Predefined options are @code{whiteTriangleMarkup} and
4057 @code{blackTriangleMarkup}. See
4058 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4060 @cindex chordNameSeparator
4061 @item chordNameSeparator
4062 Different parts of a chord name are normally separated by a
4063 slash. By setting @code{chordNameSeparator}, you can specify other
4065 @lilypond[quote,fragment,verbatim]
4066 \context ChordNames \chords {
4068 \set chordNameSeparator
4069 = \markup { \typewriter "|" }
4074 @cindex chordRootNamer
4075 @item chordRootNamer
4076 The root of a chord is usually printed as a letter with an optional
4077 alteration. The transformation from pitch to letter is done by this
4078 function. Special note names (for example, the German ``H'' for a
4079 B-chord) can be produced by storing a new function in this property.
4081 The predefined variables @code{\germanChords},
4082 @code{\semiGermanChords} set these variables.
4085 @cindex chordNoteNamer
4086 @item chordNoteNamer
4087 The default is to print single pitch, e.g. the bass note, using the
4088 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4089 to a specialized function to change this behavior. For example, the
4090 base can be printed in lower case.
4095 There are also two other chord name schemes implemented: an alternate
4096 Jazz chord notation, and a systematic scheme called Banter chords. The
4097 alternate jazz notation is also shown on the chart in @ref{Chord name
4098 chart}. Turning on these styles is described in the input file
4099 @inputfileref{input/test,chord-names-jazz.ly}.
4103 @cindex chords, jazz
4108 @cindex @code{\germanChords}
4109 @code{\germanChords},
4110 @cindex @code{\semiGermanChords}
4111 @code{\semiGermanChords}.
4118 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4119 @inputfileref{input/regression,chord-name-exceptions.ly},
4120 @inputfileref{input/test,chord-names-jazz.ly},
4121 @inputfileref{input/test,chord-names-german.ly}.
4123 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4128 Chord names are determined solely from the list of pitches. Chord
4129 inversions are not identified, and neither are added bass notes. This
4130 may result in strange chord names when chords are entered with the
4131 @code{< .. >} syntax.
4136 @node Orchestral music
4137 @section Orchestral music
4139 @cindex Writing parts
4141 Orchestral music involves some special notation, both in the full
4142 score and the individual parts. This section explains how to tackle
4143 some common problems in orchestral music.
4148 * Multiple staff contexts::
4151 * Instrument names::
4153 * Instrument transpositions::
4154 * Multi measure rests::
4155 * Automatic part combining::
4157 * Different editions from one source::
4158 * Quoting other voices::
4161 @node Multiple staff contexts
4162 @subsection Multiple staff contexts
4164 Polyphonic scores consist of many staves. These staves can be
4165 constructed in three different ways
4167 @item The group is started with a brace at the left, and bar lines are
4168 connected. This is done with the @internalsref{GrandStaff} context.
4170 @item The group is started with a bracket, and bar lines are connected. This is done with the
4171 @internalsref{StaffGroup} context
4174 @item The group is started with a vertical line. Bar lines are not
4175 connected. This is the default for the score.
4179 @cindex Staff, multiple
4180 @cindex bracket, vertical
4181 @cindex brace, vertical
4188 @node Rehearsal marks
4189 @subsection Rehearsal marks
4190 @cindex Rehearsal marks
4192 @cindex @code{\mark}
4194 To print a rehearsal mark, use the @code{\mark} command
4195 @lilypond[quote,fragment,verbatim]
4206 (The letter I is skipped in accordance with engraving traditions.)
4208 The mark is incremented automatically if you use @code{\mark
4209 \default}, but you can also use an integer argument to set the mark
4210 manually. The value to use is stored in the property
4211 @code{rehearsalMark}.
4213 The style is defined by the property @code{markFormatter}. It is a
4214 function taking the current mark (an integer) and the current context
4215 as argument. It should return a markup object. In the following
4216 example, @code{markFormatter} is set to a canned procedure. After a
4217 few measures, it is set to function that produces a boxed number.
4219 @lilypond[quote,verbatim,fragment,relative=2]
4220 \set Score.markFormatter = #format-mark-numbers
4223 \set Score.markFormatter
4224 = #(lambda (mark context)
4225 (make-bold-markup (make-box-markup (number->string mark))))
4230 The file @file{scm/translation-functions.scm} contains the definitions
4231 of @code{format-mark-numbers} (the default format) and
4232 @code{format-mark-letters}. They can be used as inspiration for other
4233 formatting functions.
4236 @cindex coda on bar line
4237 @cindex segno on bar line
4238 @cindex fermata on bar line
4239 @cindex bar lines, symbols on
4241 The @code{\mark} command can also be used to put signs like coda,
4242 segno and fermatas on a bar line. Use @code{\markup} to
4243 to access the appropriate symbol
4245 @lilypond[quote,fragment,verbatim,relative=2]
4246 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4250 In the case of a line break, marks must also be printed at the end of
4251 the line, and not at the beginning. Use the following to force that
4254 \override Score.RehearsalMark
4255 #'break-visibility = #begin-of-line-invisible
4261 @cindex bar lines, putting symbols on
4265 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4267 Init files: @file{scm/translation-functions.scm} contains the
4268 definition of @code{format-mark-numbers} and
4269 @code{format-mark-letters}. They can be used as inspiration for other
4270 formatting functions.
4272 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4273 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4277 @subsection Bar numbers
4281 @cindex measure numbers
4282 @cindex currentBarNumber
4284 Bar numbers are printed by default at the start of the line. The
4285 number itself is stored in the
4286 @code{currentBarNumber} property,
4287 which is normally updated automatically for every measure.
4289 Bar numbers can be typeset at regular intervals instead of at the
4290 beginning of each line. This is illustrated in the following example,
4291 whose source is available as
4292 @inputfileref{input/test,bar-number-regular-interval.ly}
4294 @lilypondfile[quote]{bar-number-regular-interval.ly}
4298 Program reference: @internalsref{BarNumber}.
4300 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4301 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4305 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4306 there is one at the top. To solve this, the
4307 @code{padding} property of @internalsref{BarNumber} can be
4308 used to position the number correctly.
4310 @node Instrument names
4311 @subsection Instrument names
4313 In an orchestral score, instrument names are printed left side of the
4316 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4317 and @internalsref{Staff}.@code{instr}. This will print a string before
4318 the start of the staff. For the first start, @code{instrument} is
4319 used, for the next ones @code{instr} is used.
4321 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
4322 \set Staff.instrument = "Ploink "
4323 \set Staff.instr = "Plk "
4329 You can also use markup texts to construct more complicated instrument
4332 @lilypond[quote,fragment,verbatim,raggedright]
4334 \set Staff.instrument = \markup {
4335 \column < "Clarinetti" { "in B"
4336 \smaller \flat } > }
4341 For longer instrument names, it may be useful to increase the
4342 @code{indent} setting in the @code{\paper} block.
4346 Program reference: @internalsref{InstrumentName}.
4350 When you put a name on a grand staff or piano staff the width of the
4351 brace is not taken into account. You must add extra spaces to the end of
4352 the name to avoid a collision.
4355 @subsection Transpose
4357 @cindex transposition of pitches
4358 @cindex @code{\transpose}
4360 A music expression can be transposed with @code{\transpose}. The
4363 \transpose @var{from} @var{to} @var{musicexpr}
4366 This means that @var{musicexpr} is transposed by the interval between
4367 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4368 is changed to @code{to}.
4371 For example, consider a piece written in the key of D major. If
4372 this piece is a little too low for its performer, it can be
4373 transposed up to E major with
4375 \transpose d e @dots{}
4378 Consider a part written for violin (a C instrument). If
4379 this part is to be played on the A clarinet, the following
4380 transposition will produce the appropriate part
4383 \transpose a c @dots{}
4386 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4387 inside a @code{\notes} section. @code{\transpose} distinguishes
4388 between enharmonic pitches: both @code{\transpose c cis} or
4389 @code{\transpose c des} will transpose up half a tone. The first
4390 version will print sharps and the second version will print flats
4392 @lilypond[quote,raggedright,verbatim]
4393 mus =\notes { \key d \major cis d fis g }
4394 \score { \notes \context Staff {
4397 \transpose c g' \mus
4398 \transpose c f' \mus
4405 Program reference: @internalsref{TransposedMusic}, and
4406 @internalsref{UntransposableMusic}.
4410 If you want to use both @code{\transpose} and @code{\relative},
4411 you must put @code{\transpose} outside of @code{\relative}, since
4412 @code{\relative} will have no effect music that appears inside a
4415 @node Instrument transpositions
4416 @subsection Instrument transpositions
4418 The key of a transposing instrument can also be specified. This
4419 applies to many wind instruments, for example, clarinets (B-flat, A and
4420 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4423 The transposition is entered after the keyword @code{\transposition}
4426 \transposition bes %% B-flat clarinet
4429 This command sets the property @code{instrumentTransposition}. The value of
4430 this property is used for MIDI output and quotations. It does not
4431 affect how notes are printed in the current staff.
4433 @cindex transposition, MIDI
4434 @cindex transposition, instrument
4437 @node Multi measure rests
4438 @subsection Multi measure rests
4439 @cindex multi measure rests
4440 @cindex Rests, multi measure
4444 Multi measure rests are entered using `@code{R}'. It is specifically
4445 meant for full bar rests and for entering parts: the rest can expand
4446 to fill a score with rests, or it can be printed as a single
4447 multimeasure rest. This expansion is controlled by the property
4448 @code{Score.skipBars}. If this is set to true, empty measures will not
4449 be expanded, and the appropriate number is added automatically
4451 @lilypond[quote,fragment,verbatim]
4452 \time 4/4 r1 | R1 | R1*2
4453 \set Score.skipBars = ##t R1*17 R1*4
4456 The @code{1} in @code{R1} is similar to the duration notation used for
4457 notes. Hence, for time signatures other than 4/4, you must enter other
4458 durations. This can be done with augmentation dots or fractions
4460 @lilypond[quote,fragment,verbatim]
4461 \set Score.skipBars = ##t
4469 An @code{R} spanning a single measure is printed as either a whole rest
4470 or a breve, centered in the measure regardless of the time signature.
4472 @cindex text on multi-measure rest
4473 @cindex script on multi-measure rest
4474 @cindex fermata on multi-measure rest
4476 Texts can be added to multi-measure rests by using the
4477 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4478 replaced. If you need both texts and the number, you must add the
4479 number by hand. A variable (@code{\fermataMarkup}) is provided for
4483 @lilypond[quote,verbatim,fragment]
4485 R2._\markup { "Ad lib" }
4489 If you want to have a text on the left end of a multi-measure rest,
4490 attach the text to a zero-length skip note, i.e.
4498 @cindex whole rests for a full measure
4502 Program reference: @internalsref{MultiMeasureRestEvent},
4503 @internalsref{MultiMeasureTextEvent},
4504 @internalsref{MultiMeasureRestMusicGroup}, and
4505 @internalsref{MultiMeasureRest}.
4507 The layout object @internalsref{MultiMeasureRestNumber} is for the
4508 default number, and @internalsref{MultiMeasureRestText} for user
4513 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4514 over multi-measure rests.
4516 @cindex condensing rests
4518 There is no way to automatically condense multiple rests into a single
4519 multimeasure rest. Multi measure rests do not take part in rest
4522 Be careful when entering multimeasure rests followed by whole
4523 notes. The following will enter two notes lasting four measures each
4527 When @code{skipBars} is set, the result will look OK, but the bar
4528 numbering will be off.
4530 @node Automatic part combining
4531 @subsection Automatic part combining
4532 @cindex automatic part combining
4533 @cindex part combiner
4536 Automatic part combining is used to merge two parts of music onto a
4537 staff. It is aimed at typesetting orchestral scores. When the two
4538 parts are identical for a period of time, only one is shown. In
4539 places where the two parts differ, they are typeset as separate
4540 voices, and stem directions are set automatically. Also, solo and
4541 @emph{a due} parts are identified and can be marked.
4543 The syntax for part combining is
4546 \partcombine @var{musicexpr1} @var{musicexpr2}
4549 The music expressions will be interpreted as @internalsref{Voice}
4550 contexts. If using relative octaves, @code{\relative} should be
4551 specified for both music expressions, i.e.
4554 \partcombine \relative @dots{} @var{musicexpr1}
4555 \relative @dots{} @var{musicexpr2}
4559 A @code{\relative} section that is outside of @code{\partcombine} has
4560 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
4563 The following example demonstrates the basic functionality of the part
4564 combiner: putting parts on one staff, and setting stem directions and
4567 @lilypond[quote,verbatim,raggedright,fragment]
4568 \new Staff \partcombine
4569 \relative g' { g g a( b) c c r r }
4570 \relative g' { g g r4 r e e g g }
4573 The first @code{g} appears only once, although it was
4574 specified twice (once in each part). Stem, slur and tie directions are
4575 set automatically, depending whether there is a solo or unisono. The
4576 first part (with context called @code{one}) always gets up stems, and
4577 `solo', while the second (called @code{two}) always gets down stems and
4580 If you just want the merging parts, and not the textual markings, you
4581 may set the property @code{soloADue} to false
4583 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4585 \set Staff.soloADue = ##f
4587 \relative g' { g a( b) r }
4588 \relative g' { g r4 r f }
4594 Program reference: @internalsref{PartCombineMusic},
4595 @internalsref{SoloOneEvent}, and
4596 @internalsref{SoloTwoEvent}, and
4597 @internalsref{UnisonoEvent}.
4601 In @code{soloADue} mode, when the two voices play the same notes on and
4602 off, the part combiner may typeset @code{a2} more than once in a
4605 @code{\partcombine} cannot be inside @code{\times}.
4607 @code{\partcombine} cannot be inside @code{\relative}.
4609 Internally, the @code{\partcombine} interprets both arguments as
4610 @code{Voice}s named @code{one} and @code{two}, and then decides when
4611 the parts can be combined. Consequently, if the arguments switch to
4612 differently named @internalsref{Voice} contexts, the events in those
4616 @subsection Hiding staves
4618 @cindex Frenched scores
4619 @cindex Hiding staves
4621 In orchestral scores, staff lines that only have rests are usually
4622 removed. This saves some space. This style is called `French Score'.
4623 For @internalsref{Lyrics},
4624 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4625 switched on by default. When these line of these contexts turn out
4626 empty after the line-breaking process, they are removed.
4628 For normal staves, a specialized @internalsref{Staff} context is
4629 available, which does the same: staves containing nothing (or only
4630 multi measure rests) are removed. The context definition is stored in
4631 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4632 in this example disappears in the second line
4635 @lilypond[quote,verbatim]
4637 \notes \relative c' <<
4638 \new Staff { e4 f g a \break c1 }
4639 \new Staff { c4 d e f \break R1 }
4643 \context { \RemoveEmptyStaffContext }
4648 The first page shows all staves in full. If empty staves should be
4649 removed from the first page too, set @code{remove-first} to false in
4650 @internalsref{RemoveEmptyVerticalGroup}.
4652 Another application is making ossia sections, i.e. alternative
4653 melodies on a separate piece of staff, with help of a Frenched
4654 staff. See @inputfileref{input/test,ossia.ly} for an example.
4657 @node Different editions from one source
4658 @subsection Different editions from one source
4660 The @code{\tag} command marks music expressions with a name. These
4661 tagged expressions can be filtered out later. With this mechanism it
4662 is possible to make different versions of the same music source.
4664 In the following example, we see two versions of a piece of music, one
4665 for the full score, and one with cue notes for the instrumental part
4681 The same can be applied to articulations, texts, etc.: they are
4684 -\tag #@var{your-tag}
4686 to an articulation, for example,
4691 This defines a note with a conditional fingering indication.
4693 By applying the @code{remove-tag} function, tagged expressions can be
4694 filtered. For example,
4698 \applymusic #(remove-tag 'score) @var{the music}
4699 \applymusic #(remove-tag 'part) @var{the music}
4704 @lilypondfile[quote]{tag-filter.ly}
4706 The argument of the @code{\tag} command should be a symbol, or a list
4707 of symbols, for example,
4709 \tag #'(original-part transposed-part) @dots{}
4714 Examples: @inputfileref{input/regression,tag-filter.ly}.
4717 @node Quoting other voices
4718 @subsection Quoting other voices
4720 With quotations, fragments of other parts can be inserted into a part
4721 directly. Before a part can be quoted, it must be marked especially as
4722 quotable. This is done with code @code{\addquote} command. The
4723 quotation may then be done with @code{\quote}
4726 \addquote @var{name} @var{music}
4727 \quote @var{name} @var{duration}
4732 Here, @var{name} is an identifying string. The @var{music} is any kind
4733 of music. This is an example of @code{\addquote}
4736 \addquote clarinet \notes\relative c' {
4741 During a part, a piece of music can be quoted with the @code{\quote}
4748 This would cite 3 quarter notes (a dotted half note) of the previously
4749 added clarinet voice.
4751 Quotations take into account the transposition both source and target
4752 instruments, if they are specified using the @code{\transposition} command.
4754 @lilypond[quote,raggedright,verbatim]
4755 \addquote clarinet \notes\relative c' {
4761 e'8 f'8 \quote clarinet 2
4767 Only the contents of the first @internalsref{Voice} occurring in an
4768 @code{\addquote} command will be considered for quotation, so
4769 @var{music} can not contain @code{\new} and @code{\context Voice}
4770 statements that would switch to a different Voice.
4775 In this manual: @ref{Instrument transpositions}.
4777 Examples: @inputfileref{input/regression,quote.ly}
4778 @inputfileref{input/regression,quote-transposition.ly}
4780 Program reference: @internalsref{QuoteMusic}.
4782 @node Ancient notation
4783 @section Ancient notation
4785 @cindex Vaticana, Editio
4786 @cindex Medicaea, Editio
4791 Support for ancient notation includes features for mensural notation
4792 and Gregorian Chant notation. There is also limited support for
4793 figured bass notation.
4795 Many graphical objects provide a @code{style} property, see
4796 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4797 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4798 signatures}. By manipulating such a grob property, the typographical
4799 appearance of the affected graphical objects can be accommodated for a
4800 specific notation flavor without need for introducing any new
4803 Other aspects of ancient notation can not that easily be expressed as
4804 in terms of just changing a style property of a graphical object.
4805 Therefore, some notational concepts are introduced specifically for
4806 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4807 @ref{Ligatures}, and @ref{Figured bass}.
4811 * Ancient note heads::
4812 * Ancient accidentals::
4816 * Ancient time signatures::
4821 * Vaticana style contexts::
4824 If this all is way too much of documentation for you, and you just
4825 want to dive into typesetting without worrying too much about the
4826 details on how to customize a context, you may have a look at the
4827 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4828 set up predefined style-specific voice and staff contexts, and
4829 directly go ahead with the note entry.
4833 Ligatures need special spacing that has not yet been implemented. As
4834 a result, there is too much space between ligatures most of the time,
4835 and line breaking often is unsatisfactory. Also, lyrics do not
4836 correctly align with ligatures.
4838 Accidentals must not be printed within a ligature, but instead need to
4839 be collected and printed in front of it.
4841 Augmentum dots within ligatures are not handled correctly.
4844 @node Ancient note heads
4845 @subsection Ancient note heads
4850 For ancient notation, a note head style other than the @code{default}
4851 style may be chosen. This is accomplished by setting the @code{style}
4852 property of the NoteHead object to the desired value (@code{baroque},
4853 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4854 differs from the @code{default} style only in using a square shape for
4855 @code{\breve} note heads. The @code{neo_mensural} style differs from
4856 the @code{baroque} style in that it uses rhomboidal heads for whole
4857 notes and all smaller durations. Stems are centered on the note
4858 heads. This style is in particular useful when transcribing mensural
4859 music, e.g. for the incipit. The @code{mensural} style finally
4860 produces note heads that mimic the look of note heads in historic
4861 printings of the 16th century.
4863 The following example demonstrates the @code{neo_mensural} style
4865 @lilypond[quote,fragment,raggedright,verbatim]
4866 \override NoteHead #'style = #'neo_mensural
4867 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4870 When typesetting a piece in Gregorian Chant notation, a Gregorian
4871 ligature engraver will automatically select the proper note heads,
4872 such there is no need to explicitly set the note head style. Still,
4873 the note head style can be set e.g. to @code{vaticana_punctum} to
4874 produce punctum neumes. Similarly, a mensural ligature engraver is
4875 used to automatically assemble mensural ligatures. See
4876 @ref{Ligatures} for how ligature engravers work.
4881 @ref{Percussion staves} use note head styles of their own that are
4882 frequently used in contemporary music notation.
4884 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4885 overview over all available note head styles.
4888 @node Ancient accidentals
4889 @subsection Ancient accidentals
4894 Use the @code{style} property of grob @internalsref{Accidental} to
4895 select ancient accidentals. Supported styles are
4896 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4898 @lilypond[quote,raggedright,staffsize=26]
4906 { " " \musicglyph #"accidentals-vaticana-1"
4907 " " \musicglyph #"accidentals-vaticana0" }
4911 { " " \musicglyph #"accidentals-medicaea-1" }
4915 { " " \musicglyph #"accidentals-hufnagel-1" }
4919 { " " \musicglyph #"accidentals-mensural-1"
4920 " " \musicglyph #"accidentals-mensural1" }
4929 \remove "Bar_number_engraver"
4933 \remove "Clef_engraver"
4934 \remove "Key_engraver"
4935 \remove "Time_signature_engraver"
4936 \remove "Staff_symbol_engraver"
4937 minimumVerticalExtent = ##f
4943 As shown, not all accidentals are supported by each style. When
4944 trying to access an unsupported accidental, LilyPond will switch to a
4945 different style, as demonstrated in
4946 @inputfileref{input/test,ancient-accidentals.ly}.
4948 Similarly to local accidentals, the style of the key signature can be
4949 controlled by the @code{style} property of the
4950 @internalsref{KeySignature} grob.
4954 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4955 @ref{Accidentals} give a general introduction into the use of
4956 accidentals. @ref{Key signature} gives a general introduction into
4957 the use of key signatures.
4959 Program reference: @internalsref{KeySignature}.
4961 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4964 @subsection Ancient rests
4969 Use the @code{style} property of grob @internalsref{Rest} to select
4970 ancient accidentals. Supported styles are @code{classical},
4971 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4972 from the @code{default} style only in that the quarter rest looks like
4973 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4974 well for e.g. the incipit of a transcribed mensural piece of music.
4975 The @code{mensural} style finally mimics the appearance of rests as
4976 in historic prints of the 16th century.
4978 The following example demonstrates the @code{neo_mensural} style
4980 @lilypond[quote,fragment,raggedright,verbatim]
4981 \override Rest #'style = #'neo_mensural
4982 r\longa r\breve r1 r2 r4 r8 r16
4985 There are no 32th and 64th rests specifically for the mensural or
4986 neo-mensural style. Instead, the rests from the default style will be
4987 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4990 There are no rests in Gregorian Chant notation; instead, it uses
4995 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4999 @subsection Ancient clefs
5004 LilyPond supports a variety of clefs, many of them ancient.
5006 The following table shows all ancient clefs that are supported via the
5007 @code{\clef} command. Some of the clefs use the same glyph, but
5008 differ only with respect to the line they are printed on. In such
5009 cases, a trailing number in the name is used to enumerate these clefs.
5010 Still, you can manually force a clef glyph to be typeset on an
5011 arbitrary line, as described in @ref{Clef}. The note printed to the
5012 right side of each clef in the example column denotes the @code{c'}
5013 with respect to that clef.
5015 @multitable @columnfractions .3 .3 .3 .1
5019 @b{Description} @tab
5020 @b{Supported Clefs} @tab
5024 @code{clefs-neo_mensural_c} @tab
5025 modern style mensural C clef @tab
5026 @code{neo_mensural_c1}, @code{neo_mensural_c2},
5027 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
5028 @lilypond[fragment,quote,relative=1,notime]
5029 \override Staff.TimeSignature #'transparent = ##t
5030 \clef "neo_mensural_c2" c
5034 @code{clefs-petrucci_c1}
5035 @code{clefs-petrucci_c2}
5036 @code{clefs-petrucci_c3}
5037 @code{clefs-petrucci_c4}
5038 @code{clefs-petrucci_c5}
5041 petrucci style mensural C clefs, for use on different staff lines
5042 (the examples shows the 2nd staff line C clef).
5052 @lilypond[fragment,quote,relative=1,notime]
5053 \override Staff.TimeSignature #'transparent = ##t
5054 \clef "petrucci_c2" c
5058 @code{clefs-petrucci_f} @tab
5059 petrucci style mensural F clef @tab
5060 @code{petrucci_f} @tab
5061 @lilypond[fragment,quote,relative=1,notime]
5062 \override Staff.TimeSignature #'transparent = ##t
5063 \clef "petrucci_f" c
5067 @code{clefs-petrucci_g} @tab
5068 petrucci style mensural G clef @tab
5069 @code{petrucci_g} @tab
5070 @lilypond[fragment,quote,relative=1,notime]
5071 \override Staff.TimeSignature #'transparent = ##t
5072 \clef "petrucci_g" c
5076 @code{clefs-mensural_c} @tab
5077 historic style mensural C clef @tab
5078 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5079 @code{mensural_c4} @tab
5080 @lilypond[fragment,quote,relative=1,notime]
5081 \override Staff.TimeSignature #'transparent = ##t
5082 \clef "mensural_c2" c
5086 @code{clefs-mensural_f} @tab
5087 historic style mensural F clef @tab
5088 @code{mensural_f} @tab
5089 @lilypond[fragment,quote,relative=1,notime]
5090 \override Staff.TimeSignature #'transparent = ##t
5091 \clef "mensural_f" c
5095 @code{clefs-mensural_g} @tab
5096 historic style mensural G clef @tab
5097 @code{mensural_g} @tab
5098 @lilypond[fragment,quote,relative=1,notime]
5099 \override Staff.TimeSignature #'transparent = ##t
5100 \clef "mensural_g" c
5104 @code{clefs-vaticana_do} @tab
5105 Editio Vaticana style do clef @tab
5106 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5107 @lilypond[fragment,quote,relative=1,notime]
5108 \override Staff.StaffSymbol #'line-count = #4
5109 \override Staff.TimeSignature #'transparent = ##t
5110 \clef "vaticana_do2" c
5114 @code{clefs-vaticana_fa} @tab
5115 Editio Vaticana style fa clef @tab
5116 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5117 @lilypond[quote,relative=1,notime,fragment]
5118 \override Staff.StaffSymbol #'line-count = #4
5119 \override Staff.TimeSignature #'transparent = ##t
5120 \clef "vaticana_fa2" c
5124 @code{clefs-medicaea_do} @tab
5125 Editio Medicaea style do clef @tab
5126 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5127 @lilypond[fragment,quote,relative=1,notime]
5128 \override Staff.StaffSymbol #'line-count = #4
5129 \override Staff.TimeSignature #'transparent = ##t
5130 \clef "medicaea_do2" c
5134 @code{clefs-medicaea_fa} @tab
5135 Editio Medicaea style fa clef @tab
5136 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5137 @lilypond[fragment,quote,relative=1,notime]
5138 \override Staff.StaffSymbol #'line-count = #4
5139 \override Staff.TimeSignature #'transparent = ##t
5140 \clef "medicaea_fa2" c
5144 @code{clefs-hufnagel_do} @tab
5145 historic style hufnagel do clef @tab
5146 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5147 @lilypond[fragment,quote,relative=1,notime]
5148 \override Staff.StaffSymbol #'line-count = #4
5149 \override Staff.TimeSignature #'transparent = ##t
5150 \clef "hufnagel_do2" c
5154 @code{clefs-hufnagel_fa} @tab
5155 historic style hufnagel fa clef @tab
5156 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5157 @lilypond[fragment,quote,relative=1,notime]
5158 \override Staff.StaffSymbol #'line-count = #4
5159 \override Staff.TimeSignature #'transparent = ##t
5160 \clef "hufnagel_fa2" c
5164 @code{clefs-hufnagel_do_fa} @tab
5165 historic style hufnagel combined do/fa clef @tab
5166 @code{hufnagel_do_fa} @tab
5167 @lilypond[fragment,quote,relative=1,notime]
5168 \override Staff.TimeSignature #'transparent = ##t
5169 \clef "hufnagel_do_fa" c
5176 @emph{Modern style} means ``as is typeset in contemporary editions of
5177 transcribed mensural music''.
5179 @emph{Petrucci style} means ``inspired by printings published by the
5180 famous engraver Petrucci (1466-1539)''.
5182 @emph{Historic style} means ``as was typeset or written in historic
5183 editions (other than those of Petrucci)''.
5185 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5187 Petrucci used C clefs with differently balanced left-side vertical
5188 beams, depending on which staff line it is printed.
5192 In this manual: see @ref{Clef}.
5196 The mensural g clef is mapped to the Petrucci g clef, until a new
5197 mensural g clef is implemented.
5202 @subsection Ancient flags
5207 Use the @code{flag-style} property of grob @internalsref{Stem} to
5208 select ancient flags. Besides the @code{default} flag style,
5209 only @code{mensural} style is supported
5211 @lilypond[quote,fragment,raggedright,verbatim]
5212 \override Stem #'flag-style = #'mensural
5213 \override Stem #'thickness = #1.0
5214 \override NoteHead #'style = #'mensural
5216 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
5217 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5220 Note that the innermost flare of each mensural flag always is
5221 vertically aligned with a staff line. If you do not like this
5222 behavior, you can set the @code{adjust-if-on-staffline} property of
5223 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5224 of the end of each flare is different between notes on staff lines and
5225 notes between staff lines
5227 @lilypond[quote,fragment,raggedright]
5228 \override Stem #'flag-style = #'mensural
5229 \override Stem #'thickness = #1.0
5230 \override Stem #'adjust-if-on-staffline = ##f
5231 \override NoteHead #'style = #'mensural
5233 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
5234 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5237 There is no particular flag style for neo-mensural notation. Hence,
5238 when typesetting e.g. the incipit of a transcribed piece of mensural
5239 music, the default flag style should be used. There are no flags in
5240 Gregorian Chant notation.
5243 @node Ancient time signatures
5244 @subsection Ancient time signatures
5246 @cindex time signatures
5249 There is limited support for mensural time signatures. The
5250 glyphs are hard-wired to particular time fractions. In other words,
5251 to get a particular mensural signature glyph with the @code{\time n/m}
5252 command, @code{n} and @code{m} have to be chosen according to the
5258 \set Score.timing = ##f
5259 \set Score.barAlways = ##t
5260 s_\markup { "$\\backslash$time 4/4" }
5261 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5263 s_\markup { "$\\backslash$time 2/2" }
5264 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5266 s_\markup { "$\\backslash$time 6/4" }
5267 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5269 s_\markup { "$\\backslash$time 6/8" }
5270 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5272 s_\markup { "$\\backslash$time 3/2" }
5273 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5275 s_\markup { "$\\backslash$time 3/4" }
5276 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5278 s_\markup { "$\\backslash$time 9/4" }
5279 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5281 s_\markup { "$\\backslash$time 9/8" }
5282 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5284 s_\markup { "$\\backslash$time 4/8" }
5285 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5287 s_\markup { "$\\backslash$time 2/4" }
5288 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5296 \remove Staff_symbol_engraver
5297 \remove Clef_engraver
5298 \remove Time_signature_engraver
5304 Use the @code{style} property of grob @internalsref{TimeSignature} to
5305 select ancient time signatures. Supported styles are
5306 @code{neo_mensural} and @code{mensural}. The above table uses the
5307 @code{neo_mensural} style. This style is appropriate e.g. for the
5308 incipit of transcriptions of mensural pieces. The @code{mensural}
5309 style mimics the look of historical printings of the 16th century.
5311 @inputfileref{input/test,time.ly} gives an overview over all available
5312 ancient and modern styles.
5316 Program reference: @ref{Time signature} gives a general introduction into the use of time
5321 Mensural signature glyphs are mapped to time fractions in a hard-wired
5322 way. This mapping is sensible, but still arbitrary: given a mensural
5323 time signature, the time fraction represents a modern meter that
5324 usually will be a good choice when transcribing a mensural piece of
5325 music. For a particular piece of mensural music, however, the mapping
5326 may be unsatisfactory. In particular, the mapping assumes a fixed
5327 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5328 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5329 accessible through the @code{\time} command.
5331 Mensural time signatures are supported typographically, but not yet
5332 musically. The internal representation of durations is
5333 based on a purely binary system; a ternary division such as 1 brevis =
5334 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5335 prolatione maiori) is not correctly handled: event times in ternary
5336 modes will be badly computed, resulting e.g. in horizontally
5337 misaligned note heads, and bar checks are likely to erroneously fail.
5339 The syntax and semantics of the @code{\time} command for mensural
5340 music is subject to change.
5343 @subsection Custodes
5348 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5349 symbol that appears at the end of a staff. It anticipates the pitch
5350 of the first note(s) of the following line and thus helps the player
5351 or singer to manage line breaks during performance, thus enhancing
5352 readability of a score.
5354 Custodes were frequently used in music notation until the 17th
5355 century. Nowadays, they have survived only in a few particular forms
5356 of musical notation such as contemporary editions of Gregorian chant
5357 like the @emph{editio vaticana}. There are different custos glyphs
5358 used in different flavors of notational style.
5360 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5361 @internalsref{Staff} context when declaring the @code{\paper} block,
5362 as shown in the following example
5368 \consists Custos_engraver
5369 Custos \override #'style = #'mensural
5374 The result looks like this
5376 @lilypond[quote,raggedright]
5380 \override Staff.Custos #'style = #'mensural
5387 \consists Custos_engraver
5393 The custos glyph is selected by the @code{style} property. The styles
5394 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5395 @code{mensural}. They are demonstrated in the following fragment
5399 \new Lyrics \lyrics {
5403 { " " \musicglyph #"custodes-vaticana-u0" }
5407 { " " \musicglyph #"custodes-medicaea-u0" }
5412 { " " \musicglyph #"custodes-hufnagel-u0" }
5417 { " " \musicglyph #"custodes-mensural-u0" }
5429 Program reference: @internalsref{Custos}.
5431 Examples: @inputfileref{input/regression,custos.ly}.
5435 @subsection Divisiones
5441 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5442 `division') is a staff context symbol that is used to structure
5443 Gregorian music into phrases and sections. The musical meaning of
5444 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5445 can be characterized as short, medium and long pause, somewhat like
5446 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5447 a chant, but is also frequently used within a single
5448 antiphonal/responsorial chant to mark the end of each section.
5451 To use divisiones, include the file @code{gregorian-init.ly}. It
5452 contains definitions that you can apply by just inserting
5453 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5454 and @code{\finalis} at proper places in the input. Some editions use
5455 @emph{virgula} or @emph{caesura} instead of divisio minima.
5456 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5459 @lilypondfile[quote,raggedright]{divisiones.ly}
5463 @cindex @code{\virgula}
5465 @cindex @code{\caesura}
5467 @cindex @code{\divisioMinima}
5468 @code{\divisioMinima},
5469 @cindex @code{\divisioMaior}
5470 @code{\divisioMaior},
5471 @cindex @code{\divisioMaxima}
5472 @code{\divisioMaxima},
5473 @cindex @code{\finalis}
5478 In this manual: @ref{Breath marks}.
5480 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5482 Examples: @inputfileref{input/test,divisiones.ly}.
5485 @subsection Ligatures
5489 @c TODO: Should double check if I recalled things correctly when I wrote
5490 @c down the following paragraph by heart.
5492 A ligature is a coherent graphical symbol that represents at least two
5493 distinct notes. Ligatures originally appeared in the manuscripts of
5494 Gregorian chant notation roughly since the 9th century to denote
5495 ascending or descending sequences of notes.
5497 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5498 Some ligature styles may need additional input syntax specific for
5499 this particular type of ligature. By default, the
5500 @internalsref{LigatureBracket} engraver just puts a square bracket
5503 @lilypond[quote,raggedright,verbatim]
5505 \notes \transpose c c' {
5513 To select a specific style of ligatures, a proper ligature engraver
5514 has to be added to the @internalsref{Voice} context, as explained in
5515 the following subsections. Only white mensural ligatures
5516 are supported with certain limitations.
5519 * White mensural ligatures::
5520 * Gregorian square neumes ligatures::
5523 @node White mensural ligatures
5524 @subsubsection White mensural ligatures
5526 @cindex Mensural ligatures
5527 @cindex White mensural ligatures
5529 There is limited support for white mensural ligatures.
5531 To engrave white mensural ligatures, in the paper block the
5532 @internalsref{Mensural_ligature_engraver} has to be put into the
5533 @internalsref{Voice} context, and remove the
5534 @internalsref{Ligature_bracket_engraver}
5540 \remove Ligature_bracket_engraver
5541 \consists Mensural_ligature_engraver
5546 There is no additional input language to describe the shape of a
5547 white mensural ligature. The shape is rather determined solely from
5548 the pitch and duration of the enclosed notes. While this approach may
5549 take a new user a while to get accustomed, it has the great advantage
5550 that the full musical information of the ligature is known internally.
5551 This is not only required for correct MIDI output, but also allows for
5552 automatic transcription of the ligatures.
5557 \set Score.timing = ##f
5558 \set Score.defaultBarType = "empty"
5559 \override NoteHead #'style = #'neo_mensural
5560 \override Staff.TimeSignature #'style = #'neo_mensural
5562 \[ g\longa c\breve a\breve f\breve d'\longa \]
5564 \[ e1 f1 a\breve g\longa \]
5566 @lilypond[quote,raggedright]
5568 \notes \transpose c c' {
5569 \set Score.timing = ##f
5570 \set Score.defaultBarType = "empty"
5571 \override NoteHead #'style = #'neo_mensural
5572 \override Staff.TimeSignature #'style = #'neo_mensural
5574 \[ g\longa c\breve a\breve f\breve d'\longa \]
5576 \[ e1 f1 a\breve g\longa \]
5581 \remove Ligature_bracket_engraver
5582 \consists Mensural_ligature_engraver
5588 Without replacing @internalsref{Ligature_bracket_engraver} with
5589 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5592 @lilypond[quote,raggedright]
5594 \notes \transpose c c' {
5595 \set Score.timing = ##f
5596 \set Score.defaultBarType = "empty"
5597 \override NoteHead #'style = #'neo_mensural
5598 \override Staff.TimeSignature #'style = #'neo_mensural
5600 \[ g\longa c\breve a\breve f\breve d'\longa \]
5602 \[ e1 f1 a\breve g\longa \]
5609 The implementation is experimental; it may output strange warnings or
5610 even crash in some cases or produce weird results on more complex
5613 @node Gregorian square neumes ligatures
5614 @subsubsection Gregorian square neumes ligatures
5616 @cindex Square neumes ligatures
5617 @cindex Gregorian square neumes ligatures
5619 Gregorian square neumes notation (following the style of the Editio
5620 Vaticana) is under heavy development, but not yet really usable for
5621 production purposes. Core ligatures can already be typeset, but
5622 essential issues for serious typesetting are still under development,
5623 such as (among others) horizontal alignment of multiple ligatures,
5624 lyrics alignment and proper accidentals handling. Still, this section
5625 gives a sneak preview of what Gregorian chant may look like once it
5628 The following table contains the extended neumes table of the 2nd
5629 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5630 1983 by the monks of Solesmes.
5632 @multitable @columnfractions .4 .2 .2 .2
5635 @b{Neuma aut@*Neumarum Elementa} @tab
5636 @b{Figurae@*Rectae} @tab
5637 @b{Figurae@*Liquescentes Auctae} @tab
5638 @b{Figurae@*Liquescentes Deminutae}
5640 @c TODO: \paper block is identical in all of the below examples.
5641 @c Therefore, it should somehow be included rather than duplicated all
5644 @c why not make identifiers in ly/engraver-init.ly? --hwn
5646 @c Because it's just used to typeset plain notes without
5647 @c a staff for demonstration purposes rather than something
5648 @c special of Gregorian chant notation. --jr
5653 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5654 \include "gregorian-init.ly"
5656 \notes \transpose c c' {
5659 \noBreak s^\markup {"a"} \noBreak
5661 % Punctum Inclinatum
5663 \noBreak s^\markup {"b"}
5669 \remove "Bar_number_engraver"
5673 \remove "Clef_engraver"
5674 \remove "Key_engraver"
5675 \override StaffSymbol #'transparent = ##t
5676 \remove "Time_signature_engraver"
5677 \remove "Bar_engraver"
5678 minimumVerticalExtent = ##f
5682 \remove Ligature_bracket_engraver
5683 \consists Vaticana_ligature_engraver
5684 \override NoteHead #'style = #'vaticana_punctum
5685 \override Stem #'transparent = ##t
5691 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5692 \include "gregorian-init.ly"
5694 \notes \transpose c c' {
5695 % Punctum Auctum Ascendens
5696 \[ \auctum \ascendens b \]
5697 \noBreak s^\markup {"c"} \noBreak
5699 % Punctum Auctum Descendens
5700 \[ \auctum \descendens b \]
5701 \noBreak s^\markup {"d"} \noBreak
5703 % Punctum Inclinatum Auctum
5704 \[ \inclinatum \auctum b \]
5705 \noBreak s^\markup {"e"}
5711 \remove "Bar_number_engraver"
5715 \remove "Clef_engraver"
5716 \remove "Key_engraver"
5717 \override StaffSymbol #'transparent = ##t
5718 \remove "Time_signature_engraver"
5719 \remove "Bar_engraver"
5720 minimumVerticalExtent = ##f
5724 \remove Ligature_bracket_engraver
5725 \consists Vaticana_ligature_engraver
5726 \override NoteHead #'style = #'vaticana_punctum
5727 \override Stem #'transparent = ##t
5733 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5734 \include "gregorian-init.ly"
5736 \notes \transpose c c' {
5737 % Punctum Inclinatum Parvum
5738 \[ \inclinatum \deminutum b \]
5739 \noBreak s^\markup {"f"}
5745 \remove "Bar_number_engraver"
5749 \remove "Clef_engraver"
5750 \remove "Key_engraver"
5751 \override StaffSymbol #'transparent = ##t
5752 \remove "Time_signature_engraver"
5753 \remove "Bar_engraver"
5754 minimumVerticalExtent = ##f
5758 \remove Ligature_bracket_engraver
5759 \consists Vaticana_ligature_engraver
5760 \override NoteHead #'style = #'vaticana_punctum
5761 \override Stem #'transparent = ##t
5770 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5771 \include "gregorian-init.ly"
5773 \notes \transpose c c' {
5776 \noBreak s^\markup {"g"}
5782 \remove "Bar_number_engraver"
5786 \remove "Clef_engraver"
5787 \remove "Key_engraver"
5788 \override StaffSymbol #'transparent = ##t
5789 \remove "Time_signature_engraver"
5790 \remove "Bar_engraver"
5791 minimumVerticalExtent = ##f
5795 \remove Ligature_bracket_engraver
5796 \consists Vaticana_ligature_engraver
5797 \override NoteHead #'style = #'vaticana_punctum
5798 \override Stem #'transparent = ##t
5807 @code{3. Apostropha vel Stropha}
5809 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5810 \include "gregorian-init.ly"
5812 \notes \transpose c c' {
5815 \noBreak s^\markup {"h"}
5821 \remove "Bar_number_engraver"
5825 \remove "Clef_engraver"
5826 \remove "Key_engraver"
5827 \override StaffSymbol #'transparent = ##t
5828 \remove "Time_signature_engraver"
5829 \remove "Bar_engraver"
5830 minimumVerticalExtent = ##f
5834 \remove Ligature_bracket_engraver
5835 \consists Vaticana_ligature_engraver
5836 \override NoteHead #'style = #'vaticana_punctum
5837 \override Stem #'transparent = ##t
5843 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5844 \include "gregorian-init.ly"
5846 \notes \transpose c c' {
5848 \[ \stropha \auctum b \]
5849 \noBreak s^\markup {"i"}
5855 \remove "Bar_number_engraver"
5859 \remove "Clef_engraver"
5860 \remove "Key_engraver"
5861 \override StaffSymbol #'transparent = ##t
5862 \remove "Time_signature_engraver"
5863 \remove "Bar_engraver"
5864 minimumVerticalExtent = ##f
5868 \remove Ligature_bracket_engraver
5869 \consists Vaticana_ligature_engraver
5870 \override NoteHead #'style = #'vaticana_punctum
5871 \override Stem #'transparent = ##t
5881 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5882 \include "gregorian-init.ly"
5884 \notes \transpose c c' {
5887 \noBreak s^\markup {"j"}
5893 \remove "Bar_number_engraver"
5897 \remove "Clef_engraver"
5898 \remove "Key_engraver"
5899 \override StaffSymbol #'transparent = ##t
5900 \remove "Time_signature_engraver"
5901 \remove "Bar_engraver"
5902 minimumVerticalExtent = ##f
5906 \remove Ligature_bracket_engraver
5907 \consists Vaticana_ligature_engraver
5908 \override NoteHead #'style = #'vaticana_punctum
5909 \override Stem #'transparent = ##t
5918 @code{5. Clivis vel Flexa}
5920 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5921 \include "gregorian-init.ly"
5923 \notes \transpose c c' {
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[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5955 \include "gregorian-init.ly"
5957 \notes \transpose c c' {
5958 % Clivis Aucta Descendens
5959 \[ b \flexa \auctum \descendens g \]
5960 \noBreak s^\markup {"l"} \noBreak
5962 % Clivis Aucta Ascendens
5963 \[ b \flexa \auctum \ascendens g \]
5964 \noBreak s^\markup {"m"}
5970 \remove "Bar_number_engraver"
5974 \remove "Clef_engraver"
5975 \remove "Key_engraver"
5976 \override StaffSymbol #'transparent = ##t
5977 \remove "Time_signature_engraver"
5978 \remove "Bar_engraver"
5979 minimumVerticalExtent = ##f
5983 \remove Ligature_bracket_engraver
5984 \consists Vaticana_ligature_engraver
5985 \override NoteHead #'style = #'vaticana_punctum
5986 \override Stem #'transparent = ##t
5992 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5993 \include "gregorian-init.ly"
5995 \notes \transpose c c' {
5997 \[ b \flexa \deminutum g \]
6004 \remove "Bar_number_engraver"
6008 \remove "Clef_engraver"
6009 \remove "Key_engraver"
6010 \override StaffSymbol #'transparent = ##t
6011 \remove "Time_signature_engraver"
6012 \remove "Bar_engraver"
6013 minimumVerticalExtent = ##f
6017 \remove Ligature_bracket_engraver
6018 \consists Vaticana_ligature_engraver
6019 \override NoteHead #'style = #'vaticana_punctum
6020 \override Stem #'transparent = ##t
6027 @code{6. Podatus vel Pes}
6029 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6030 \include "gregorian-init.ly"
6032 \notes \transpose c c' {
6041 \remove "Bar_number_engraver"
6045 \remove "Clef_engraver"
6046 \remove "Key_engraver"
6047 \override StaffSymbol #'transparent = ##t
6048 \remove "Time_signature_engraver"
6049 \remove "Bar_engraver"
6050 minimumVerticalExtent = ##f
6054 \remove Ligature_bracket_engraver
6055 \consists Vaticana_ligature_engraver
6056 \override NoteHead #'style = #'vaticana_punctum
6057 \override Stem #'transparent = ##t
6063 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6064 \include "gregorian-init.ly"
6066 \notes \transpose c c' {
6067 % Pes Auctus Descendens
6068 \[ g \pes \auctum \descendens b \]
6069 \noBreak s^\markup {"p"} \noBreak
6071 % Pes Auctus Ascendens
6072 \[ g \pes \auctum \ascendens b \]
6073 \noBreak s^\markup {"q"}
6079 \remove "Bar_number_engraver"
6083 \remove "Clef_engraver"
6084 \remove "Key_engraver"
6085 \override StaffSymbol #'transparent = ##t
6086 \remove "Time_signature_engraver"
6087 \remove "Bar_engraver"
6088 minimumVerticalExtent = ##f
6092 \remove Ligature_bracket_engraver
6093 \consists Vaticana_ligature_engraver
6094 \override NoteHead #'style = #'vaticana_punctum
6095 \override Stem #'transparent = ##t
6101 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6102 \include "gregorian-init.ly"
6104 \notes \transpose c c' {
6106 \[ g \pes \deminutum b \]
6113 \remove "Bar_number_engraver"
6117 \remove "Clef_engraver"
6118 \remove "Key_engraver"
6119 \override StaffSymbol #'transparent = ##t
6120 \remove "Time_signature_engraver"
6121 \remove "Bar_engraver"
6122 minimumVerticalExtent = ##f
6126 \remove Ligature_bracket_engraver
6127 \consists Vaticana_ligature_engraver
6128 \override NoteHead #'style = #'vaticana_punctum
6129 \override Stem #'transparent = ##t
6136 @code{7. Pes Quassus}
6138 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6139 \include "gregorian-init.ly"
6141 \notes \transpose c c' {
6143 \[ \oriscus g \pes \virga b \]
6150 \remove "Bar_number_engraver"
6154 \remove "Clef_engraver"
6155 \remove "Key_engraver"
6156 \override StaffSymbol #'transparent = ##t
6157 \remove "Time_signature_engraver"
6158 \remove "Bar_engraver"
6159 minimumVerticalExtent = ##f
6163 \remove Ligature_bracket_engraver
6164 \consists Vaticana_ligature_engraver
6165 \override NoteHead #'style = #'vaticana_punctum
6166 \override Stem #'transparent = ##t
6172 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6173 \include "gregorian-init.ly"
6175 \notes \transpose c c' {
6176 % Pes Quassus Auctus Descendens
6177 \[ \oriscus g \pes \auctum \descendens b \]
6184 \remove "Bar_number_engraver"
6188 \remove "Clef_engraver"
6189 \remove "Key_engraver"
6190 \override StaffSymbol #'transparent = ##t
6191 \remove "Time_signature_engraver"
6192 \remove "Bar_engraver"
6193 minimumVerticalExtent = ##f
6197 \remove Ligature_bracket_engraver
6198 \consists Vaticana_ligature_engraver
6199 \override NoteHead #'style = #'vaticana_punctum
6200 \override Stem #'transparent = ##t
6208 @code{8. Quilisma Pes}
6210 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6211 \include "gregorian-init.ly"
6213 \notes \transpose c c' {
6215 \[ \quilisma g \pes b \]
6222 \remove "Bar_number_engraver"
6226 \remove "Clef_engraver"
6227 \remove "Key_engraver"
6228 \override StaffSymbol #'transparent = ##t
6229 \remove "Time_signature_engraver"
6230 \remove "Bar_engraver"
6231 minimumVerticalExtent = ##f
6235 \remove Ligature_bracket_engraver
6236 \consists Vaticana_ligature_engraver
6237 \override NoteHead #'style = #'vaticana_punctum
6238 \override Stem #'transparent = ##t
6244 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6245 \include "gregorian-init.ly"
6247 \notes \transpose c c' {
6248 % Quilisma Pes Auctus Descendens
6249 \[ \quilisma g \pes \auctum \descendens b \]
6256 \remove "Bar_number_engraver"
6260 \remove "Clef_engraver"
6261 \remove "Key_engraver"
6262 \override StaffSymbol #'transparent = ##t
6263 \remove "Time_signature_engraver"
6264 \remove "Bar_engraver"
6265 minimumVerticalExtent = ##f
6269 \remove Ligature_bracket_engraver
6270 \consists Vaticana_ligature_engraver
6271 \override NoteHead #'style = #'vaticana_punctum
6272 \override Stem #'transparent = ##t
6280 @code{9. Podatus Initio Debilis}
6282 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6283 \include "gregorian-init.ly"
6285 \notes \transpose c c' {
6286 % Pes Initio Debilis
6287 \[ \deminutum g \pes b \]
6294 \remove "Bar_number_engraver"
6298 \remove "Clef_engraver"
6299 \remove "Key_engraver"
6300 \override StaffSymbol #'transparent = ##t
6301 \remove "Time_signature_engraver"
6302 \remove "Bar_engraver"
6303 minimumVerticalExtent = ##f
6307 \remove Ligature_bracket_engraver
6308 \consists Vaticana_ligature_engraver
6309 \override NoteHead #'style = #'vaticana_punctum
6310 \override Stem #'transparent = ##t
6316 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6317 \include "gregorian-init.ly"
6319 \notes \transpose c c' {
6320 % Pes Auctus Descendens Initio Debilis
6321 \[ \deminutum g \pes \auctum \descendens b \]
6328 \remove "Bar_number_engraver"
6332 \remove "Clef_engraver"
6333 \remove "Key_engraver"
6334 \override StaffSymbol #'transparent = ##t
6335 \remove "Time_signature_engraver"
6336 \remove "Bar_engraver"
6337 minimumVerticalExtent = ##f
6341 \remove Ligature_bracket_engraver
6342 \consists Vaticana_ligature_engraver
6343 \override NoteHead #'style = #'vaticana_punctum
6344 \override Stem #'transparent = ##t
6354 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6355 \include "gregorian-init.ly"
6357 \notes \transpose c c' {
6359 \[ a \pes b \flexa g \]
6366 \remove "Bar_number_engraver"
6370 \remove "Clef_engraver"
6371 \remove "Key_engraver"
6372 \override StaffSymbol #'transparent = ##t
6373 \remove "Time_signature_engraver"
6374 \remove "Bar_engraver"
6375 minimumVerticalExtent = ##f
6379 \remove Ligature_bracket_engraver
6380 \consists Vaticana_ligature_engraver
6381 \override NoteHead #'style = #'vaticana_punctum
6382 \override Stem #'transparent = ##t
6388 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6389 \include "gregorian-init.ly"
6391 \notes \transpose c c' {
6392 % Torculus Auctus Descendens
6393 \[ a \pes b \flexa \auctum \descendens g \]
6400 \remove "Bar_number_engraver"
6404 \remove "Clef_engraver"
6405 \remove "Key_engraver"
6406 \override StaffSymbol #'transparent = ##t
6407 \remove "Time_signature_engraver"
6408 \remove "Bar_engraver"
6409 minimumVerticalExtent = ##f
6413 \remove Ligature_bracket_engraver
6414 \consists Vaticana_ligature_engraver
6415 \override NoteHead #'style = #'vaticana_punctum
6416 \override Stem #'transparent = ##t
6422 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6423 \include "gregorian-init.ly"
6425 \notes \transpose c c' {
6426 % Torculus Deminutus
6427 \[ a \pes b \flexa \deminutum g \]
6434 \remove "Bar_number_engraver"
6438 \remove "Clef_engraver"
6439 \remove "Key_engraver"
6440 \override StaffSymbol #'transparent = ##t
6441 \remove "Time_signature_engraver"
6442 \remove "Bar_engraver"
6443 minimumVerticalExtent = ##f
6447 \remove Ligature_bracket_engraver
6448 \consists Vaticana_ligature_engraver
6449 \override NoteHead #'style = #'vaticana_punctum
6450 \override Stem #'transparent = ##t
6457 @code{11. Torculus Initio Debilis}
6459 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6460 \include "gregorian-init.ly"
6462 \notes \transpose c c' {
6463 % Torculus Initio Debilis
6464 \[ \deminutum a \pes b \flexa g \]
6471 \remove "Bar_number_engraver"
6475 \remove "Clef_engraver"
6476 \remove "Key_engraver"
6477 \override StaffSymbol #'transparent = ##t
6478 \remove "Time_signature_engraver"
6479 \remove "Bar_engraver"
6480 minimumVerticalExtent = ##f
6484 \remove Ligature_bracket_engraver
6485 \consists Vaticana_ligature_engraver
6486 \override NoteHead #'style = #'vaticana_punctum
6487 \override Stem #'transparent = ##t
6493 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6494 \include "gregorian-init.ly"
6496 \notes \transpose c c' {
6497 % Torculus Auctus Descendens Initio Debilis
6498 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6505 \remove "Bar_number_engraver"
6509 \remove "Clef_engraver"
6510 \remove "Key_engraver"
6511 \override StaffSymbol #'transparent = ##t
6512 \remove "Time_signature_engraver"
6513 \remove "Bar_engraver"
6514 minimumVerticalExtent = ##f
6518 \remove Ligature_bracket_engraver
6519 \consists Vaticana_ligature_engraver
6520 \override NoteHead #'style = #'vaticana_punctum
6521 \override Stem #'transparent = ##t
6527 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6528 \include "gregorian-init.ly"
6530 \notes \transpose c c' {
6531 % Torculus Deminutus Initio Debilis
6532 \[ \deminutum a \pes b \flexa \deminutum g \]
6539 \remove "Bar_number_engraver"
6543 \remove "Clef_engraver"
6544 \remove "Key_engraver"
6545 \override StaffSymbol #'transparent = ##t
6546 \remove "Time_signature_engraver"
6547 \remove "Bar_engraver"
6548 minimumVerticalExtent = ##f
6552 \remove Ligature_bracket_engraver
6553 \consists Vaticana_ligature_engraver
6554 \override NoteHead #'style = #'vaticana_punctum
6555 \override Stem #'transparent = ##t
6562 @code{12. Porrectus}
6564 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6565 \include "gregorian-init.ly"
6567 \notes \transpose c c' {
6569 \[ a \flexa g \pes b \]
6576 \remove "Bar_number_engraver"
6580 \remove "Clef_engraver"
6581 \remove "Key_engraver"
6582 \override StaffSymbol #'transparent = ##t
6583 \remove "Time_signature_engraver"
6584 \remove "Bar_engraver"
6585 minimumVerticalExtent = ##f
6589 \remove Ligature_bracket_engraver
6590 \consists Vaticana_ligature_engraver
6591 \override NoteHead #'style = #'vaticana_punctum
6592 \override Stem #'transparent = ##t
6598 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6599 \include "gregorian-init.ly"
6601 \notes \transpose c c' {
6602 % Porrectus Auctus Descendens
6603 \[ a \flexa g \pes \auctum \descendens b \]
6610 \remove "Bar_number_engraver"
6614 \remove "Clef_engraver"
6615 \remove "Key_engraver"
6616 \override StaffSymbol #'transparent = ##t
6617 \remove "Time_signature_engraver"
6618 \remove "Bar_engraver"
6619 minimumVerticalExtent = ##f
6623 \remove Ligature_bracket_engraver
6624 \consists Vaticana_ligature_engraver
6625 \override NoteHead #'style = #'vaticana_punctum
6626 \override Stem #'transparent = ##t
6632 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6633 \include "gregorian-init.ly"
6635 \notes \transpose c c' {
6636 % Porrectus Deminutus
6637 \[ a \flexa g \pes \deminutum b \]
6644 \remove "Bar_number_engraver"
6648 \remove "Clef_engraver"
6649 \remove "Key_engraver"
6650 \override StaffSymbol #'transparent = ##t
6651 \remove "Time_signature_engraver"
6652 \remove "Bar_engraver"
6653 minimumVerticalExtent = ##f
6657 \remove Ligature_bracket_engraver
6658 \consists Vaticana_ligature_engraver
6659 \override NoteHead #'style = #'vaticana_punctum
6660 \override Stem #'transparent = ##t
6669 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6670 \include "gregorian-init.ly"
6672 \notes \transpose c c' {
6674 \[ \virga b \inclinatum a \inclinatum g \]
6681 \remove "Bar_number_engraver"
6685 \remove "Clef_engraver"
6686 \remove "Key_engraver"
6687 \override StaffSymbol #'transparent = ##t
6688 \remove "Time_signature_engraver"
6689 \remove "Bar_engraver"
6690 minimumVerticalExtent = ##f
6694 \remove Ligature_bracket_engraver
6695 \consists Vaticana_ligature_engraver
6696 \override NoteHead #'style = #'vaticana_punctum
6697 \override Stem #'transparent = ##t
6703 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6704 \include "gregorian-init.ly"
6706 \notes \transpose c c' {
6708 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6715 \remove "Bar_number_engraver"
6719 \remove "Clef_engraver"
6720 \remove "Key_engraver"
6721 \override StaffSymbol #'transparent = ##t
6722 \remove "Time_signature_engraver"
6723 \remove "Bar_engraver"
6724 minimumVerticalExtent = ##f
6728 \remove Ligature_bracket_engraver
6729 \consists Vaticana_ligature_engraver
6730 \override NoteHead #'style = #'vaticana_punctum
6731 \override Stem #'transparent = ##t
6737 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6738 \include "gregorian-init.ly"
6740 \notes \transpose c c' {
6741 % Climacus Deminutus
6742 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6749 \remove "Bar_number_engraver"
6753 \remove "Clef_engraver"
6754 \remove "Key_engraver"
6755 \override StaffSymbol #'transparent = ##t
6756 \remove "Time_signature_engraver"
6757 \remove "Bar_engraver"
6758 minimumVerticalExtent = ##f
6762 \remove Ligature_bracket_engraver
6763 \consists Vaticana_ligature_engraver
6764 \override NoteHead #'style = #'vaticana_punctum
6765 \override Stem #'transparent = ##t
6772 @code{14. Scandicus}
6774 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6775 \include "gregorian-init.ly"
6777 \notes \transpose c c' {
6779 \[ g \pes a \virga b \]
6786 \remove "Bar_number_engraver"
6790 \remove "Clef_engraver"
6791 \remove "Key_engraver"
6792 \override StaffSymbol #'transparent = ##t
6793 \remove "Time_signature_engraver"
6794 \remove "Bar_engraver"
6795 minimumVerticalExtent = ##f
6799 \remove Ligature_bracket_engraver
6800 \consists Vaticana_ligature_engraver
6801 \override NoteHead #'style = #'vaticana_punctum
6802 \override Stem #'transparent = ##t
6808 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6809 \include "gregorian-init.ly"
6811 \notes \transpose c c' {
6812 % Scandicus Auctus Descendens
6813 \[ g \pes a \pes \auctum \descendens b \]
6820 \remove "Bar_number_engraver"
6824 \remove "Clef_engraver"
6825 \remove "Key_engraver"
6826 \override StaffSymbol #'transparent = ##t
6827 \remove "Time_signature_engraver"
6828 \remove "Bar_engraver"
6829 minimumVerticalExtent = ##f
6833 \remove Ligature_bracket_engraver
6834 \consists Vaticana_ligature_engraver
6835 \override NoteHead #'style = #'vaticana_punctum
6836 \override Stem #'transparent = ##t
6842 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6843 \include "gregorian-init.ly"
6845 \notes \transpose c c' {
6846 % Scandicus Deminutus
6847 \[ g \pes a \pes \deminutum b \]
6854 \remove "Bar_number_engraver"
6858 \remove "Clef_engraver"
6859 \remove "Key_engraver"
6860 \override StaffSymbol #'transparent = ##t
6861 \remove "Time_signature_engraver"
6862 \remove "Bar_engraver"
6863 minimumVerticalExtent = ##f
6867 \remove Ligature_bracket_engraver
6868 \consists Vaticana_ligature_engraver
6869 \override NoteHead #'style = #'vaticana_punctum
6870 \override Stem #'transparent = ##t
6879 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6880 \include "gregorian-init.ly"
6882 \notes \transpose c c' {
6884 \[ g \oriscus a \pes \virga b \]
6891 \remove "Bar_number_engraver"
6895 \remove "Clef_engraver"
6896 \remove "Key_engraver"
6897 \override StaffSymbol #'transparent = ##t
6898 \remove "Time_signature_engraver"
6899 \remove "Bar_engraver"
6900 minimumVerticalExtent = ##f
6904 \remove Ligature_bracket_engraver
6905 \consists Vaticana_ligature_engraver
6906 \override NoteHead #'style = #'vaticana_punctum
6907 \override Stem #'transparent = ##t
6913 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6914 \include "gregorian-init.ly"
6916 \notes \transpose c c' {
6917 % Salicus Auctus Descendens
6918 \[ g \oriscus a \pes \auctum \descendens b \]
6925 \remove "Bar_number_engraver"
6929 \remove "Clef_engraver"
6930 \remove "Key_engraver"
6931 \override StaffSymbol #'transparent = ##t
6932 \remove "Time_signature_engraver"
6933 \remove "Bar_engraver"
6934 minimumVerticalExtent = ##f
6938 \remove Ligature_bracket_engraver
6939 \consists Vaticana_ligature_engraver
6940 \override NoteHead #'style = #'vaticana_punctum
6941 \override Stem #'transparent = ##t
6951 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6952 \include "gregorian-init.ly"
6954 \notes \transpose c c' {
6956 \[ \stropha b \stropha b \stropha a \]
6963 \remove "Bar_number_engraver"
6967 \remove "Clef_engraver"
6968 \remove "Key_engraver"
6969 \override StaffSymbol #'transparent = ##t
6970 \remove "Time_signature_engraver"
6971 \remove "Bar_engraver"
6972 minimumVerticalExtent = ##f
6976 \remove Ligature_bracket_engraver
6977 \consists Vaticana_ligature_engraver
6978 \override NoteHead #'style = #'vaticana_punctum
6979 \override Stem #'transparent = ##t
6990 Unlike most other neumes notation systems, the input language for
6991 neumes does not necessarily reflect directly the typographical
6992 appearance, but is designed to solely focuse on musical meaning. For
6993 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6994 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6995 a Porrectus with a curved flexa shape and only a single Punctum head.
6996 There is no command to explicitly typeset the curved flexa shape; the
6997 decision of when to typeset a curved flexa shape is purely taken from
6998 the musical input. The idea of this approach is to separate the
6999 musical aspects of the input from the notation style of the output.
7000 This way, the same input can be reused to typeset the same music in a
7001 different style of Gregorian chant notation.
7003 The following table shows the code fragments that produce the
7004 ligatures in the above neumes table. The letter in the first column
7005 in each line of the below table indicates to which ligature in the
7006 above table it refers. The second column gives the name of the
7007 ligature. The third column shows the code fragment that produces this
7008 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7010 @multitable @columnfractions .1 .4 .5
7024 Punctum Inclinatum @tab
7025 @code{\[ \inclinatum b \]}
7029 Punctum Auctum Ascendens @tab
7030 @code{\[ \auctum \ascendens b \]}
7034 Punctum Auctum Descendens @tab
7035 @code{\[ \auctum \descendens b \]}
7039 Punctum Inclinatum Auctum @tab
7040 @code{\[ \inclinatum \auctum b \]}
7044 Punctum Inclinatum Parvum @tab
7045 @code{\[ \inclinatum \deminutum b \]}
7050 @code{\[ \virga b \]}
7055 @code{\[ \stropha b \]}
7060 @code{\[ \stropha \auctum b \]}
7065 @code{\[ \oriscus b \]}
7069 Clivis vel Flexa @tab
7070 @code{\[ b \flexa g \]}
7074 Clivis Aucta Descendens @tab
7075 @code{\[ b \flexa \auctum \descendens g \]}
7079 Clivis Aucta Ascendens @tab
7080 @code{\[ b \flexa \auctum \ascendens g \]}
7085 @code{\[ b \flexa \deminutum g \]}
7089 Podatus vel Pes @tab
7090 @code{\[ g \pes b \]}
7094 Pes Auctus Descendens @tab
7095 @code{\[ g \pes \auctum \descendens b \]}
7099 Pes Auctus Ascendens @tab
7100 @code{\[ g \pes \auctum \ascendens b \]}
7105 @code{\[ g \pes \deminutum b \]}
7110 @code{\[ \oriscus g \pes \virga b \]}
7114 Pes Quassus Auctus Descendens @tab
7115 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7120 @code{\[ \quilisma g \pes b \]}
7124 Quilisma Pes Auctus Descendens @tab
7125 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7129 Pes Initio Debilis @tab
7130 @code{\[ \deminutum g \pes b \]}
7134 Pes Auctus Descendens Initio Debilis @tab
7135 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7140 @code{\[ a \pes b \flexa g \]}
7144 Torculus Auctus Descendens @tab
7145 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7149 Torculus Deminutus @tab
7150 @code{\[ a \pes b \flexa \deminutum g \]}
7154 Torculus Initio Debilis @tab
7155 @code{\[ \deminutum a \pes b \flexa g \]}
7159 Torculus Auctus Descendens Initio Debilis @tab
7160 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7164 Torculus Deminutus Initio Debilis @tab
7165 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7170 @code{\[ a \flexa g \pes b \]}
7174 Porrectus Auctus Descendens @tab
7175 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7179 Porrectus Deminutus @tab
7180 @code{\[ a \flexa g \pes \deminutum b \]}
7185 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7189 Climacus Auctus @tab
7190 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7194 Climacus Deminutus @tab
7195 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7200 @code{\[ g \pes a \virga b \]}
7204 Scandicus Auctus Descendens @tab
7205 @code{\[ g \pes a \pes \auctum \descendens b \]}
7209 Scandicus Deminutus @tab
7210 @code{\[ g \pes a \pes \deminutum b \]}
7215 @code{\[ g \oriscus a \pes \virga b \]}
7219 Salicus Auctus Descendens @tab
7220 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7225 @code{\[ \stropha b \stropha b \stropha a \]}
7231 The following head prefixes are supported
7233 @cindex @code{\virga}
7235 @cindex @code{\stropha}
7237 @cindex @code{\inclinatum}
7239 @cindex @code{\auctum}
7241 @cindex @code{\descendens}
7243 @cindex @code{\ascendens}
7245 @cindex @code{\oriscus}
7247 @cindex @code{\quilisma}
7249 @cindex @code{\deminutum}
7252 Head prefixes can be accumulated, though restrictions apply. For
7253 example, either @code{\descendens} or @code{\ascendens} can be applied
7254 to a head, but not both to the same head.
7257 @cindex @code{\flexa}
7258 Two adjacent heads can be tied together with the @code{\pes} and
7259 @code{\flexa} infix commands for a rising and falling line of melody,
7264 @node Vaticana style contexts
7265 @subsection Vaticana style contexts
7267 @cindex VaticanaVoiceContext
7268 @cindex VaticanaStaffContext
7270 The predefined @code{VaticanaVoiceContext} and
7271 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7272 Gregorian Chant in the style of the Editio Vaticana. These contexts
7273 initialize all relevant context properties and grob properties to
7274 proper values. With these contexts, you can immediately go ahead
7275 entering the chant, as the following short excerpt demonstrates
7277 @lilypond[quote,raggedright,verbatim,noindent]
7278 \include "gregorian-init.ly"
7281 \context VaticanaVoice = "cantus" {
7282 \override Score.BarNumber #'transparent = ##t
7284 \[ c'\melisma c' \flexa a \]
7285 \[ a \flexa \deminutum g\melismaEnd \]
7287 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7288 c' \divisioMinima \break
7289 \[ c'\melisma c' \flexa a \]
7290 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7293 \lyricsto "cantus" \new Lyrics \lyrics {
7294 San- ctus, San- ctus, San- ctus
7301 @subsection Figured bass
7303 @cindex Basso continuo
7305 @c TODO: musicological blurb about FB
7308 LilyPond has limited support for figured bass
7310 @lilypond[quote,verbatim,fragment]
7312 \context Voice \notes { \clef bass dis4 c d ais }
7313 \context FiguredBass \figures {
7314 < 6 >4 < 7 >8 < 6+ [_!] >
7320 The support for figured bass consists of two parts: there is an input
7321 mode, introduced by @code{\figures}, where you can enter bass figures
7322 as numbers, and there is a context called @internalsref{FiguredBass} that
7323 takes care of making @internalsref{BassFigure} objects.
7325 In figures input mode, a group of bass figures is delimited by
7326 @code{<} and @code{>}. The duration is entered after the @code{>>}
7330 @lilypond[quote,fragment]
7331 \context FiguredBass
7335 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7341 @lilypond[quote,fragment]
7342 \context FiguredBass
7343 \figures { <4- 6+ 7!> }
7346 Spaces or dashes may be inserted by using @code{_}. Brackets are
7347 introduced with @code{[} and @code{]}
7352 @lilypond[quote,fragment]
7353 \context FiguredBass
7354 \figures { < [4 6] 8 [_! 12]> }
7357 Although the support for figured bass may superficially resemble chord
7358 support, it works much simpler. The @code{\figures} mode simply
7359 stores the numbers , and @internalsref{FiguredBass} context prints
7360 them as entered. There is no conversion to pitches, and no
7361 realizations of the bass are played in the MIDI file.
7363 Internally, the code produces markup texts. You can use any of the
7364 markup text properties to override formatting. For example, the
7365 vertical spacing of the figures may be set with @code{baseline-skip}.
7369 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7370 and @internalsref{FiguredBass} context.
7374 Slash notation for alterations is not supported.
7376 @node Contemporary notation
7377 @section Contemporary notation
7379 In the 20th century, composers have greatly expanded the musical
7380 vocabulary. With this expansion, many innovations in musical notation
7381 have been tried. The book by Stone (1980) gives a comprehensive
7382 overview (see @ref{Literature list}). In general, the use of new,
7383 innovative notation makes a piece harder to understand and perform and
7384 its use should therefore be avoided if possible. For this reason,
7385 support for contemporary notation in LilyPond is limited.
7394 @subsection Clusters
7398 A cluster indicates a continuous range of pitches to be played. They
7399 can be denoted as the envelope of a set of notes. They are entered by
7400 applying the function @code{notes-to-clusters} to a sequence of
7403 @lilypond[quote,relative=2,verbatim]
7404 \applymusic #notes-to-clusters { <c e > <b f'> }
7407 The following example (from
7408 @inputfileref{input/regression,cluster.ly}) shows what the result
7411 @lilypondfile[quote]{cluster.ly}
7413 Ordinary notes and clusters can be put together in the same staff,
7414 even simultaneously. In such a case no attempt is made to
7415 automatically avoid collisions between ordinary notes and clusters.
7419 Program reference: @internalsref{ClusterSpanner},
7420 @internalsref{ClusterSpannerBeacon},
7421 @internalsref{Cluster_spanner_engraver}, and
7422 @internalsref{ClusterNoteEvent}.
7424 Examples: @inputfileref{input/regression,cluster.ly}.
7428 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7429 accurately. Use @code{<g a>8 <e a>8} instead.
7434 @subsection Fermatas
7440 Contemporary music notation frequently uses special fermata symbols to
7441 indicate fermatas of differing lengths. The following fermatas are
7444 @lilypond[quote,raggedright]
7467 \context Lyrics \lyrics {
7468 \override LyricText #'font-family = #'typewriter
7469 "shortfermata" "fermata" "longfermata" "verylongfermata"
7475 See @ref{Articulations} for general instructions how to apply scripts
7476 such as fermatas to a @code{\notes@{@}} block.
7479 @node Special notation
7480 @section Special notation
7484 * Easy Notation note heads::
7488 @subsection Balloon help
7490 Elements of notation can be marked and named with the help of a square
7491 balloon. The primary purpose of this feature is to explain notation.
7493 The following example demonstrates its use.
7495 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7498 #(add-balloon-text 'NoteHead "heads, or tails?"
7504 The function @code{add-balloon-text} takes the name of a grob, the
7505 label to print and where to put the label relative to the object. In
7506 the above example, the text ``heads or tails?'' ends 3 spaces below
7510 @cindex notation, explaining
7514 Program reference: @internalsref{text-balloon-interface}.
7516 Examples: @inputfileref{input/regression,balloon.ly}.
7518 @node Easy Notation note heads
7519 @subsection Easy Notation note heads
7521 @cindex easy notation
7524 The `easy play' note head includes a name inside the head. It is
7525 used in music for beginners
7527 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
7532 The command @code{\setEasyHeads} overrides settings for the
7533 @internalsref{NoteHead} object. To make the letters readable, it has
7534 to be printed in a large font size. To print with a larger font, see
7535 @ref{Setting global staff size}.
7540 If you view the result with Xdvi, staff lines may show through the
7541 letters. Printing the PostScript file obtained does produce the
7546 @cindex \setEasyHeads
7547 @code{\setEasyHeads}
7553 Entered music can also be converted to MIDI output. The performance
7554 is intended for proof-hearing the music for errors.
7556 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7557 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7558 marks translate to a fixed fraction of the available MIDI volume
7559 range, crescendi and decrescendi make the volume vary linearly between
7560 their two extremities. The fractions can be adjusted by
7561 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7562 For each type of MIDI instrument, a volume range can be defined. This
7563 gives a basic equalizer control, which can enhance the quality of
7564 the MIDI output remarkably. The equalizer can be controlled by
7565 setting @code{instrumentEqualizer}.
7569 Many musically interesting effects, such as swing, articulation,
7570 slurring, etc., are not translated to MIDI.
7572 The MIDI output allocates a channel for each Staff, and one for global
7573 settings. Hence, the MIDI file should not have more than 15 staves
7574 (or 14 if you do not use drums). Other staves will remain silent.
7576 Not all MIDI players correctly handle tempo change in the MIDI
7577 output. Players that are known to work include
7578 @uref{timidity,http://timidity.sourceforge.net/}
7583 * MIDI instrument names::
7588 @subsection MIDI block
7592 The MIDI block is analogous to the paper block, but it is somewhat
7593 simpler. The @code{\midi} block can contain
7597 @item a @code{\tempo} definition, and
7598 @item context definitions.
7601 A number followed by a period is interpreted as a real number, so
7602 for setting the tempo for dotted notes, an extra space should be
7603 inserted, for example
7606 \midi @{ \tempo 4 . = 120 @}
7610 @cindex context definition
7612 Context definitions follow precisely the same syntax as within the
7613 \paper block. Translation modules for sound are called performers.
7614 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7617 @node MIDI instrument names
7618 @subsection MIDI instrument names
7620 @cindex instrument names
7621 @cindex @code{Staff.midiInstrument}
7623 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7624 property. The instrument name should be chosen from the list in
7625 @ref{MIDI instruments}.
7629 If the selected string does not exactly match, the default is used,
7630 which is the Grand Piano.