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
71 @lilypond[fragment,verbatim]
81 @cindex Note specification
83 @cindex entering notes
85 The most common syntax for pitch entry is used in @code{\chords} and
86 @code{\notes} mode. In these modes, pitches may be designated by
87 names. The notes are specified by the letters @code{a} through
88 @code{g}, while the octave is formed with notes ranging from @code{c}
89 to @code{b}. The pitch @code{c} is an octave below middle C and the
90 letters span the octave above that C
93 @lilypond[fragment,verbatim]
95 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
99 @cindex note names, Dutch
101 A sharp is formed by adding @code{-is} to the end of a pitch name and
102 a flat is formed by adding @code{-es}. Double sharps and double flats
103 are obtained by adding @code{-isis} or @code{-eses}. These
104 names are the Dutch note names. In Dutch, @code{aes} is contracted to
105 @code{as}, but both forms are accepted. Similarly, both
106 @code{es} and @code{ees} are accepted.
108 Half-flats and half-sharps are formed by adding @code{-eh} and
109 @code{-ih}; the following is a series of Cs with increasing pitches
111 @cindex quarter tones
112 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative=3]
128 There are predefined sets of note names for various other languages.
129 To use them, include the language specific init file. For
130 example: @code{\include "english.ly"}. The available language files
131 and the note names they define are
136 Note Names sharp flat
137 nederlands.ly c d e f g a bes b -is -es
138 english.ly c d e f g a bf b -s/-sharp -f/-flat
140 deutsch.ly c d e f g a b h -is -es
141 norsk.ly c d e f g a b h -iss/-is -ess/-es
142 svenska.ly c d e f g a b h -iss -ess
143 italiano.ly do re mi fa sol la sib si -d -b
144 catalan.ly do re mi fa sol la sib si -d/-s -b
145 espanol.ly do re mi fa sol la sib si -s -b
154 The optional octave specification takes the form of a series of
155 single quote (`@code{'}') characters or a series of comma
156 (`@code{,}') characters. Each @code{'} raises the pitch by one
157 octave; each @code{,} lowers the pitch by an octave
160 @lilypond[fragment,verbatim]
161 c' c'' es' g' as' gisis' ais'
168 Notes can be hidden and unhidden with the following commands
170 @cindex @code{\hideNotes}
172 @cindex @code{\unHideNotes}
178 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
180 @node Chromatic alterations
181 @subsection Chromatic alterations
183 Normally accidentals are printed automatically, but you may also
184 print them manually. A reminder accidental
185 @cindex reminder accidental
187 can be forced by adding an exclamation mark @code{!}
188 after the pitch. A cautionary accidental
189 @cindex cautionary accidental
190 @cindex parenthesized accidental
191 (i.e. an accidental within parentheses) can be obtained by adding the
192 question mark `@code{?}' after the pitch
195 @lilypond[fragment,verbatim]
196 cis' cis' cis'! cis'?
203 The automatic production of accidentals can be tuned in many
204 ways. For more information, refer to @ref{Accidentals}.
209 There are no generally accepted standards for denoting three quarter
210 flats, so LilyPond's symbol does not conform to any standard.
215 A chord is formed by a enclosing a set of pitches in @code{<} and
216 @code{>}. A chord may be followed by a duration, and a set of
217 articulations, just like simple notes.
220 @lilypond[relative=1]
232 Rests are entered like notes, with the note name @code{r}
235 @lilypond[raggedright,verbatim]
240 Whole bar rests, centered in middle of the bar,
241 must be done with multi-measure rests. They are discussed in
242 @ref{Multi measure rests}.
245 A rest's vertical position may be explicitly specified by entering a
246 note with the @code{\rest} keyword appended. This makes manual
247 formatting in polyphonic music easier. Rest collision testing will
248 leave these rests alone
251 @lilypond[raggedright,verbatim]
258 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
265 @cindex Invisible rest
268 An invisible rest (also called a `skip') can be entered like a note
269 with note name `@code{s}' or with @code{\skip @var{duration}}
272 @lilypond[raggedright,verbatim]
277 The @code{s} syntax is only available in note mode and chord mode. In
278 other situations, you should use the @code{\skip} command
281 @lilypond[raggedright,verbatim]
284 { \time 4/8 \skip 2 \time 4/4 }
285 \notes\relative c'' { a2 a1 }
291 The skip command is merely an empty musical placeholder. It does not
292 produce any output, not even transparent output.
294 The @code{s} skip command does create @internalsref{Staff} and
295 @internalsref{Voice} when necessary, similar to note and rest
296 commands. For example, the following results in an empty staff.
299 @lilypond[raggedright,verbatim]
300 \score { \notes { s4 } }
304 The same fragment using @code{\skip} results in an empty page.
308 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
313 @subsection Durations
319 In Note, Chord, and Lyrics mode, durations are designated by numbers
320 and dots: durations are entered as their reciprocal values. For example,
321 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
322 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
323 longer than a whole you must use variables
327 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
329 r1 r2 r4 r8 r16 r32 r64 r64
335 \notes \relative c'' {
336 a\breve*1/2 \autoBeamOff
337 a1 a2 a4 a8 a16 a32 a64 a64
338 r\longa*1/4 r\breve *1/2
339 r1 r2 r4 r8 r16 r32 r64 r64
345 \remove "Clef_engraver"
346 \override StaffSymbol #'transparent = ##t
347 \override TimeSignature #'transparent = ##t
348 \override BarLine #'transparent = ##t
349 \consists "Pitch_squash_engraver"
357 If the duration is omitted then it is set to the previously entered
358 duration. The default for the first note is a quarter note. The duration
359 can be followed by dots (`@code{.}') in order to obtain dotted note
364 @lilypond[fragment,verbatim]
365 a' b' c''8 b' a'4 a'4. b'4.. c'8.
371 You can alter the length of duration by a fraction @var{N/M}
372 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
373 will not affect the appearance of the notes or rests produced.
375 In the following example, the first three notes take up exactly two
376 beats, but no triplet bracket is printed.
378 @lilypond[fragment,relative=3,verbatim]
380 a4*2/3 gis4*2/3 a4*2/3
387 Dots are normally moved up to avoid staff lines, except in polyphonic
388 situations. The following commands may be used to force a particular
391 @cindex @code{\dotsUp}
393 @cindex @code{\dotsDown}
395 @cindex @code{\dotsBoth}
400 This manual: @ref{Tuplets}
402 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
407 Whenever a note is found, a @internalsref{Stem} object is created
408 automatically. For whole notes and rests, they are also created but
413 @cindex @code{\stemUp}
415 @cindex @code{\stemDown}
417 @cindex @code{\stemBoth}
428 A tie connects two adjacent note heads of the same pitch. The tie in
429 effect extends the length of a note. Ties should not be confused with
430 slurs, which indicate articulation, or phrasing slurs, which indicate
431 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
434 @lilypond[fragment,verbatim]
435 e' ~ e' <c' e' g'> ~ <c' e' g'>
439 When a tie is applied to a chord, all note heads whose pitches match
440 are connected. When no note heads match, no ties will be created.
442 In its meaning a tie is just a way of extending a note duration, similar
443 to the augmentation dot; in the following example there are two ways of
444 notating exactly the same concept
447 @lilypond[fragment,raggedright]
448 \time 3/4 c'2. c'2 ~ c'4
451 If you need to tie a lot of notes over bars, it may be easier to use automatic
452 note splitting (see @ref{Automatic note splitting}).
457 @cindex @code{\tieUp}
459 @cindex @code{\tieDown}
461 @cindex @code{\tieBoth}
463 @cindex @code{\tieDotted}
465 @cindex @code{\tieSolid}
470 In this manual: @ref{Automatic note splitting}.
472 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
474 For tying only a subset of the note heads of a pair of chords, see
475 @inputfileref{input/regression,tie-chord-partial.ly}.
480 Switching staves when a tie is active will not produce a slanted tie.
482 Formatting of ties is a difficult subject. The results are often not
492 @cindex @code{\times}
494 Tuplets are made out of a music expression by multiplying all durations
497 @cindex @code{\times}
499 \times @var{fraction} @var{musicexpr}
503 The duration of @var{musicexpr} will be multiplied by the fraction.
504 The fraction's denominator will be printed over the notes, optionally
505 with a bracket. The most common tuplet is the triplet in which 3
506 notes have the length of 2, so the notes are 2/3 of their written
510 @lilypond[fragment,verbatim]
511 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
515 The property @code{tupletSpannerDuration} specifies how long each
516 bracket should last. With this, you can make lots of tuplets while
517 typing @code{\times} only once, saving lots of typing. In the next
518 example, there are two triplets shown, while @code{\times} was only
522 @lilypond[fragment,relative=1,raggedright,verbatim]
523 \set tupletSpannerDuration = #(ly:make-moment 1 4)
524 \times 2/3 { c'8 c c c c c }
528 The format of the number is determined by the property
529 @code{tupletNumberFormatFunction}. The default prints only the
530 denominator, but if it is set to the Scheme function
531 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
535 @cindex @code{tupletNumberFormatFunction}
536 @cindex tuplet formatting
541 @cindex @code{\tupletUp}
543 @cindex @code{\tupletDown}
545 @cindex @code{\tupletBoth}
550 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
552 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
556 Nested tuplets are not formatted automatically. In this case, outer
557 tuplet brackets should be moved manually, which is demonstrated in
558 @inputfileref{input/regression,tuplet-nest.ly}.
562 @node Easier music entry
563 @section Easier music entry
566 This section deals with tricks and features of the input language that
567 were added solely to help entering music, finding and correcting
568 mistakes. There are also external tools that make debugging easier.
569 See @ref{Point and click} for more information.
571 It is also possible to enter and edit music using other programs. For
572 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
573 website for more information.
580 * Skipping corrected music::
581 * Automatic note splitting::
587 @node Relative octaves
588 @subsection Relative octaves
590 @cindex relative octave specification
592 Octaves are specified by adding @code{'} and @code{,} to pitch names.
593 When you copy existing music, it is easy to accidentally put a pitch
594 in the wrong octave and hard to find such an error. The relative
595 octave mode prevents these errors: a single error puts the rest of the
596 piece off by one octave
598 @cindex @code{\relative}
600 \relative @var{startpitch} @var{musicexpr}
603 The octave of notes that appear in @var{musicexpr} are calculated as
604 follows: If no octave changing marks are used, the basic interval
605 between this and the last note is always taken to be a fourth or
606 less. This distance is determined without regarding alterations; a
607 @code{fisis} following a @code{ceses} will be put above the
610 The octave changing marks @code{'} and @code{,} can be added to raise
611 or lower the pitch by an extra octave. Upon entering relative mode,
612 an absolute starting pitch must be specified that will act as the
613 predecessor of the first note of @var{musicexpr}.
615 Here is the relative mode shown in action
617 @lilypond[fragment,raggedright,verbatim]
624 Octave changing marks are used for intervals greater than a fourth
626 @lilypond[fragment,verbatim]
633 If the preceding item is a chord, the first note of the chord is used
634 to determine the first note of the next chord
637 @lilypond[fragment,verbatim]
645 @cindex @code{\notes}
647 The pitch after the @code{\relative} contains a note name. To parse
648 the note name as a pitch, it must surrounded by @code{\notes}
650 The relative conversion will not affect @code{\transpose},
651 @code{\chords} or @code{\relative} sections in its argument. If you
652 want to use relative within transposed music, you must place an
653 additional @code{\relative} inside the @code{\transpose}.
656 @subsection Octave check
659 Octave checks make octave errors easier to correct: a note may be
660 followed by @code{=}@var{quotes} which indicates what its absolute
661 octave should be. In the following example,
663 \relative c'' @{ c='' b=' d,='' @}
667 @c take care with @code, adds confusing quotes.
668 the d will generate a warning, because a d'' is expected, but a d' is
669 found. In the output, the octave is corrected for this and the
674 There is also a syntax that is separate from the notes.
679 This checks that @var{pitch} (without octave) yields @var{pitch} (with
680 octave) in \relative mode. If not, a warning is printed, and the
681 octave is corrected, for example, the first check is passed
682 successfully. The second check fails with an error message. The
683 octave is adjusted so the following notes are in the correct octave
694 The octave of a note following an octave check is determined with
695 respect to the note preceding it. In the next fragment, the last note
696 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
697 be deleted without changing the meaning of the piece.
700 @lilypond[verbatim,fragment]
710 @subsection Bar check
714 @cindex @code{barCheckSynchronize}
717 Bar checks help detect errors in the durations. A bar check is
718 entered using the bar symbol, `@code{|}'. Whenever it is encountered
719 during interpretation, it should fall on a measure boundary. If it
720 does not, a warning is printed. In the next example, the second bar
721 check will signal an error
723 \time 3/4 c2 e4 | g2 |
726 Bar checks can also be used in lyrics, for example
731 Twin -- kle | Twin -- kle
736 @cindex skipTypesetting
738 Failed bar checks are caused by entering incorrect
739 durations. Incorrect durations often completely garble up the score,
740 especially if it is polyphonic, so you should start correcting the
741 score by scanning for failed bar checks and incorrect durations. To
742 speed up this process, you can use @code{skipTypesetting}, described
745 @node Skipping corrected music
746 @subsection Skipping corrected music
748 The property @code{Score.skipTypesetting} can be used to switch on and
749 off typesetting completely during the interpretation phase. When
750 typesetting is switched off, the music is processed much more quickly.
751 This can be used to skip over the parts of a score that have already
752 been checked for errors
755 @lilypond[fragment,raggedright,verbatim]
757 \set Score.skipTypesetting = ##t
759 \set Score.skipTypesetting = ##f
764 @node Automatic note splitting
765 @subsection Automatic note splitting
767 Long notes can be converted automatically to tied notes. This is done
768 by replacing the @internalsref{Note_heads_engraver} by the
769 @internalsref{Completion_heads_engraver}.
770 In the following examples, notes crossing the bar line are split and tied.
774 @lilypond[noindent,verbatim,relative=2]
776 \remove "Note_heads_engraver"
777 \consists "Completion_heads_engraver"
779 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
784 This engraver splits all running notes at the bar line, and inserts
785 ties. One of its uses is to debug complex scores: if the measures are
786 not entirely filled, then the ties exactly show how much each measure
791 Not all durations (especially those containing tuplets) can be
792 represented exactly; the engraver will not insert tuplets.
796 Examples: @inputfileref{input/regression,completion-heads.ly}.
798 Program reference: @internalsref{Completion_heads_engraver}.
802 @section Staff notation
804 This section describes music notation that occurs on staff level,
805 such as keys, clefs and time signatures.
807 @cindex Staff notation
821 @subsection Staff symbol
823 @cindex adjusting staff symbol
825 Notes, dynamic signs, etc. are grouped
826 with a set of horizontal lines, into a staff (plural `staves'). In our
827 system, these lines are drawn using a separate layout object called
831 @cindex staff lines, setting number of
832 @cindex staff lines, setting thickness of
833 @cindex thickness of staff lines, setting
834 @cindex number of staff lines, setting
838 Program reference: @internalsref{StaffSymbol}.
840 Examples: @inputfileref{input/test,staff-lines.ly},
841 @inputfileref{input/test,staff-size.ly}.
845 If a staff is ended halfway a piece, the staff symbol may not end
846 exactly on the bar line.
850 @subsection Key signature
851 @cindex Key signature
855 The key signature indicates the scale in which a piece is played. It
856 is denoted by a set of alterations (flats or sharps) at the start of
860 Setting or changing the key signature is done with the @code{\key}
863 @code{\key} @var{pitch} @var{type}
866 @cindex @code{\minor}
867 @cindex @code{\major}
868 @cindex @code{\minor}
869 @cindex @code{\ionian}
870 @cindex @code{\locrian}
871 @cindex @code{\aeolian}
872 @cindex @code{\mixolydian}
873 @cindex @code{\lydian}
874 @cindex @code{\phrygian}
875 @cindex @code{\dorian}
877 Here, @var{type} should be @code{\major} or @code{\minor} to get
878 @var{pitch}-major or @var{pitch}-minor, respectively.
879 The standard mode names @code{\ionian},
880 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
881 @code{\phrygian}, and @code{\dorian} are also defined.
883 This command sets the context property
884 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
885 can be specified by setting this property directly.
887 Accidentals and key signatures often confuse new users, because
888 unaltered notes get natural signs depending on the key signature. For
889 more information, see @ref{More about pitches}.
893 The ordering of a key cancellation is wrong when it is combined with
894 repeat bar lines. The cancellation is also printed after a line break.
898 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
900 @cindex @code{keySignature}
907 The clef indicates which lines of the staff correspond to which
911 The clef can be set or changed with the @code{\clef} command
913 @lilypond[fragment,verbatim]
914 \key f\major c''2 \clef alto g'2
918 Supported clef-names include
919 @c Moved standard clefs to the top /MB
923 @item treble, violin, G, G2
936 G clef on 1st line, so-called French violin clef
941 @cindex mezzosoprano clef
944 @cindex baritone clef
947 @cindex varbaritone clef
958 By adding @code{_8} or @code{^8} to the clef name, the clef is
959 transposed one octave down or up, respectively, and @code{_15} and
960 @code{^15} transposes by two octaves. The argument @var{clefname}
961 must be enclosed in quotes when it contains underscores or digits. For
965 @cindex choral tenor clef
967 @lilypond[verbatim,fragment,relative=1]
972 This command is equivalent to setting @code{clefGlyph},
973 @code{clefPosition} (which controls the Y position of the clef),
974 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
975 when any of these properties are changed.
979 Program reference: the object for this symbol is @internalsref{Clef}.
983 @node Ottava brackets
984 @subsection Ottava brackets
986 ``Ottava'' brackets introduce an extra transposition of an octave for
987 the staff. They are created by invoking the function
988 @code{set-octavation}
995 @lilypond[verbatim,fragment]
1006 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1007 (for 15ma) as arguments. Internally the function sets the properties
1008 @code{ottavation} (e.g. to @code{"8va"}) and
1009 @code{centralCPosition}. For overriding the text of the bracket, set
1010 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1014 \set Staff.ottavation = #"8"
1019 Program reference: @internalsref{OttavaBracket}.
1021 Examples: @inputfileref{input/regression,ottava.ly},
1022 @inputfileref{input/regression,ottava-broken.ly}.
1026 @code{set-octavation} will get confused when clef changes happen
1027 during an octavation bracket.
1029 @node Time signature
1030 @subsection Time signature
1031 @cindex Time signature
1033 @cindex @code{\time}
1035 Time signature indicates the metrum of a piece: a regular pattern of
1036 strong and weak beats. It is denoted by a fraction at the start of the
1040 The time signature is set or changed by the @code{\time}
1043 @lilypond[fragment,verbatim]
1044 \time 2/4 c'2 \time 3/4 c'2.
1048 The symbol that is printed can be customized with the @code{style}
1049 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1050 2/2 time. There are many more options for its layout. See
1051 @inputfileref{input/test,time.ly} for more examples.
1054 This command sets the property @code{timeSignatureFraction},
1055 @code{beatLength} and @code{measureLength} in the @code{Timing}
1056 context, which is normally aliased to @internalsref{Score}. The
1057 property @code{measureLength} determines where bar lines should be
1058 inserted, and how automatic beams should be generated. Changing the
1059 value of @code{timeSignatureFraction} also causes the symbol to be
1062 More options are available through the Scheme function
1063 @code{set-time-signature}. In combination with the
1064 @internalsref{Measure_grouping_engraver}, it will create
1065 @internalsref{MeasureGrouping} signs. Such signs ease reading
1066 rhythmically complex modern music. In the following example, the 9/8
1067 measure is subdivided in 2, 2, 2 and 3. This is passed to
1068 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1071 @lilypond[raggedright,verbatim]
1073 \notes \relative c'' {
1074 #(set-time-signature 9 8 '(2 2 2 3))
1075 g8[ g] d[ d] g[ g] a8[( bes g]) |
1076 #(set-time-signature 5 8 '(3 2))
1082 \consists "Measure_grouping_engraver"
1091 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1096 Automatic beaming does not use the measure grouping specified with
1097 @code{set-time-signature}.
1099 @node Partial measures
1100 @subsection Partial measures
1103 @cindex partial measure
1104 @cindex measure, partial
1105 @cindex shorten measures
1106 @cindex @code{\partial}
1108 Partial measures, for example in upsteps, are entered using the
1109 @code{\partial} command
1111 @lilypond[fragment,verbatim,relative=2]
1112 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1116 The syntax for this command is
1118 \partial @var{duration}
1120 This is internally translated into
1122 \set Timing.measurePosition = -@var{length of duration}
1125 The property @code{measurePosition} contains a rational number
1126 indicating how much of the measure has passed at this point.
1128 @node Unmetered music
1129 @subsection Unmetered music
1131 Bar lines and bar numbers are calculated automatically. For unmetered
1132 music (e.g. cadenzas), this is not desirable. By setting
1133 @code{Score.timing} to false, this automatic timing can be switched
1134 off. Empty bar lines,
1141 indicate where line breaks can occur.
1147 @cindex @code{\cadenzaOn}
1149 @cindex @code{\cadenzaOff}
1153 @subsection Bar lines
1157 @cindex measure lines
1161 Bar lines delimit measures, but are also used to indicate repeats.
1162 Normally, they are inserted automatically. Line breaks may only
1163 happen on bar lines.
1167 of bar lines can be forced with the @code{\bar} command
1170 @lilypond[relative=2,fragment,verbatim]
1175 The following bar types are available
1177 @lilypond[fragment,relative=1,raggedright,verbatim]
1191 For allowing line breaks, there is a special command,
1195 This will insert an invisible bar line, and allow line breaks at this
1198 In scores with many staves, a @code{\bar} command in one staff is
1199 automatically applied to all staves. The resulting bar lines are
1200 connected between different staves of a @internalsref{StaffGroup}
1203 @lilypond[fragment,verbatim]
1205 \context StaffGroup <<
1211 \new Staff { \clef bass c4 g e g }
1213 \new Staff { \clef bass c2 c2 }
1218 A bar line is created whenever the @code{whichBar} property is set.
1219 At the start of a measure it is set to the contents of
1220 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1221 to override default measure bars.
1223 The command @code{\bar }@var{bartype} is a short cut for doing
1224 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1225 is set to a string, a bar line of that type is created.
1228 @cindex repeatCommands
1229 @cindex defaultBarType
1231 You are encouraged to use @code{\repeat} for repetitions. See
1238 In this manual: @ref{Repeats}.
1241 Program reference: the bar line objects that are created at
1242 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1243 lines that span staves are @internalsref{SpanBar} objects.
1245 @cindex bar lines at start of system
1246 @cindex start of system
1248 The bar lines at the start of each system are
1249 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1250 @internalsref{SystemStartBracket}. Only one of these types is created
1251 in every context, and that type is determined by the property
1252 @code{systemStartDelimiter}.
1254 Examples: @inputfileref{input/test,bar-lines.ly},
1260 The easiest way to enter fragments with more than one voice on a staff
1261 is to split chords using the separator @code{\\}. You can use it for
1262 small, short-lived voices or for single chords
1265 @lilypond[verbatim,fragment]
1266 \context Staff \relative c'' {
1267 c4 << { f d e } \\ { b c2 } >>
1268 c4 << g' \\ b, \\ f' \\ d >>
1273 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1274 voices are sometimes called "layers" other notation packages}
1276 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1277 each of these contexts, vertical direction of slurs, stems, etc. is set
1280 @cindex @code{\voiceOne}
1281 @cindex @code{\voiceFour}
1283 This can also be done by instantiating @internalsref{Voice} contexts
1284 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1285 a stem directions and horizontal shift for each part
1289 @lilypond[raggedright,verbatim]
1292 \new Voice { \voiceOne cis2 b }
1293 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1294 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1299 The command @code{\oneVoice} will revert back to the normal setting.
1300 @cindex @code{\oneVoice}
1303 Normally, note heads with a different number of dots are not merged, but
1304 when the object property @code{merge-differently-dotted} is set in
1305 the @internalsref{NoteCollision} object, they are merged
1307 @lilypond[verbatim,fragment,raggedright]
1308 \relative c'' \context Voice << {
1310 \override Staff.NoteCollision
1311 #'merge-differently-dotted = ##t
1313 } \\ { g8.[ f16] g8.[ f16] } >>
1317 Similarly, you can merge half note heads with eighth notes, by setting
1318 @code{merge-differently-headed}
1320 @lilypond[fragment,relative=3,verbatim]
1323 \override Staff.NoteCollision
1324 #'merge-differently-headed = ##t
1325 c8 c4. } \\ { c2 c2 } >>
1329 LilyPond also vertically shifts rests that are opposite of a stem
1333 @lilypond[raggedright,fragment,verbatim]
1334 \context Voice << c''4 \\ r4 >>
1343 @cindex @code{\oneVoice}
1345 @cindex @code{\voiceOne}
1347 @cindex @code{\voiceTwo}
1349 @cindex @code{\voiceThree}
1351 @cindex @code{\voiceFour}
1355 The following commands specify in what chords of the current voice
1356 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1357 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1360 @cindex @code{\shiftOn}
1362 @cindex @code{\shiftOnn}
1364 @cindex @code{\shiftOnnn}
1366 @cindex @code{\shiftOff}
1373 Program reference: the objects responsible for resolving collisions are
1374 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1376 Examples: See also example files
1377 @inputfileref{input/regression,collision-dots.ly},
1378 @inputfileref{input/regression,collision-head-chords.ly},
1379 @inputfileref{input/regression,collision-heads.ly},
1380 @inputfileref{input/regression,collision-mesh.ly}, and
1381 @inputfileref{input/regression,collisions.ly}.
1386 Resolving collisions is a intricate subject, and only a few situations
1387 are handled. When LilyPond cannot cope, the @code{force-hshift}
1388 property of the @internalsref{NoteColumn} object and pitched rests can
1389 be used to override typesetting decisions.
1391 When using @code{merge-differently-headed} with an upstem eighth or a
1392 shorter note, and a downstem half note, the eighth note gets the wrong
1395 There is no support for clusters where the same note occurs with
1396 different accidentals in the same chord. In this case, it is
1397 recommended to use enharmonic transcription, or to use special cluster
1398 notation (see @ref{Clusters}).
1403 Beams are used to group short notes into chunks that are aligned with
1404 the metrum. They are inserted automatically
1407 @lilypond[fragment,verbatim,relative=3]
1408 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1412 When these automatic decisions are not good enough, beaming can be
1413 entered explicitly. It is also possible to define beaming patterns
1414 that differ from the defaults.
1416 Individual notes may be marked with @code{\noBeam}, to prevent them
1420 @lilypond[fragment,verbatim,relative=3]
1421 \time 2/4 c8 c\noBeam c c
1428 Program reference: @internalsref{Beam}.
1431 @cindex Automatic beams
1434 * Setting automatic beam behavior::
1438 @subsection Manual beams
1439 @cindex beams, manual
1443 In some cases it may be necessary to override the automatic beaming
1444 algorithm. For example, the autobeamer will not put beams over rests
1445 or bar lines. Such beams are specified by manually: the begin and end
1446 point are marked with @code{[} and @code{]}
1449 @lilypond[fragment,relative=1,verbatim]
1451 r4 r8[ g' a r8] r8 g[ | a] r8
1456 @cindex @code{stemLeftBeamCount}
1458 Normally, beaming patterns within a beam are determined automatically.
1459 If necessary, the properties @code{stemLeftBeamCount} and
1460 @code{stemRightBeamCount} can be used to override the defaults. If
1461 either property is set, its value will be used only once, and then it
1465 @lilypond[fragment,relative=1,verbatim]
1468 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1472 @cindex @code{stemRightBeamCount}
1475 The property @code{subdivideBeams} can be set in order to subdivide
1476 all 16th or shorter beams at beat positions, as defined by the
1477 @code{beatLength} property.
1481 @lilypond[relative=2,verbatim,noindent]
1483 \set subdivideBeams = ##t
1485 \set Score.beatLength = #(ly:make-moment 1 8)
1489 @cindex subdivideBeams
1491 Kneed beams are inserted automatically, when a large gap is detected
1492 between the note heads. This behavior can be tuned through the object
1493 property @code{auto-knee-gap}.
1495 Normally, line breaks are forbidden when beams cross bar lines. This
1496 behavior can be changed by setting @code{allowBeamBreak}.
1498 @cindex @code{allowBeamBreak}
1499 @cindex beams and line breaks
1501 @cindex beams, kneed
1503 @cindex auto-knee-gap
1509 @cindex Frenched staves
1511 Automatically kneed cross-staff beams cannot be used together with
1517 @node Setting automatic beam behavior
1518 @subsection Setting automatic beam behavior
1520 @cindex @code{autoBeamSettings}
1521 @cindex @code{(end * * * *)}
1522 @cindex @code{(begin * * * *)}
1523 @cindex automatic beams, tuning
1524 @cindex tuning automatic beaming
1526 @c [TODO: use \applycontext]
1528 In normal time signatures, automatic beams can start on any note but can
1529 only end in a few positions within the measure: beams can end on a beat,
1530 or at durations specified by the properties in
1531 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1532 are defined in @file{scm/auto-beam.scm}.
1534 The value of @code{autoBeamSettings} is changed with two functions,
1536 #(override-auto-beam-setting
1537 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1539 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1541 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1542 @var{context} is an optional context (default: @code{'Voice}). It
1543 determines whether the rule applies to begin or end-points. The
1544 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1545 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1546 to a time signature (wildcards `@code{* *}' may be entered to
1547 designate all time signatures), @var{a}/@var{b} is a duration. By
1548 default, this command changes settings for the current voice. It is
1549 also possible to adjust settings at higher contexts, by adding a
1550 @var{context} argument.
1552 For example, if automatic beams should end on every quarter note, use
1555 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1557 Since the duration of a quarter note is 1/4 of a whole note, it is
1558 entered as @code{(ly:make-moment 1 4)}.
1560 The same syntax can be used to specify beam starting points. In this
1561 example, automatic beams can only end on a dotted quarter note
1563 #(override-auto-beam-setting '(end * * * *) 3 8)
1565 In 4/4 time signature, this means that automatic beams could end only on
1566 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1567 3/8, has passed within the measure).
1569 Rules can also be restricted to specific time signatures. A rule that
1570 should only be applied in @var{N}/@var{M} time signature is formed by
1571 replacing the second asterisks by @var{N} and @var{M}. For example, a
1572 rule for 6/8 time exclusively looks like
1574 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1577 If a rule should be to applied only to certain types of beams, use the
1578 first pair of asterisks. Beams are classified according to the
1579 shortest note they contain. For a beam ending rule that only applies
1580 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1583 @cindex automatic beam generation
1585 @cindex @code{autoBeaming}
1588 If beams are used to indicate melismata in songs, then automatic
1589 beaming should be switched off. This is done by setting
1590 @code{autoBeaming} to @code{#f}.
1594 @cindex @code{\autoBeamOff}
1595 @code{\autoBeamOff},
1596 @cindex @code{\autoBeamOn}
1602 If a score ends while an automatic beam has not been ended and is
1603 still accepting notes, this last beam will not be typeset at all. The
1604 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1605 >>}. If a polyphonic voice ends while an automatic beam is still
1606 accepting notes, it is not typeset.
1608 The rules for ending a beam depend on the shortest note in a beam.
1609 So, while it is possible to have different ending rules for eight
1610 beams and sixteenth beams, a beam that contains both eight and
1611 sixteenth notes will use the rules for the sixteenth beam.
1613 In the example below, the autobeamer makes eight beams and sixteenth
1614 end at 3 eights; the third beam can only be corrected by specifying
1618 @lilypond[raggedright,fragment,relative=1]
1619 #(override-auto-beam-setting '(end * * * *) 3 8)
1620 % rather show case where it goes wrong
1621 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1622 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1625 It is not possible to specify beaming parameters that act differently in
1626 different parts of a measure. This means that it is not possible to use
1627 automatic beaming in irregular meters such as @code{5/8}.
1630 @section Accidentals
1633 This section describes how to change the way that accidentals are
1634 inserted automatically before the running notes.
1636 Common rules for typesetting accidentals have been canned in a
1637 function. This function is called as follows
1639 @cindex @code{set-accidental-style}
1641 #(set-accidental-style 'modern 'Voice)
1644 The function takes two arguments: a symbol that denotes the style (in
1645 the example, @code{modern}), and another symbol that denotes the
1646 context name (in this example, @code{Voice}). If no context name is
1647 supplied, @code{Staff} is the default.
1649 The following styles are supported
1652 This is the default typesetting behavior. It should correspond
1653 to 18th century common practice: Accidentals are
1654 remembered to the end of the measure in which they occur and
1655 only on their own octave.
1659 The normal behavior is to remember the accidentals on
1660 Staff-level. This variable, however, typesets accidentals
1661 individually for each voice. Apart from that, the rule is similar to
1664 This leads to some weird and often unwanted results
1665 because accidentals from one voice do not get canceled in other
1668 @lilypond[raggedright,relative=1,fragment,verbatim]
1670 #(set-accidental-style 'voice)
1677 Hence you should only use @code{voice} if the voices
1678 are to be read solely by individual musicians. If the staff is to be
1679 used by one musician (e.g. a conductor) then you use
1680 @code{modern} or @code{modern-cautionary}
1684 @cindex @code{modern} style accidentals
1685 This rule corresponds to the common practice in the 20th
1687 This rule prints the same accidentals as @code{default}, but temporary
1688 accidentals also are canceled in other octaves. Furthermore,
1689 in the same octave, they also get canceled in the following
1693 @lilypond[raggedright,fragment,verbatim]
1694 #(set-accidental-style 'modern)
1695 cis' c'' cis'2 | c'' c'
1699 @item @code{modern-cautionary}
1700 @cindex @code{modern-cautionary}
1701 This rule is similar to @code{modern}, but the
1702 ``extra'' accidentals (the ones not typeset by
1703 @code{default}) are typeset as cautionary accidentals.
1704 They are printed in reduced size or with parentheses
1706 @lilypond[raggedright,fragment,verbatim]
1707 #(set-accidental-style 'modern-cautionary)
1708 cis' c'' cis'2 | c'' c'
1712 @cindex @code{modern-voice}
1714 This rule is used for multivoice accidentals to be read both by musicians
1715 playing one voice and musicians playing all voices. Accidentals are
1716 typeset for each voice, but they @emph{are} canceled across voices in
1717 the same @internalsref{Staff}.
1719 @cindex @code{modern-voice-cautionary}
1720 @item modern-voice-cautionary
1721 This rule is the same as @code{modern-voice}, but with the extra
1722 accidentals (the ones not typeset by @code{voice}) typeset
1723 as cautionaries. Even though all accidentals typeset by
1724 @code{default} @emph{are} typeset by this variable then
1725 some of them are typeset as cautionaries.
1728 @cindex @code{piano} accidentals
1729 This rule reflects 20th century practice for piano notation. Very similar to
1730 @code{modern} but accidentals also get canceled
1731 across the staves in the same @internalsref{GrandStaff} or
1732 @internalsref{PianoStaff}.
1734 @item piano-cautionary
1735 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1736 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1737 typeset as cautionaries.
1740 @cindex @code{no-reset} accidental style
1742 This is the same as @code{default} but with accidentals lasting
1743 ``forever'' and not only until the next measure
1745 @lilypond[raggedright,fragment,verbatim,relative=1]
1746 #(set-accidental-style 'no-reset)
1752 This is sort of the opposite of @code{no-reset}: Accidentals
1753 are not remembered at all---and hence all accidentals are
1754 typeset relative to the key signature, regardless of what was
1758 @lilypond[raggedright,fragment,verbatim,relative=1]
1759 #(set-accidental-style 'forget)
1760 \key d\major c4 c cis cis d d dis dis
1768 Program reference: @internalsref{Accidental_engraver},
1769 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1774 Simultaneous notes are considered to be entered in sequential
1775 mode. This means that in a chord the accidentals are typeset as if the
1776 notes in the chord happened once at a time - in the order in which
1777 they appear in the input file.
1779 This is only a problem when accidentals in a chord depend on each
1780 other. This problem can be solved by manually inserting @code{!} and
1781 @code{?} for the problematic notes.
1783 In the default scheme, accidentals only depend on other
1784 accidentals with the same pitch on the same staff, so no conflicts are
1787 @node Expressive marks
1788 @section Expressive marks
1791 @c todo: should change ordering
1792 @c where to put text spanners, metronome marks,
1801 * Analysis brackets::
1803 * Fingering instructions::
1814 A slur indicates that notes are to be played bound or @emph{legato}.
1817 They are entered using parentheses
1819 @lilypond[relative=2,fragment,verbatim]
1820 f( g)( a) a8 b( a4 g2 f4)
1826 @c TODO: should explain that ^( and _( set directions
1827 @c should set attachments with ^ and _ ?
1829 Slurs avoid crossing stems, and are generally attached to note heads.
1830 However, in some situations with beams, slurs may be attached to stem
1831 ends. If you want to override this layout you can do this through the
1832 object property @code{attachment} of @internalsref{Slur}. Its value
1833 is a pair of symbols, specifying the attachment type of the left and
1837 @lilypond[fragment,relative=1,verbatim]
1839 \override Stem #'length = #5.5
1841 \override Slur #'attachment = #'(stem . stem)
1846 If a slur would strike through a stem or beam, the slur will be moved
1847 away upward or downward. If this happens, attaching the slur to the
1848 stems might look better
1851 @lilypond[fragment,relative=1,verbatim]
1854 \override Slur #'attachment = #'(stem . stem)
1862 @cindex @code{\slurUp}
1864 @cindex @code{\slurDown}
1866 @cindex @code{\slurBoth}
1868 @cindex @code{\slurDotted}
1870 @cindex @code{\slurSolid}
1875 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1880 Producing nice slurs is a difficult problem, and LilyPond
1881 uses a simple, empiric method to produce slurs. In some cases, its
1885 @cindex Adjusting slurs
1887 @node Phrasing slurs
1888 @subsection Phrasing slurs
1890 @cindex phrasing slurs
1891 @cindex phrasing marks
1893 A phrasing slur (or phrasing mark) connects chords and is used to
1894 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1898 @lilypond[fragment,verbatim,relative=1]
1899 \time 6/4 c'\( d( e) f( e) d\)
1903 Typographically, the phrasing slur behaves almost exactly like a
1904 normal slur. However, they are treated as different objects. A
1905 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1906 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1907 @code{\phrasingSlurBoth}.
1909 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1910 will only affect normal slurs and not phrasing slurs.
1914 @cindex @code{\phrasingSlurUp}
1915 @code{\phrasingSlurUp},
1916 @cindex @code{\phrasingSlurDown}
1917 @code{\phrasingSlurDown},
1918 @cindex @code{\phrasingSlurBoth}
1919 @code{\phrasingSlurBoth}.
1923 Program reference: see also @internalsref{PhrasingSlur}, and
1924 @internalsref{PhrasingSlurEvent}.
1928 Phrasing slurs have the same limitations in their formatting as normal
1929 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1932 @subsection Breath marks
1934 Breath marks are entered using @code{\breathe}
1938 @lilypond[fragment,relative=1,verbatim]
1943 The glyph of the breath mark can be tuned by overriding the
1944 @code{text} property of the @code{BreathingSign} layout object with
1945 any markup text. For example,
1947 @lilypond[fragment,verbatim,relative=1]
1949 \override BreathingSign #'text
1950 = #(make-musicglyph-markup "scripts-rvarcomma")
1958 Program reference: @internalsref{BreathingSign},
1959 @internalsref{BreathingSignEvent}.
1961 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1964 @node Metronome marks
1965 @subsection Metronome marks
1968 @cindex beats per minute
1969 @cindex metronome marking
1971 Metronome settings can be entered as follows
1973 \tempo @var{duration} = @var{per-minute}
1976 In the MIDI output, they are interpreted as a tempo change, and in the
1977 paper output, a metronome marking is printed
1978 @cindex @code{\tempo}
1980 @lilypond[fragment,verbatim]
1987 Program reference: @internalsref{MetronomeChangeEvent}.
1992 @subsection Text spanners
1993 @cindex Text spanners
1995 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1996 are written as texts, and extended over many measures with dotted
1997 lines. You can create such texts using text spanners: attach
1998 @code{\startTextSpan} and @code{\stopTextSpan} to the
1999 start and ending note of the spanner.
2001 The string to be printed, as well as the style, is set through object
2005 @lilypond[fragment,relative=1,verbatim]
2008 \override TextSpanner #'direction = #-1
2009 \override TextSpanner #'edge-text = #'("rall " . "")
2010 c2\startTextSpan b c\stopTextSpan a
2018 Internals @internalsref{TextSpanEvent},
2019 @internalsref{TextSpanner}.
2021 Examples: @inputfileref{input/regression,text-spanner.ly}.
2024 @node Analysis brackets
2025 @subsection Analysis brackets
2027 @cindex phrasing brackets
2028 @cindex musicological analysis
2029 @cindex note grouping bracket
2031 Brackets are used in musical analysis to indicate structure in musical
2032 pieces. LilyPond supports a simple form of nested horizontal brackets.
2033 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2034 @internalsref{Staff} context. A bracket is started with
2035 @code{\startGroup} and closed with @code{\stopGroup}
2038 @lilypond[raggedright,verbatim]
2040 \notes \relative c'' {
2041 c4\startGroup\startGroup
2044 c4\stopGroup\stopGroup
2048 \StaffContext \consists "Horizontal_bracket_engraver"
2055 Program reference: @internalsref{HorizontalBracket},
2056 @internalsref{NoteGroupingEvent}.
2058 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2062 @subsection Articulations
2063 @cindex Articulations
2065 @cindex articulations
2069 A variety of symbols can appear above and below notes to indicate
2070 different characteristics of the performance. They are added to a note
2071 by adding a dash and the character signifying the
2072 articulation. They are demonstrated here
2075 @lilypondfile[]{script-abbreviations.ly}
2078 The meanings of these shorthands can be changed. See
2079 @file{ly/script-init.ly} for examples.
2082 The script is automatically placed, but if you need to force
2083 directions, you can use @code{_} to force them down, or @code{^} to
2086 @lilypond[fragment,verbatim]
2091 Other symbols can be added using the syntax
2092 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2093 can be forced up or down using @code{^} and @code{_},
2097 @lilypond[verbatim,fragment,relative=3]
2098 c\fermata c^\fermata c_\fermata
2106 @cindex staccatissimo
2115 @cindex organ pedal marks
2124 @cindex prallmordent
2128 @cindex thumb marking
2134 @lilypondfile[]{script-chart.ly}
2139 @cindex @code{\scriptUp}
2141 @cindex @code{\scriptDown}
2143 @cindex @code{\scriptBoth}
2148 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2152 These note ornaments appear in the printed output but have no
2153 effect on the MIDI rendering of the music.
2156 @node Fingering instructions
2157 @subsection Fingering instructions
2161 Fingering instructions can be entered using
2163 @var{note}-@var{digit}
2165 For finger changes, use markup texts
2168 @lilypond[verbatim,raggedright,fragment]
2169 c'4-1 c'4-2 c'4-3 c'4-4
2170 c'^\markup { \finger "2-3" }
2174 @cindex finger change
2179 You can use the thumb-script to indicate that a note should be
2180 played with the thumb (e.g. in cello music)
2183 @lilypond[verbatim,raggedright,fragment]
2184 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2188 Fingerings for chords can also be added to individual notes
2189 of the chord by adding them after the pitches
2191 @lilypond[verbatim,raggedright,fragment,relative=2]
2192 < c-1 e-2 g-3 b-5 >4
2197 In this case, setting @code{fingeringOrientations} will put fingerings next
2201 @lilypond[verbatim,raggedright,fragment,relative=2]
2202 \set fingeringOrientations = #'(left down)
2203 <c-1 es-2 g-4 bes-5 > 4
2204 \set fingeringOrientations = #'(up right down)
2205 <c-1 es-2 g-4 bes-5 > 4
2206 \set fingeringOrientations = #'(right)
2211 The last note demonstrates how fingering instructions can be put close
2212 to note heads in monophonic music, using this feature.
2216 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2218 Examples: @inputfileref{input/regression,finger-chords.ly}.
2221 @subsection Text scripts
2222 @cindex Text scripts
2224 @cindex text items, non-empty
2225 @cindex non-empty texts
2227 It is possible to place arbitrary strings of text or markup text (see
2228 @ref{Text markup}) above or below notes by using a string
2229 @code{c^"text"}. By default, these indications do not influence the
2230 note spacing, but by using the command @code{\fatText}, the widths
2231 will be taken into account
2234 @lilypond[fragment,raggedright,verbatim]
2236 c4^"longtext" \fatText c4_"longlongtext" c4
2241 It is possible to use @TeX{} commands in the strings, but this should
2242 be avoided because the exact dimensions of the string can then no
2247 @cindex @code{\fatText}
2249 @cindex @code{\emptyText}
2254 In this manual: @ref{Text markup}.
2256 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2262 @subsection Grace notes
2265 @c should have blurb about accaciatura / appogiatura
2267 @cindex @code{\grace}
2271 Grace notes are ornaments that are written out. The most common ones
2272 are acciaccatura, which should be played as very short. It is denoted
2273 by a slurred small note with a slashed stem. The appoggiatura is a
2274 grace note that takes a fixed fraction of the main note, is and
2275 denoted as a slurred note in small print without a slash.
2276 They are entered with the commands @code{\acciaccatura} and
2277 @code{\appoggiatura}, as demonstrated in the following example
2280 @cindex appoggiatura
2281 @cindex acciaccatura
2284 @lilypond[relative=3,verbatim,fragment]
2285 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2286 \acciaccatura { g16[ f] } e4
2290 Both are special forms of the @code{\grace} command. By prefixing this
2291 keyword to a music expression, a new one is formed, which will be
2292 printed in a smaller font and takes up no logical time in a measure.
2294 @lilypond[relative=3,verbatim,fragment]
2296 \grace { c16[ d16] } c2 c4
2301 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2302 @code{\grace} command does not start a slur.
2304 Internally, timing for grace notes is done using a second, `grace'
2305 time. Every point in time consists of two rational numbers: one
2306 denotes the logical time, one denotes the grace timing. The above
2307 example is shown here with timing tuples
2310 @lilypond[raggedright]
2313 c4 \grace c16 c4 \grace {
2316 \new Lyrics \lyrics {
2319 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2320 \markup { (\fraction 1 4 , 0 ) } 4
2322 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2323 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2325 \markup { ( \fraction 2 4 , 0 ) }
2332 The placement of grace notes is synchronized between different staves.
2333 In the following example, there are two sixteenth graces notes for
2334 every eighth grace note
2337 @lilypond[relative=3,verbatim,fragment]
2338 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2339 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2345 If you want to end a note with a grace, the standard trick is to put
2346 the grace notes after a ``space note''
2349 @lilypond[fragment,verbatim,relative=3]
2352 { s2 \grace { c16[ d] } } >>
2359 By adjusting the duration of the skip note (here it is a half-note),
2360 the space between the main-note and the grace is adjusted.
2363 A @code{\grace} section will introduce special typesetting settings,
2364 for example, to produce smaller type, and set directions. Hence, when
2365 introducing layout tweaks, they should be inside the grace section,
2368 @lilypond[fragment,verbatim,relative=2]
2371 \override Stem #'direction = #-1
2373 \revert Stem #'direction
2381 The overrides should also be reverted inside the grace section.
2383 If the layout of grace sections must be changed throughout the music,
2384 then this can be accomplished through the function
2385 @code{add-grace-property}. The following example undefines the Stem
2386 direction for this grace, so stems do not always point up.
2390 #(add-grace-property "Voice" Stem direction '())
2396 Another option is to change the variables @code{startGraceMusic},
2397 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2398 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2399 @code{stopAppoggiaturaMusic}. More information is in the file
2400 @file{ly/grace-init.ly}.
2405 Program reference: @internalsref{GraceMusic}.
2409 A score that starts with an @code{\grace} section needs an explicit
2410 @code{\context Voice} declaration, otherwise the main note and grace
2411 note end up on different staves.
2413 Grace note synchronization can also lead to surprises. Staff notation,
2414 such as key signatures, bar lines, etc. are also synchronized. Take
2415 care when you mix staves with grace notes and staves without, for example,
2418 @lilypond[relative=3,verbatim,fragment]
2419 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2420 \new Staff { c4 \bar "|:" d4 } >>
2425 This can be remedied by inserting grace skips, for the above example
2428 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2431 Grace sections should only be used within sequential music
2432 expressions. Nesting or juxtaposing grace sections is not supported,
2433 and might produce crashes or other errors.
2437 @subsection Glissando
2440 @cindex @code{\glissando}
2442 A glissando is a smooth change in pitch. It is denoted by a line or a
2443 wavy line between two notes.
2446 A glissando line can be requested by attaching a @code{\glissando} to
2450 @lilypond[fragment,relative=1,verbatim]
2457 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2459 Example files: @file{input/regression,glissando.ly}
2465 Printing text over the line (such as @emph{gliss.}) is not supported.
2469 @subsection Dynamics
2482 @cindex @code{\ffff}
2492 Absolute dynamic marks are specified using a command after a note
2493 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2494 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2495 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2496 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2499 @lilypond[verbatim,raggedright,fragment,relative=1]
2500 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2511 A crescendo mark is started with @code{\<} and terminated with
2512 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2513 with @code{\!}. Because these marks are bound to notes, if you must
2514 use spacer notes if multiple marks during one note are needed
2517 @lilypond[fragment,verbatim]
2518 c''\< c''\! d''\> e''\!
2519 << f''1 { s4 s4\< s4\! \> s4\! } >>
2522 This may give rise to very short hairpins. Use @code{minimum-length}
2523 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2527 \override Staff.Hairpin #'minimum-length = #5
2530 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2531 is an example how to do it
2534 @lilypond[fragment,relative=3,verbatim]
2545 You can also supply your own texts
2547 @lilypond[fragment,relative=1,verbatim]
2549 \set crescendoText = \markup { \italic "cresc. poco" }
2550 \set crescendoSpanner = #'dashed-line
2561 @cindex @code{\dynamicUp}
2563 @cindex @code{\dynamicDown}
2564 @code{\dynamicDown},
2565 @cindex @code{\dynamicBoth}
2566 @code{\dynamicBoth}.
2568 @cindex direction, of dynamics
2572 Program reference: @internalsref{CrescendoEvent},
2573 @internalsref{DecrescendoEvent}, and
2574 @internalsref{AbsoluteDynamicEvent}.
2576 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2577 objects. Vertical positioning of these symbols is handled by the
2578 @internalsref{DynamicLineSpanner} object.
2586 @cindex @code{\repeat}
2589 Repetition is a central concept in music, and multiple notations exist
2590 for repetitions. In LilyPond, most of these notations can be captured
2591 in a uniform syntax. One of the advantages is that they can be
2592 rendered in MIDI accurately.
2594 The following types of repetition are supported
2598 Repeated music is fully written (played) out. Useful for MIDI
2599 output, and entering repetitive music.
2602 This is the normal notation: Repeats are not written out, but
2603 alternative endings (volte) are printed, left to right.
2607 Alternative endings are written stacked. This has limited use but may be
2608 used to typeset two lines of lyrics in songs with repeats, see
2609 @inputfileref{input,star-spangled-banner.ly}.
2617 Make beat or measure repeats. These look like percent signs.
2623 * Repeats and MIDI::
2624 * Manual repeat commands::
2626 * Tremolo subdivisions::
2631 @subsection Repeat syntax
2634 LilyPond has one syntactic construct for specifying different types of
2635 repeats. The syntax is
2638 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2641 If you have alternative endings, you may add
2642 @cindex @code{\alternative}
2644 \alternative @code{@{} @var{alternative1}
2646 @var{alternative3} @dots{} @code{@}}
2648 where each @var{alternative} is a music expression. If you do not
2649 give enough alternatives for all of the repeats, the first alternative
2650 is assumed to be played more than once.
2652 Normal notation repeats are used like this
2654 @lilypond[fragment,verbatim,relative=2]
2656 \repeat volta 2 { c4 d e f }
2657 \repeat volta 2 { f e d c }
2661 With alternative endings
2663 @lilypond[fragment,verbatim,relative=2]
2665 \repeat volta 2 {c4 d e f}
2666 \alternative { {d2 d} {f f,} }
2672 @lilypond[fragment,verbatim,relative=2]
2675 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2676 \alternative { { g4 g g } { a | a a a a | b2. } }
2683 A nested repeat like
2692 is ambiguous, since it is is not clear to which @code{\repeat} the
2693 @code{\alternative} belongs. This ambiguity is resolved by always
2694 having the @code{\alternative} belong to the inner @code{\repeat}.
2695 For clarity, it is advisable to use braces in such situations.
2698 @node Repeats and MIDI
2699 @subsection Repeats and MIDI
2701 @cindex expanding repeats
2703 For instructions on how to expand repeats for MIDI output, see the
2704 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2709 Timing information is not remembered at the start of an alternative,
2710 so after a repeat timing information must be reset by hand, for
2711 example by setting @code{Score.measurePosition} or entering
2712 @code{\partial}. Similarly, slurs or ties are also not repeated.
2715 @node Manual repeat commands
2716 @subsection Manual repeat commands
2718 @cindex @code{repeatCommands}
2720 The property @code{repeatCommands} can be used to control the layout of
2721 repeats. Its value is a Scheme list of repeat commands, where each repeat
2725 @item the symbol @code{start-repeat},
2726 which prints a @code{|:} bar line,
2727 @item the symbol @code{end-repeat},
2728 which prints a @code{:|} bar line,
2729 @item the list @code{(volta @var{text})},
2730 which prints a volta bracket saying @var{text}: The text can be specified as
2731 a text string or as a markup text, see @ref{Text markup}. Do not
2732 forget to change the font, as the default number font does not contain
2733 alphabetic characters. Or,
2734 @item the list @code{(volta #f)}, which
2735 stops a running volta bracket
2739 @lilypond[verbatim,fragment,relative=3]
2741 \set Score.repeatCommands = #'((volta "93") end-repeat)
2743 \set Score.repeatCommands = #'((volta #f))
2751 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2752 @internalsref{VoltaRepeatedMusic},
2753 @internalsref{UnfoldedRepeatedMusic}, and
2754 @internalsref{FoldedRepeatedMusic}.
2756 @node Tremolo repeats
2757 @subsection Tremolo repeats
2758 @cindex tremolo beams
2760 To place tremolo marks between notes, use @code{\repeat} with tremolo
2763 @lilypond[verbatim,raggedright]
2765 \context Voice \notes\relative c' {
2766 \repeat "tremolo" 8 { c16 d16 }
2767 \repeat "tremolo" 4 { c16 d16 }
2768 \repeat "tremolo" 2 { c16 d16 }
2774 Tremolo marks can also be put on a single note. In this case, the
2775 note should not be surrounded by braces.
2777 @lilypond[verbatim,raggedright]
2778 \repeat "tremolo" 4 c'16
2782 A similar mechanism is the tremolo subdivision, described in
2783 @ref{Tremolo subdivisions}.
2787 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2789 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2790 tremolos are @internalsref{StemTremolo} objects. The music expression is
2791 @internalsref{TremoloEvent}.
2793 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2794 @inputfileref{input/regression,stem-tremolo.ly}.
2796 @node Tremolo subdivisions
2797 @subsection Tremolo subdivisions
2798 @cindex tremolo marks
2799 @cindex @code{tremoloFlags}
2801 Tremolo marks can be printed on a single note by adding
2802 `@code{:}[@var{length}]' after the note. The length must be at least
2803 8. A @var{length} value of 8 gives one line across the note stem. If
2804 the length is omitted, the last value (stored in @code{tremoloFlags})
2808 @lilypond[verbatim,fragment]
2809 c'2:8 c':32 | c': c': |
2813 @c [TODO : stok is te kort bij 32en]
2817 Tremolos entered in this way do not carry over into the MIDI output.
2821 In this manual: @ref{Tremolo repeats}.
2823 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2825 @node Measure repeats
2826 @subsection Measure repeats
2828 @cindex percent repeats
2829 @cindex measure repeats
2831 In the @code{percent} style, a note pattern can be repeated. It is
2832 printed once, and then the pattern is replaced with a special sign.
2833 Patterns of a one and two measures are replaced by percent-like signs,
2834 patterns that divide the measure length are replaced by slashes
2837 @lilypond[verbatim,raggedright]
2838 \context Voice { \repeat "percent" 4 { c'4 }
2839 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2846 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2847 @internalsref{PercentRepeatedMusic}, and
2848 @internalsref{DoublePercentRepeat}.
2852 @node Rhythmic music
2853 @section Rhythmic music
2857 * Showing melody rhythms::
2858 * Entering percussion::
2859 * Percussion staves::
2863 @node Showing melody rhythms
2864 @subsection Showing melody rhythms
2866 Sometimes you might want to show only the rhythm of a melody. This
2867 can be done with the rhythmic staff. All pitches of notes on such a
2868 staff are squashed, and the staff itself has a single line
2871 @lilypond[fragment,relative=1,verbatim]
2872 \context RhythmicStaff {
2874 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2881 Program reference: @internalsref{RhythmicStaff}.
2883 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2886 @node Entering percussion
2887 @subsection Entering percussion
2893 Percussion notes may be entered in @code{\drums} mode, which is
2894 similar to @code{notes}. Each piece of percussion has a full name and
2895 an abbreviated name, and both be used in input files
2898 hihat hh bassdrum bd
2901 @lilypond[raggedright]
2902 \new DrumStaff \drums { hihat hh bassdrum bd
2907 The complete list of drum names is in the init file
2908 @file{ly/drumpitch-init.ly}.
2909 @c TODO: properly document this.
2913 Program reference: @internalsref{DrumNoteEvent}.
2915 @node Percussion staves
2916 @subsection Percussion staves
2920 A percussion part for more than one instrument typically uses a
2921 multiline staff where each position in the staff refers to one piece
2925 To typeset the music, the notes must be interpreted in a
2926 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2930 @lilypond[raggedright,verbatim]
2931 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2932 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2935 << \new DrumVoice { \voiceOne \up }
2936 \new DrumVoice { \voiceTwo \down }
2941 The above example shows verbose polyphonic notation. The short
2942 polyphonic notation, described in @ref{Polyphony}, can also be used if
2943 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2946 @lilypond[fragment,verbatim]
2947 \drums \new DrumStaff <<
2948 \context DrumVoice = "1" { s1 *2 }
2949 \context DrumVoice = "2" { s1 *2 }
2953 { \repeat unfold 16 hh16 }
2963 There are also other layout possibilities. To use these, set the
2964 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2965 The following variables have been predefined
2969 is the default. It typesets a typical drum kit on a five-line staff
2973 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2974 bd sn ss tomh tommh tomml toml tomfh tomfl }
2975 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2976 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2978 << \new DrumStaff\with {
2979 \remove Bar_engraver
2980 \remove Time_signature_engraver
2981 \override Stem #'transparent = ##t
2982 \override Stem #'Y-extent-callback = ##f
2983 minimumVerticalExtent = #'(-4.0 . 5.0)
2985 \context Lyrics \nam
2988 %% need to do this, because of indented @itemize
2990 \context { \ScoreContext
2991 \override LyricText #'font-family = #'typewriter
2992 \override BarNumber #'transparent =##T
2997 The drum scheme supports six different toms. When there fewer toms, simply
2998 select the toms that produce the desired result, i.e. to get toms on
2999 the three middle lines you use @code{tommh}, @code{tomml} and
3002 @item timbales-style
3003 to typeset timbales on a two line staff
3006 @lilypond[raggedright]
3007 nam = \lyrics { timh ssh timl ssl cb }
3008 mus = \drums { timh ssh timl ssl cb s16 }
3011 \context DrumStaff \with {
3012 \remove Bar_engraver
3013 \remove Time_signature_engraver
3014 \override Stem #'transparent = ##t
3015 \override Stem #'Y-extent-callback = ##f
3016 \override StaffSymbol #'line-count = #2
3017 \override StaffSymbol #'staff-space = #2
3018 minimumVerticalExtent = #'(-3.0 . 4.0)
3019 drumStyleTable = #timbales-style
3022 \override LyricText #'font-family = #'typewriter
3030 to typeset congas on a two line staff
3033 @lilypond[raggedright]
3034 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
3035 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3038 \context DrumStaff\with {
3039 \remove Bar_engraver
3040 \remove Time_signature_engraver
3041 drumStyleTable = #congas-style
3042 \override StaffSymbol #'line-count = #2
3044 %% this sucks; it will lengthen stems.
3045 \override StaffSymbol #'staff-space = #2
3046 \override Stem #'transparent = ##t
3047 \override Stem #'Y-extent-callback = ##f
3050 \override LyricText #'font-family = #'typewriter
3057 to typeset bongos on a two line staff
3060 @lilypond[raggedright]
3061 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
3062 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
3065 \context DrumStaff\with {
3066 \remove Bar_engraver
3067 \remove Time_signature_engraver
3068 \override StaffSymbol #'line-count = #2
3069 drumStyleTable = #bongos-style
3071 %% this sucks; it will lengthen stems.
3072 \override StaffSymbol #'staff-space = #2
3073 \override Stem #'transparent = ##t
3074 \override Stem #'Y-extent-callback = ##f
3077 \override LyricText #'font-family = #'typewriter
3084 @item percussion-style
3085 to typeset all kinds of simple percussion on one line staves
3087 @lilypond[raggedright]
3088 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
3089 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3092 \context DrumStaff\with{
3093 \remove Bar_engraver
3094 drumStyleTable = #percussion-style
3095 \override StaffSymbol #'line-count = #1
3096 \remove Time_signature_engraver
3097 \override Stem #'transparent = ##t
3098 \override Stem #'Y-extent-callback = ##f
3102 \override LyricText #'font-family = #'typewriter
3110 If you do not like any of the predefined lists you can define your own
3111 list at the top of your file
3114 @lilypond[raggedright,verbatim]
3116 (bassdrum default #f -1)
3117 (snare default #f 0)
3119 (pedalhihat xcircle "stopped" 2)
3120 (lowtom diamond #f 3)
3122 up = \drums { hh8 hh hh hh hhp4 hhp }
3123 down = \drums { bd4 sn bd toml8 toml }
3126 \set DrumStaff.drumStyleTable
3127 = #(alist->hash-table mydrums)
3128 \new DrumVoice { \voiceOne \up }
3129 \new DrumVoice { \voiceTwo \down }
3138 Init files: @file{ly/drumpitch-init.ly}.
3140 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3144 Because general MIDI does not contain rim shots, the sidestick is used
3145 for this purpose instead.
3148 @section Piano music
3150 Piano staves are two normal staves coupled with a brace. The staves
3151 are largely independent, but sometimes voices can cross between the
3152 two staves. The same notation is also used for harps and other key
3153 instruments. The @internalsref{PianoStaff} is especially built to
3154 handle this cross-staffing behavior. In this section we discuss the
3155 @internalsref{PianoStaff} and some other pianistic peculiarities.
3159 * Automatic staff changes::
3160 * Manual staff switches::
3163 * Staff switch lines::
3168 There is no support for putting chords across staves. You can get
3169 this result by increasing the length of the stem in the lower stave so
3170 it reaches the stem in the upper stave, or vice versa. An example is
3171 included with the distribution as
3172 @inputfileref{input/test,stem-cross-staff.ly}.
3174 Dynamics are not centered, but kludges do exist. See
3175 @inputfileref{input/template,piano-dynamics.ly}.
3177 @cindex cross staff stem
3178 @cindex stem, cross staff
3180 The distance between the two staves is normally fixed across the
3181 entire score. It is possible to tune this per system, but it does
3182 require arcane command incantations. See
3183 @inputfileref{input/test,piano-staff-distance.ly}.
3190 @node Automatic staff changes
3191 @subsection Automatic staff changes
3192 @cindex Automatic staff changes
3194 Voices can switch automatically between the top and the bottom
3195 staff. The syntax for this is
3197 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3199 The two staves of the piano staff must be named @code{up} and
3202 The autochanger switches on basis of pitch (middle C is the turning
3203 point), and it looks ahead skipping over rests to switch in
3204 advance. Here is a practical example
3207 @lilypond[verbatim,raggedright]
3208 \score { \notes \context PianoStaff <<
3209 \context Staff = "up" {
3210 \autochange \new Voice \relative c' {
3211 g4 a b c d r4 a g } }
3212 \context Staff = "down" {
3220 In this example, spacer rests are used to prevent the bottom staff from
3221 terminating too soon.
3226 In this manual: @ref{Manual staff switches}.
3228 Program reference: @internalsref{AutoChangeMusic}.
3234 The staff switches often do not end up in optimal places. For high
3235 quality output, staff switches should be specified manually.
3239 @node Manual staff switches
3240 @subsection Manual staff switches
3242 @cindex manual staff switches
3243 @cindex staff switch, manual
3245 Voices can be switched between staves manually, using the following command
3247 \change Staff = @var{staffname} @var{music}
3251 The string @var{staffname} is the name of the staff. It switches the
3252 current voice from its current staff to the Staff called
3253 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3262 Pianos have pedals that alter the way sound are produced. Generally, a
3263 piano has three pedals, sustain, una corda, and sostenuto.
3266 Piano pedal instruction can be expressed by attaching
3267 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3268 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3272 @lilypond[fragment,verbatim]
3273 c'4\sustainDown c'4\sustainUp
3277 What is printed can be modified by setting @code{pedal@var{X}Strings},
3278 where @var{X} is one of the pedal types: @code{Sustain},
3279 @code{Sostenuto} or @code{UnaCorda}. Refer to
3280 @internalsref{SustainPedal} in the program reference for more
3283 Pedals can also be indicated by a sequence of brackets, by setting the
3284 @code{pedalSustainStyle} property to @code{bracket} objects
3287 @lilypond[fragment,verbatim,relative=3]
3288 \set Staff.pedalSustainStyle = #'bracket
3290 b\sustainUp\sustainDown
3291 b g \sustainUp a \sustainDown \bar "|."
3295 A third style of pedal notation is a mixture of text and brackets,
3296 obtained by setting the @code{pedalSustainStyle} style property to
3300 @lilypond[fragment,verbatim,relative=3]
3301 \set Staff.pedalSustainStyle = #'mixed
3303 b\sustainUp\sustainDown
3304 b g \sustainUp a \sustainDown \bar "|."
3308 The default `*Ped.' style for sustain and damper pedals corresponds to
3309 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3313 @lilypond[fragment,verbatim,relative=3]
3314 c\sostenutoDown d e c, f g a\sostenutoUp
3318 For fine-tuning of the appearance of a pedal bracket, the properties
3319 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3320 @code{PianoPedalBracket} objects (see
3321 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3322 bracket may be extended to the end of the note head
3325 @lilypond[fragment,verbatim]
3326 \override Staff.PianoPedalBracket
3327 #'shorten-pair = #'(0 . -1.0)
3328 c\sostenutoDown d e c, f g a\sostenutoUp
3333 @subsection Arpeggio
3336 @cindex broken arpeggio
3337 @cindex @code{\arpeggio}
3339 You can specify an arpeggio sign on a chord by attaching an
3340 @code{\arpeggio} to a chord
3344 @lilypond[fragment,relative=1,verbatim]
3349 When an arpeggio crosses staves, you attach an arpeggio to the chords
3350 in both staves, and set
3351 @internalsref{PianoStaff}.@code{connectArpeggios}
3354 @lilypond[fragment,relative=1,verbatim]
3355 \context PianoStaff <<
3356 \set PianoStaff.connectArpeggios = ##t
3357 \new Staff { <c' e g c>\arpeggio }
3358 \new Staff { \clef bass <c,, e g>\arpeggio }
3363 The direction of the arpeggio is sometimes denoted by adding an
3364 arrowhead to the wiggly line
3367 @lilypond[fragment,relative=1,verbatim]
3377 A square bracket on the left indicates that the player should not
3378 arpeggiate the chord
3381 @lilypond[fragment,relative=1,verbatim]
3389 @cindex @code{\arpeggio}
3391 @cindex @code{\arpeggioUp}
3393 @cindex @code{\arpeggioDown}
3395 @cindex @code{\arpeggioBoth}
3396 @code{\arpeggioBoth},
3397 @cindex @code{\arpeggioBracket}
3398 @code{\arpeggioBracket}.
3402 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3403 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3404 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3408 It is not possible to mix connected arpeggios and unconnected
3409 arpeggios in one @internalsref{PianoStaff} at the same time.
3411 @node Staff switch lines
3412 @subsection Staff switch lines
3415 @cindex follow voice
3416 @cindex staff switching
3419 @cindex @code{followVoice}
3421 Whenever a voice switches to another staff a line connecting the notes
3422 can be printed automatically. This is enabled if the property
3423 @code{PianoStaff.followVoice} is set to true
3426 @lilypond[fragment,relative=1,verbatim]
3427 \context PianoStaff <<
3428 \set PianoStaff.followVoice = ##t
3429 \context Staff \context Voice {
3434 \context Staff=two { \clef bass \skip 1*2 }
3441 The associated object is @internalsref{VoiceFollower}.
3445 @cindex @code{\showStaffSwitch}
3446 @code{\showStaffSwitch},
3447 @cindex @code{\hideStaffSwitch}
3448 @code{\hideStaffSwitch}.
3452 @section Vocal music
3454 This section discusses how to enter and print lyrics.
3458 * The Lyrics context::
3463 @node Entering lyrics
3464 @subsection Entering lyrics
3468 @cindex @code{\lyrics}
3471 Lyrics are entered in a special input mode. This mode is is introduced
3472 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3473 punctuation and accents without any hassle. Syllables are entered like
3474 notes, but with pitches replaced by text. For example,
3476 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3479 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3480 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3481 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3482 any 8-bit character with ASCII code over 127, or a two-character
3483 combination of a backslash followed by one of @code{`}, @code{'},
3484 @code{"}, or @code{^}.
3486 Subsequent characters of a word can be any character that is not a digit
3487 and not white space. One important consequence of this is that a word
3488 can end with @code{@}}. The following example is usually a bug. The
3489 syllable includes a @code{@}}, and hence the opening brace is not balanced
3491 \lyrics @{ twinkle@}
3494 @cindex @code{\property}, in @code{\lyrics}
3495 Similarly, a period following a alphabetic sequence, is included in
3496 the resulting string. As a consequence, spaces must be inserted around
3499 \override Score . LyricText #'font-shape = #'italic
3503 @cindex spaces, in lyrics
3504 @cindex quotes, in lyrics
3506 Any @code{_} character which appears in an unquoted word is converted
3507 to a space. This provides a mechanism for introducing spaces into words
3508 without using quotes. Quoted words can also be used in Lyrics mode to
3509 specify words that cannot be written with the above rules
3512 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3514 However, at least for english texts, you should use
3516 \lyrics @{ He said: ``Let my peo ple go'' @}
3518 to get the correct shape of the starting and ending quote.
3522 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3523 The hyphen will have variable length depending on the space between
3524 the syllables and it will be centered between the syllables.
3529 When a lyric is sung over many notes (this is called a melisma), this is
3530 indicated with a horizontal line centered between a syllable and the
3531 next one. Such a line is called an extender line, and it is entered as
3536 Program reference: events @internalsref{LyricEvent},
3537 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3538 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3539 @internalsref{LyricText}.
3541 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3545 The definition of lyrics mode is too complex.
3549 @node The Lyrics context
3550 @subsection The Lyrics context
3552 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3554 \context Lyrics \lyrics @dots{}
3557 @cindex automatic syllable durations
3558 @cindex @code{\lyricsto}
3559 @cindex lyrics and melodies
3561 This will place the lyrics according to the durations that were
3562 entered. The lyrics can also be aligned under a given melody
3563 automatically. In this case, it is no longer necessary to enter the
3564 correct duration for each syllable. This is achieved by combining the
3565 melody and the lyrics with the @code{\lyricsto} expression
3567 \lyricsto @var{name} \new Lyrics @dots{}
3570 This aligns the lyrics to the
3572 notes of the @internalsref{Voice} context called @var{name}, which has
3573 to exist. Therefore, normally the @code{Voice} is specified first, and
3574 then the lyrics are specified with @code{\lyricsto}.
3576 For different or more complex orderings, the best way is to setup the
3577 hierarchy of staves and lyrics first, e.g.
3579 \context ChoirStaff \notes <<
3580 \context Lyrics = sopranoLyrics @{ s1 @}
3581 \context Voice = soprano @{ @emph{music} @}
3582 \context Lyrics = tenorLyrics @{ s1 @}
3583 \context Voice = tenor @{ @emph{music} @}
3586 and then combine the appropriate melodies and lyric lines
3588 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3593 The final input would resemble
3596 << \context ChoirStaff \notes << @emph{setup the music} >>
3597 \lyricsto "soprano" @emph{etc}
3598 \lyricsto "alto" @emph{etc}
3604 The @code{\lyricsto} command detects melismata: it only puts one
3605 syllable under a tied or slurred group of notes. If you want to force
3606 an unslurred group of notes to be a melisma, insert @code{\melisma}
3607 after the first note of the group, and @code{\melismaEnd} after the
3611 @lilypond[relative=2,raggedright,fragment,verbatim]
3612 << \context Voice = "lala" { \time 3/4
3618 \lyricsto "lala" \new Lyrics \lyrics {
3624 In addition, notes are considered a melisma if they are manually
3625 beamed, and automatic beaming (see @ref{Setting automatic beam
3626 behavior}) is switched off. The criteria for deciding melismata can
3627 be tuned with the property @code{melismaBusyProperties}. See
3628 @internalsref{Melisma_translator} in the program reference for more
3631 When multiple stanzas are put on the same melody, it can happen that
3632 two stanzas have melismata in different locations. This can be
3633 remedied by switching off melismata for one
3634 @internalsref{Lyrics}. This is achieved by setting
3635 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3636 in @inputfileref{input/regression,lyric-combine-new.ly}.
3639 @cindex choral score
3641 A complete example of a SATB score setup is in the file
3642 @inputfileref{input/template,satb.ly}.
3647 @code{\melisma}, @code{\melismaEnd}
3648 @cindex @code{\melismaEnd}
3649 @cindex @code{\melisma}
3653 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3654 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3656 Examples: @inputfileref{input/template,satb.ly},
3657 @inputfileref{input/regression,lyric-combine-new.ly}.
3661 Melismata are not detected automatically, and extender lines must be
3665 For proper processing of extender lines, the
3666 @internalsref{Lyrics} and @internalsref{Voice} should be
3667 linked. This can be achieved either by using @code{\lyricsto} or by
3668 setting corresponding names for both contexts. The latter is explained
3669 in @ref{More stanzas}.
3672 @subsection More stanzas
3674 @cindex phrasing, in lyrics
3677 The lyrics should be aligned with the note heads of the melody. To
3678 achieve this, each line of lyrics should be marked to correspond with
3679 the melodic line. This is done automatically when @code{\lyricsto},
3680 but it can also be done manually.
3682 To this end, give the @internalsref{Voice} context an identity
3684 \context Voice = duet @{
3689 Then set the @internalsref{Lyrics} contexts to names starting with
3690 that identity followed by a dash. In the preceding example, the
3691 @internalsref{Voice} identity is @code{duet}, so the identities of the
3692 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3694 \context Lyrics = "duet-1" @{
3695 Hi, my name is Bert. @}
3696 \context Lyrics = "duet-2" @{
3697 Ooooo, ch\'e -- ri, je t'aime. @}
3700 The complete example is shown here
3702 @lilypond[raggedright,verbatim]
3704 << \notes \relative c'' \context Voice = duet { \time 3/4
3706 \lyrics << \lyricsto "duet" \new Lyrics {
3707 \set vocalName = "Bert"
3708 Hi, my name is Bert. }
3709 \lyricsto "duet" \new Lyrics {
3710 \set vocalName = "Ernie"
3711 Ooooo, ch\'e -- ri, je t'aime.
3718 @cindex stanza number
3719 @cindex singer's names
3720 @cindex name of singer
3722 Stanza numbers can be added by setting @code{stanza}, e.g.
3725 @lilypond[verbatim,relative=3]
3726 << \context Voice = duet { \time 3/4
3728 \lyrics \lyricsto "duet" \new Lyrics {
3730 Hi, my name is Bert.
3736 This example also demonstrates how names of the singers can be added
3737 using @code{vocalName} analogous to instrument annotations for staves.
3738 A short version may be entered as @code{vocNam}.
3740 To make empty spaces in lyrics, use @code{\skip}.
3745 Program reference: Layout objects @internalsref{LyricText} and
3746 @internalsref{VocalName}. Music expressions
3747 @internalsref{LyricEvent}.
3753 Input for lyrics introduces a syntactical ambiguity
3760 is interpreted as assigning a string identifier @code{\foo} such that
3761 it contains @code{"bar"}. However, it could also be interpreted as
3762 making or a music identifier @code{\foo} containing the syllable
3763 `bar'. The force the latter interpretation, use
3773 The term @emph{ambitus} denotes a range of pitches for a given voice
3774 in a part of music. It also may denote the pitch range that a musical
3775 instrument is capable of playing. Ambituses are printed on vocal
3776 parts, so singers can easily determine if it meets his or her
3779 It denoted at the beginning of a piece near the initial clef. The
3780 range is graphically specified by two note heads, that represent the
3781 minimum and maximum pitch. To print such ambituses, add the
3782 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3789 \consists Ambitus_engraver
3794 This results in the following output
3797 @lilypond[raggedright]
3800 \notes \relative c' <<
3811 \consists Ambitus_engraver
3818 If you have multiple voices in a single staff, and you want a single
3819 ambitus per staff rather than per each voice, add the
3820 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3821 rather than to the @internalsref{Voice} context.
3823 It is possible to tune individual ambituses for multiple voices on a
3824 single staff, for example by erasing or shifting them horizontally. An
3825 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3829 Program reference: @internalsref{Ambitus}.
3831 Examples: @inputfileref{input/regression,ambitus.ly},
3832 @inputfileref{input/test,ambitus-mixed.ly}.
3836 There is no collision handling in the case of multiple per-voice
3842 Tablature notation is used for notating music for plucked string
3843 instruments. It notates pitches not by using note heads, but by
3844 indicating on which string and fret a note must be played. LilyPond
3845 offers limited support for tablature.
3848 * Tablatures basic::
3849 * Non-guitar tablatures::
3852 @node Tablatures basic
3853 @subsection Tablatures basic
3854 @cindex Tablatures basic
3856 The string number associated to a note is given as a backslash
3857 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3858 string. By default, string 1 is the highest one, and the tuning
3859 defaults to the standard guitar tuning (with 6 strings). The notes
3860 are printed as tablature, by using @internalsref{TabStaff} and
3861 @internalsref{TabVoice} contexts
3864 @lilypond[fragment,verbatim]
3865 \notes \context TabStaff {
3874 When no string is specified, the first string that does not give a
3875 fret number less than @code{minimumFret} is selected. The default
3876 value for @code{minimumFret} is 0
3881 \set TabStaff.minimumFret = #8
3885 @lilypond[noindent,raggedright]
3889 \set TabStaff.minimumFret = #8
3893 \context StaffGroup <<
3894 \context Staff { \clef "G_8" \frag }
3895 \context TabStaff { \frag }
3903 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3904 @internalsref{StringNumberEvent}.
3908 Chords are not handled in a special way, and hence the automatic
3909 string selector may easily select the same string to two notes in a
3913 @node Non-guitar tablatures
3914 @subsection Non-guitar tablatures
3915 @cindex Non-guitar tablatures
3917 You can change the number of strings, by setting the number of lines
3918 in the @internalsref{TabStaff}.
3920 You can change the tuning of the strings. A string tuning is given as
3921 a Scheme list with one integer number for each string, the number
3922 being the pitch (measured in semitones relative to middle C) of an
3923 open string. The numbers specified for @code{stringTuning} are the
3924 numbers of semitones to subtract or add, starting the specified pitch
3925 by default middle C, in string order. Thus, the notes are e, a, d, and
3929 @lilypond[fragment,verbatim]
3930 \context TabStaff <<
3931 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3934 a,4 c' a e' e c' a e'
3942 No guitar special effects have been implemented.
3946 Program reference: @internalsref{Tab_note_heads_engraver}.
3950 @section Chord names
3953 LilyPond has support for both printing chord names. Chords may be
3954 entered in musical chord notation, i.e. @code{< .. >}, but they can
3955 also be entered by name. Internally, the chords are represented as a
3956 set of pitches, so they can be transposed
3960 @lilypond[verbatim,raggedright]
3961 twoWays = \notes \transpose c c' {
3971 << \context ChordNames \twoWays
3972 \context Voice \twoWays >> }
3976 This example also shows that the chord printing routines do not try to
3977 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3983 * Printing chord names::
3988 @subsection Chords mode
3991 Chord mode is a mode where you can input sets of pitches using common
3992 names. It is introduced by the keyword @code{\chords}.
3993 In chords mode, a chord is entered by the root, which is entered
3996 @lilypond[fragment,verbatim,relative=2]
3997 \chords { es4. d8 c2 }
4003 Other chords may be entered by suffixing a colon, and introducing a
4004 modifier, and optionally, a number
4007 @lilypond[fragment,verbatim]
4008 \chords { e1:m e1:7 e1:m7 }
4011 The first number following the root is taken to be the `type' of the
4012 chord, thirds are added to the root until it reaches the specified
4015 @lilypond[fragment,verbatim]
4016 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4020 @cindex root of chord
4021 @cindex additions, in chords
4022 @cindex removals, in chords
4024 More complex chords may also be constructed adding separate steps
4025 to a chord. Additions are added after the number following
4026 the colon, and are separated by dots
4029 @lilypond[verbatim,fragment]
4030 \chords { c:5.6 c:3.7.8 c:3.6.13 }
4033 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4036 @lilypond[verbatim,fragment]
4037 \chords { c:7+ c:5+.3- c:3-.5-.7- }
4040 Removals are specified similarly, and are introduced by a caret. They
4041 must come after the additions
4043 @lilypond[verbatim,fragment]
4044 \chords { c^3 c:7^5 c:9^3.5 }
4048 Modifiers can be used to change pitches. The following modifiers are
4052 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4054 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
4057 is the augmented chord. This modifier raises the 5th step.
4059 is the major 7th chord. This modifier raises the 7th step if present.
4061 is the suspended 4th or 2nd. This modifier removes the 3rd
4062 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4065 Modifiers can be mixed with additions
4067 @lilypond[verbatim,fragment]
4068 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
4072 @cindex modifiers, in chords.
4079 Since an unaltered 11 does not sound good when combined with an
4080 unaltered 13, the 11 is removed in this case (unless it is added
4084 @lilypond[fragment,verbatim]
4085 \chords { c:13 c:13.11 c:m13 }
4091 An inversion (putting one pitch of the chord on the bottom), as well
4092 as bass notes, can be specified by appending
4093 @code{/}@var{pitch} to the chord
4095 @lilypond[fragment,verbatim]
4096 \chords { c1 c/g c/f }
4101 A bass note can be added instead of transposed out of the chord,
4102 by using @code{/+}@var{pitch}.
4105 @lilypond[fragment,verbatim]
4106 \chords { c1 c/+g c/+f }
4110 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
4111 of the commands continue to work, for example, @code{r} and
4112 @code{\skip} can be used to insert rests and spaces, and property
4113 commands may be used to change various settings.
4119 Each step can only be present in a chord once. The following
4120 simply produces the augmented chord, since @code{5+} is interpreted
4124 @lilypond[verbatim,fragment]
4125 \chords { c:5.5-.5+ }
4130 @node Printing chord names
4131 @subsection Printing chord names
4133 @cindex printing chord names
4137 For displaying printed chord names, use the @internalsref{ChordNames} context.
4138 The chords may be entered either using the notation
4139 described above, or directly using @code{<} and @code{>}
4142 @lilypond[verbatim,raggedright]
4144 \chords {a1 b c} <d' f' a'> <e' g' b'>
4148 \context ChordNames \scheme
4149 \context Staff \scheme
4155 You can make the chord changes stand out by setting
4156 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4157 display chord names when there is a change in the chords scheme and at
4158 the start of a new line
4161 @lilypond[verbatim,linewidth=9\cm]
4163 c1:m c:m \break c:m c:m d
4167 \context ChordNames {
4168 \set chordChanges = ##t
4170 \context Staff \transpose c c' \scheme
4176 The default chord name layout is a system for Jazz music, proposed by
4177 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4178 following properties
4181 @cindex chordNameExceptions
4182 @item chordNameExceptions
4183 This is a list that contains the chords that have special formatting.
4185 @inputfileref{input/regression,chord-name-exceptions.ly}.
4186 @cindex exceptions, chord names.
4189 @cindex majorSevenSymbol
4190 @item majorSevenSymbol
4191 This property contains the markup object used for the 7th step, when
4192 it is major. Predefined options are @code{whiteTriangleMarkup} and
4193 @code{blackTriangleMarkup}. See
4194 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4196 @cindex chordNameSeparator
4197 @item chordNameSeparator
4198 Different parts of a chord name are normally separated by a
4199 slash. By setting @code{chordNameSeparator}, you can specify other
4202 @lilypond[fragment,verbatim]
4203 \context ChordNames \chords {
4205 \set chordNameSeparator
4206 = \markup { \typewriter "|" }
4212 @cindex chordRootNamer
4213 @item chordRootNamer
4214 The root of a chord is usually printed as a letter with an optional
4215 alteration. The transformation from pitch to letter is done by this
4216 function. Special note names (for example, the German ``H'' for a
4217 B-chord) can be produced by storing a new function in this property.
4219 The predefined variables @code{\germanChords},
4220 @code{\semiGermanChords} set these variables.
4223 @cindex chordNoteNamer
4224 @item chordNoteNamer
4225 The default is to print single pitch, e.g. the bass note, using the
4226 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4227 to a specialized function to change this behavior. For example, the
4228 base can be printed in lower case.
4233 There are also two other chord name schemes implemented: an alternate
4234 Jazz chord notation, and a systematic scheme called Banter chords. The
4235 alternate jazz notation is also shown on the chart in @ref{Chord name
4236 chart}. Turning on these styles is described in the input file
4237 @inputfileref{input/test,chord-names-jazz.ly}.
4241 @cindex chords, jazz
4246 @cindex @code{\germanChords}
4247 @code{\germanChords},
4248 @cindex @code{\semiGermanChords}
4249 @code{\semiGermanChords}.
4256 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4257 @inputfileref{input/regression,chord-name-exceptions.ly},
4258 @inputfileref{input/test,chord-names-jazz.ly},
4259 @inputfileref{input/test,chord-names-german.ly}.
4261 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4266 Chord names are determined solely from the list of pitches. Chord
4267 inversions are not identified, and neither are added bass notes. This
4268 may result in strange chord names when chords are entered with the
4269 @code{< .. >} syntax.
4274 @node Orchestral music
4275 @section Orchestral music
4277 @cindex Writing parts
4279 Orchestral music involves some special notation, both in the full
4280 score and the individual parts. This section explains how to tackle
4281 some common problems in orchestral music.
4286 * Multiple staff contexts::
4289 * Instrument names::
4291 * Instrument transpositions::
4292 * Multi measure rests::
4293 * Automatic part combining::
4295 * Different editions from one source::
4296 * Quoting other voices::
4299 @node Multiple staff contexts
4300 @subsection Multiple staff contexts
4302 Polyphonic scores consist of many staves. These staves can be
4303 constructed in three different ways
4305 @item The group is started with a brace at the left, and bar lines are
4306 connected. This is done with the @internalsref{GrandStaff} context.
4308 @item The group is started with a bracket, and bar lines are connected. This is done with the
4309 @internalsref{StaffGroup} context
4312 @item The group is started with a vertical line. Bar lines are not
4313 connected. This is the default for the score.
4317 @cindex Staff, multiple
4318 @cindex bracket, vertical
4319 @cindex brace, vertical
4326 @node Rehearsal marks
4327 @subsection Rehearsal marks
4328 @cindex Rehearsal marks
4330 @cindex @code{\mark}
4332 To print a rehearsal mark, use the @code{\mark} command
4334 @lilypond[fragment,verbatim]
4346 (The letter I is skipped in accordance with engraving traditions.)
4348 The mark is incremented automatically if you use @code{\mark
4349 \default}, but you can also use an integer argument to set the mark
4350 manually. The value to use is stored in the property
4351 @code{rehearsalMark}.
4353 The style is defined by the property @code{markFormatter}. It is a
4354 function taking the current mark (an integer) and the current context
4355 as argument. It should return a markup object. In the following
4356 example, @code{markFormatter} is set to a canned procedure. After a
4357 few measures, it is set to function that produces a boxed number.
4360 @lilypond[verbatim,fragment,relative=2]
4361 \set Score.markFormatter = #format-mark-numbers
4364 \set Score.markFormatter
4365 = #(lambda (mark context)
4366 (make-bold-markup (make-box-markup (number->string mark))))
4372 The file @file{scm/translation-functions.scm} contains the definitions
4373 of @code{format-mark-numbers} (the default format) and
4374 @code{format-mark-letters}. They can be used as inspiration for other
4375 formatting functions.
4378 @cindex coda on bar line
4379 @cindex segno on bar line
4380 @cindex fermata on bar line
4381 @cindex bar lines, symbols on
4383 The @code{\mark} command can also be used to put signs like coda,
4384 segno and fermatas on a bar line. Use @code{\markup} to
4385 to access the appropriate symbol
4388 @lilypond[fragment,verbatim,relative=2]
4389 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4394 In the case of a line break, marks must also be printed at the end of
4395 the line, and not at the beginning. Use the following to force that
4398 \override Score.RehearsalMark
4399 #'break-visibility = #begin-of-line-invisible
4405 @cindex bar lines, putting symbols on
4409 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4411 Init files: @file{scm/translation-functions.scm} contains the
4412 definition of @code{format-mark-numbers} and
4413 @code{format-mark-letters}. They can be used as inspiration for other
4414 formatting functions.
4416 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4417 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4421 @subsection Bar numbers
4425 @cindex measure numbers
4426 @cindex currentBarNumber
4428 Bar numbers are printed by default at the start of the line. The
4429 number itself is stored in the
4430 @code{currentBarNumber} property,
4431 which is normally updated automatically for every measure.
4433 Bar numbers can be typeset at regular intervals instead of at the
4434 beginning of each line. This is illustrated in the following example,
4435 whose source is available as
4436 @inputfileref{input/test,bar-number-regular-interval.ly}
4439 @lilypondfile[]{bar-number-regular-interval.ly}
4444 Program reference: @internalsref{BarNumber}.
4446 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4447 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4451 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4452 there is one at the top. To solve this, the
4453 @code{padding} property of @internalsref{BarNumber} can be
4454 used to position the number correctly.
4456 @node Instrument names
4457 @subsection Instrument names
4459 In an orchestral score, instrument names are printed left side of the
4462 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4463 and @internalsref{Staff}.@code{instr}. This will print a string before
4464 the start of the staff. For the first start, @code{instrument} is
4465 used, for the next ones @code{instr} is used.
4468 @lilypond[verbatim,raggedright,relative=3]
4469 \set Staff.instrument = "Ploink "
4470 \set Staff.instr = "Plk "
4477 You can also use markup texts to construct more complicated instrument
4481 @lilypond[fragment,verbatim,raggedright]
4483 \set Staff.instrument = \markup {
4484 \column < "Clarinetti"
4497 Program reference: @internalsref{InstrumentName}.
4501 When you put a name on a grand staff or piano staff the width of the
4502 brace is not taken into account. You must add extra spaces to the end of
4503 the name to avoid a collision.
4506 @subsection Transpose
4508 @cindex transposition of pitches
4509 @cindex @code{\transpose}
4511 A music expression can be transposed with @code{\transpose}. The syntax
4514 \transpose @var{from} @var{to} @var{musicexpr}
4517 This means that @var{musicexpr} is transposed by the interval between
4518 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4519 is changed to @code{to}.
4522 For example, consider a piece written in the key of D major. If
4523 this piece is a little too low for its performer, it can be
4524 transposed up to E major with
4526 \transpose d e @dots{}
4529 Consider a part written for violin (a C instrument). If
4530 this part is to be played on the A clarinet, the following
4531 transposition will produce the appropriate part
4534 \transpose a c @dots{}
4537 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4538 inside a @code{\notes} section. @code{\transpose} distinguishes
4539 between enharmonic pitches: both @code{\transpose c cis} or
4540 @code{\transpose c des} will transpose up half a tone. The first
4541 version will print sharps and the second version will print flats
4544 @lilypond[raggedright,verbatim]
4545 mus =\notes { \key d \major cis d fis g }
4546 \score { \notes \context Staff {
4549 \transpose c g' \mus
4550 \transpose c f' \mus
4558 Program reference: @internalsref{TransposedMusic}, and
4559 @internalsref{UntransposableMusic}.
4563 If you want to use both @code{\transpose} and @code{\relative},
4564 you must put @code{\transpose} outside of @code{\relative}, since
4565 @code{\relative} will have no effect music that appears inside a
4568 @node Instrument transpositions
4569 @subsection Instrument transpositions
4571 The key of a transposing instrument can also be specified. This
4572 applies to many wind instruments, for example, clarinets (B-flat, A and
4573 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4576 The transposition is entered after the keyword @code{\transposition}
4579 \transposition bes %% B-flat clarinet
4582 This command sets the property @code{instrumentTuning}. The value of
4583 this property is used for MIDI output and quotations. It does not
4584 affect how notes are printed in the current staff.
4586 @cindex transposition, MIDI
4587 @cindex transposition, instrument
4590 @node Multi measure rests
4591 @subsection Multi measure rests
4592 @cindex multi measure rests
4593 @cindex Rests, multi measure
4597 Multi measure rests are entered using `@code{R}'. It is specifically
4598 meant for full bar rests and for entering parts: the rest can expand
4599 to fill a score with rests, or it can be printed as a single
4600 multimeasure rest. This expansion is controlled by the property
4601 @code{Score.skipBars}. If this is set to true, empty measures will not
4602 be expanded, and the appropriate number is added automatically
4605 @lilypond[fragment,verbatim]
4606 \time 4/4 r1 | R1 | R1*2
4607 \set Score.skipBars = ##t R1*17 R1*4
4611 The @code{1} in @code{R1} is similar to the duration notation used for
4612 notes. Hence, for time signatures other than 4/4, you must enter other
4613 durations. This can be done with augmentation dots or fractions
4616 @lilypond[fragment,verbatim]
4617 \set Score.skipBars = ##t
4626 An @code{R} spanning a single measure is printed as either a whole rest
4627 or a breve, centered in the measure regardless of the time signature.
4629 @cindex text on multi-measure rest
4630 @cindex script on multi-measure rest
4631 @cindex fermata on multi-measure rest
4633 Texts can be added to multi-measure rests by using the
4634 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4635 replaced. If you need both texts and the number, you must add the
4636 number by hand. A variable (@code{\fermataMarkup}) is provided for
4641 @lilypond[verbatim,fragment]
4643 R2._\markup { "Ad lib" }
4648 If you want to have a text on the left end of a multi-measure rest,
4649 attach the text to a zero-length skip note, i.e.
4657 @cindex whole rests for a full measure
4661 Program reference: @internalsref{MultiMeasureRestEvent},
4662 @internalsref{MultiMeasureTextEvent},
4663 @internalsref{MultiMeasureRestMusicGroup}, and
4664 @internalsref{MultiMeasureRest}.
4666 The layout object @internalsref{MultiMeasureRestNumber} is for the
4667 default number, and @internalsref{MultiMeasureRestText} for user
4672 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4673 over multi-measure rests.
4675 @cindex condensing rests
4677 There is no way to automatically condense multiple rests into a single
4678 multimeasure rest. Multi measure rests do not take part in rest
4681 Be careful when entering multimeasure rests followed by whole
4682 notes. The following will enter two notes lasting four measures each
4686 When @code{skipBars} is set, the result will look OK, but the bar
4687 numbering will be off.
4689 @node Automatic part combining
4690 @subsection Automatic part combining
4691 @cindex automatic part combining
4692 @cindex part combiner
4695 Automatic part combining is used to merge two parts of music onto a
4696 staff. It is aimed at typesetting orchestral scores. When the two
4697 parts are identical for a period of time, only one is shown. In
4698 places where the two parts differ, they are typeset as separate
4699 voices, and stem directions are set automatically. Also, solo and
4700 @emph{a due} parts are identified and can be marked.
4703 The syntax for part combining is
4706 \partcombine @var{musicexpr1} @var{musicexpr2}
4709 The music expressions will be interpreted as @internalsref{Voice} contexts.
4711 The following example demonstrates the basic functionality of the part
4712 combiner: putting parts on one staff, and setting stem directions and
4716 @lilypond[verbatim,raggedright,fragment,relative=2]
4717 \new Staff \partcombine
4727 The first @code{g} appears only once, although it was
4728 specified twice (once in each part). Stem, slur and tie directions are
4729 set automatically, depending whether there is a solo or unisono. The
4730 first part (with context called @code{one}) always gets up stems, and
4731 `solo', while the second (called @code{two}) always gets down stems and
4734 If you just want the merging parts, and not the textual markings, you
4735 may set the property @var{soloADue} to false
4738 @lilypond[verbatim,raggedright,fragment,relative=2]
4740 \set Staff.soloADue = ##f
4753 Program reference: @internalsref{PartCombineMusic},
4754 @internalsref{SoloOneEvent}, and
4755 @internalsref{SoloTwoEvent}, and
4756 @internalsref{UnisonoEvent}.
4760 In @code{soloADue} mode, when the two voices play the same notes on and
4761 off, the part combiner may typeset @code{a2} more than once in a
4764 @code{\partcombine} can not be inside @code{\times}.
4766 Internally, the @code{\partcombine} interprets both arguments as
4767 @code{Voice}s named @code{one} and @code{two}, and then decides when
4768 the parts can be combined. Consequently, if the arguments switch to
4769 differently named @internalsref{Voice} contexts, the events in those
4773 @subsection Hiding staves
4775 @cindex Frenched scores
4776 @cindex Hiding staves
4778 In orchestral scores, staff lines that only have rests are usually
4779 removed. This saves some space. This style is called `French Score'.
4780 For @internalsref{Lyrics},
4781 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4782 switched on by default. When these line of these contexts turn out
4783 empty after the line-breaking process, they are removed.
4785 For normal staves, a specialized @internalsref{Staff} context is
4786 available, which does the same: staves containing nothing (or only
4787 multi measure rests) are removed. The context definition is stored in
4788 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4789 in this example disappears in the second line
4795 \notes \relative c' <<
4796 \new Staff { e4 f g a \break c1 }
4797 \new Staff { c4 d e f \break R1 }
4801 \context { \RemoveEmptyStaffContext }
4807 The first page shows all staves in full. If empty staves should be
4808 removed from the first page too, set @code{remove-first} to false in
4809 @internalsref{RemoveEmptyVerticalGroup}.
4811 Another application is making ossia sections, i.e. alternative
4812 melodies on a separate piece of staff, with help of a Frenched
4813 staff. See @inputfileref{input/test,ossia.ly} for an example.
4816 @node Different editions from one source
4817 @subsection Different editions from one source
4819 The @code{\tag} command marks music expressions with a name. These
4820 tagged expressions can be filtered out later. With this mechanism it
4821 is possible to make different versions of the same music source.
4823 In the following example, we see two versions of a piece of music, one
4824 for the full score, and one with cue notes for the instrumental part
4840 The same can be applied to articulations, texts, etc.: they are
4843 -\tag #@var{your-tag}
4845 to an articulation, for example,
4850 This defines a note with a conditional fingering indication.
4852 By applying the @code{remove-tag} function, tagged expressions can be
4853 filtered. For example,
4857 \apply #(remove-tag 'score) @var{the music}
4858 \apply #(remove-tag 'part) @var{the music}
4864 @lilypondfile[]{tag-filter.ly}
4867 The argument of the @code{\tag} command should be a symbol, or a list
4868 of symbols, for example,
4870 \tag #'(original-part transposed-part) @dots{}
4875 Examples: @inputfileref{input/regression,tag-filter.ly}.
4878 @node Quoting other voices
4879 @subsection Quoting other voices
4881 With quotations, fragments of other parts can be inserted into a part
4882 directly. Before a part can be quoted, it must be marked especially as
4883 quotable. This is done with code @code{\addquote} command. The
4884 quotation may then be done with @code{\quote}
4887 \addquote @var{name} @var{music}
4888 \quote @var{name} @var{duration}
4893 Here, @var{name} is an identifying string. The @var{music} is any kind
4894 of music. This is an example of @code{\addquote}
4897 \addquote clarinet \notes\relative c' {
4902 During a part, a piece of music can be quoted with the @code{\quote}
4909 This would cite 3 quarter notes (a dotted half note) of the previously
4910 added clarinet voice.
4912 Quotations take into account the transposition both source and target
4913 instruments, if they are specified using the @code{\transposition} command.
4916 @lilypond[verbatim,fragment]
4917 \addquote clarinet \notes\relative c' {
4923 e'8 f'8 \quote clarinet 2
4930 Only the contents of the first @internalsref{Voice} occurring in an
4931 @code{\addquote} command will be considered for quotation, so
4932 @var{music} can not contain @code{\new} and @code{\context Voice}
4933 statements that would switch to a different Voice.
4938 In this manual: @ref{Instrument transpositions}.
4940 Examples: @inputfileref{input/regression,quote.ly}
4941 @inputfileref{input/regression,quote-transposition.ly}
4943 Program reference: @internalsref{QuoteMusic}.
4945 @node Ancient notation
4946 @section Ancient notation
4948 @cindex Vaticana, Editio
4949 @cindex Medicaea, Editio
4954 Support for ancient notation includes features for mensural notation
4955 and Gregorian Chant notation. There is also limited support for
4956 figured bass notation.
4958 Many graphical objects provide a @code{style} property, see
4959 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4960 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4961 signatures}. By manipulating such a grob property, the typographical
4962 appearance of the affected graphical objects can be accommodated for a
4963 specific notation flavor without need for introducing any new
4966 Other aspects of ancient notation can not that easily be expressed as
4967 in terms of just changing a style property of a graphical object.
4968 Therefore, some notational concepts are introduced specifically for
4969 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4970 @ref{Ligatures}, and @ref{Figured bass}.
4974 * Ancient note heads::
4975 * Ancient accidentals::
4979 * Ancient time signatures::
4984 * Vaticana style contexts::
4987 If this all is way too much of documentation for you, and you just
4988 want to dive into typesetting without worrying too much about the
4989 details on how to customize a context, you may have a look at the
4990 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4991 set up predefined style-specific voice and staff contexts, and
4992 directly go ahead with the note entry.
4996 Ligatures need special spacing that has not yet been implemented. As
4997 a result, there is too much space between ligatures most of the time,
4998 and line breaking often is unsatisfactory. Also, lyrics do not
4999 correctly align with ligatures.
5001 Accidentals must not be printed within a ligature, but instead need to
5002 be collected and printed in front of it.
5004 Augmentum dots within ligatures are not handled correctly.
5007 @node Ancient note heads
5008 @subsection Ancient note heads
5013 For ancient notation, a note head style other than the @code{default}
5014 style may be chosen. This is accomplished by setting the @code{style}
5015 property of the NoteHead object to the desired value (@code{baroque},
5016 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
5017 differs from the @code{default} style only in using a square shape for
5018 @code{\breve} note heads. The @code{neo_mensural} style differs from
5019 the @code{baroque} style in that it uses rhomboidal heads for whole
5020 notes and all smaller durations. Stems are centered on the note
5021 heads. This style is in particular useful when transcribing mensural
5022 music, e.g. for the incipit. The @code{mensural} style finally
5023 produces note heads that mimic the look of note heads in historic
5024 printings of the 16th century.
5026 The following example demonstrates the @code{neo_mensural} style
5029 @lilypond[fragment,raggedright,verbatim]
5030 \override NoteHead #'style = #'neo_mensural
5031 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5035 When typesetting a piece in Gregorian Chant notation, a Gregorian
5036 ligature engraver will automatically select the proper note heads,
5037 such there is no need to explicitly set the note head style. Still,
5038 the note head style can be set e.g. to @code{vaticana_punctum} to
5039 produce punctum neumes. Similarly, a mensural ligature engraver is
5040 used to automatically assemble mensural ligatures. See
5041 @ref{Ligatures} for how ligature engravers work.
5046 @ref{Percussion staves} use note head styles of their own that are
5047 frequently used in contemporary music notation.
5049 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
5050 overview over all available note head styles.
5053 @node Ancient accidentals
5054 @subsection Ancient accidentals
5059 Use the @code{style} property of grob @internalsref{Accidental} to
5060 select ancient accidentals. Supported styles are
5061 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5064 @lilypond[raggedright,staffsize=26]
5072 { " " \musicglyph #"accidentals-vaticana-1"
5073 " " \musicglyph #"accidentals-vaticana0" }
5077 { " " \musicglyph #"accidentals-medicaea-1" }
5081 { " " \musicglyph #"accidentals-hufnagel-1" }
5085 { " " \musicglyph #"accidentals-mensural-1"
5086 " " \musicglyph #"accidentals-mensural1" }
5095 \remove "Bar_number_engraver"
5099 \remove "Clef_engraver"
5100 \remove "Key_engraver"
5101 \remove "Time_signature_engraver"
5102 \remove "Staff_symbol_engraver"
5103 minimumVerticalExtent = ##f
5110 As shown, not all accidentals are supported by each style. When
5111 trying to access an unsupported accidental, LilyPond will switch to a
5112 different style, as demonstrated in
5113 @inputfileref{input/test,ancient-accidentals.ly}.
5115 Similarly to local accidentals, the style of the key signature can be
5116 controlled by the @code{style} property of the
5117 @internalsref{KeySignature} grob.
5121 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5122 @ref{Accidentals} give a general introduction into the use of
5123 accidentals. @ref{Key signature} gives a general introduction into
5124 the use of key signatures.
5126 Program reference: @internalsref{KeySignature}.
5128 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
5131 @subsection Ancient rests
5136 Use the @code{style} property of grob @internalsref{Rest} to select
5137 ancient accidentals. Supported styles are @code{classical},
5138 @code{neo_mensural} and @code{mensural}. @code{classical} differs
5139 from the @code{default} style only in that the quarter rest looks like
5140 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
5141 well for e.g. the incipit of a transcribed mensural piece of music.
5142 The @code{mensural} style finally mimics the appearance of rests as
5143 in historic prints of the 16th century.
5145 The following example demonstrates the @code{neo_mensural} style
5148 @lilypond[fragment,raggedright,verbatim]
5149 \override Rest #'style = #'neo_mensural
5150 r\longa r\breve r1 r2 r4 r8 r16
5154 There are no 32th and 64th rests specifically for the mensural or
5155 neo-mensural style. Instead, the rests from the default style will be
5156 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5159 There are no rests in Gregorian Chant notation; instead, it uses
5164 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5168 @subsection Ancient clefs
5173 LilyPond supports a variety of clefs, many of them ancient.
5175 The following table shows all ancient clefs that are supported via the
5176 @code{\clef} command. Some of the clefs use the same glyph, but
5177 differ only with respect to the line they are printed on. In such
5178 cases, a trailing number in the name is used to enumerate these clefs.
5179 Still, you can manually force a clef glyph to be typeset on an
5180 arbitrary line, as described in @ref{Clef}. The note printed to the
5181 right side of each clef in the example column denotes the @code{c'}
5182 with respect to that clef.
5184 @multitable @columnfractions .3 .3 .3 .1
5188 @b{Description} @tab
5189 @b{Supported Clefs} @tab
5193 @code{clefs-neo_mensural_c} @tab
5194 modern style mensural C clef @tab
5195 @code{neo_mensural_c1}, @code{neo_mensural_c2},
5196 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
5198 @lilypond[relative=1,notime]
5199 \override Staff.TimeSignature #'transparent = ##t
5200 \clef "neo_mensural_c2" c
5205 @code{clefs-petrucci_c1}
5206 @code{clefs-petrucci_c2}
5207 @code{clefs-petrucci_c3}
5208 @code{clefs-petrucci_c4}
5209 @code{clefs-petrucci_c5}
5212 petrucci style mensural C clefs, for use on different staff lines
5213 (the examples shows the 2nd staff line C clef).
5224 @lilypond[relative=1,notime]
5225 \override Staff.TimeSignature #'transparent = ##t
5226 \clef "petrucci_c2" c
5231 @code{clefs-petrucci_f} @tab
5232 petrucci style mensural F clef @tab
5233 @code{petrucci_f} @tab
5235 @lilypond[relative=1,notime]
5236 \override Staff.TimeSignature #'transparent = ##t
5237 \clef "petrucci_f" c
5242 @code{clefs-petrucci_g} @tab
5243 petrucci style mensural G clef @tab
5244 @code{petrucci_g} @tab
5246 @lilypond[relative=1,notime]
5247 \override Staff.TimeSignature #'transparent = ##t
5248 \clef "petrucci_g" c
5253 @code{clefs-mensural_c} @tab
5254 historic style mensural C clef @tab
5255 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5256 @code{mensural_c4} @tab
5258 @lilypond[relative=1,notime]
5259 \override Staff.TimeSignature #'transparent = ##t
5260 \clef "mensural_c2" c
5265 @code{clefs-mensural_f} @tab
5266 historic style mensural F clef @tab
5267 @code{mensural_f} @tab
5269 @lilypond[relative=1,notime]
5270 \override Staff.TimeSignature #'transparent = ##t
5271 \clef "mensural_f" c
5276 @code{clefs-mensural_g} @tab
5277 historic style mensural G clef @tab
5278 @code{mensural_g} @tab
5280 @lilypond[relative=1,notime]
5281 \override Staff.TimeSignature #'transparent = ##t
5282 \clef "mensural_g" c
5287 @code{clefs-vaticana_do} @tab
5288 Editio Vaticana style do clef @tab
5289 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5291 @lilypond[relative=1,notime]
5292 \override Staff.StaffSymbol #'line-count = #4
5293 \override Staff.TimeSignature #'transparent = ##t
5294 \clef "vaticana_do2" c
5299 @code{clefs-vaticana_fa} @tab
5300 Editio Vaticana style fa clef @tab
5301 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5303 @lilypond[relative=1,notime]
5304 \override Staff.StaffSymbol #'line-count = #4
5305 \override Staff.TimeSignature #'transparent = ##t
5306 \clef "vaticana_fa2" c
5311 @code{clefs-medicaea_do} @tab
5312 Editio Medicaea style do clef @tab
5313 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5315 @lilypond[relative=1,notime]
5316 \override Staff.StaffSymbol #'line-count = #4
5317 \override Staff.TimeSignature #'transparent = ##t
5318 \clef "medicaea_do2" c
5323 @code{clefs-medicaea_fa} @tab
5324 Editio Medicaea style fa clef @tab
5325 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5327 @lilypond[relative=1,notime]
5328 \override Staff.StaffSymbol #'line-count = #4
5329 \override Staff.TimeSignature #'transparent = ##t
5330 \clef "medicaea_fa2" c
5335 @code{clefs-hufnagel_do} @tab
5336 historic style hufnagel do clef @tab
5337 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5339 @lilypond[relative=1,notime]
5340 \override Staff.StaffSymbol #'line-count = #4
5341 \override Staff.TimeSignature #'transparent = ##t
5342 \clef "hufnagel_do2" c
5347 @code{clefs-hufnagel_fa} @tab
5348 historic style hufnagel fa clef @tab
5349 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5351 @lilypond[relative=1,notime]
5352 \override Staff.StaffSymbol #'line-count = #4
5353 \override Staff.TimeSignature #'transparent = ##t
5354 \clef "hufnagel_fa2" c
5359 @code{clefs-hufnagel_do_fa} @tab
5360 historic style hufnagel combined do/fa clef @tab
5361 @code{hufnagel_do_fa} @tab
5363 @lilypond[relative=1,notime]
5364 \override Staff.TimeSignature #'transparent = ##t
5365 \clef "hufnagel_do_fa" c
5373 @emph{Modern style} means ``as is typeset in contemporary editions of
5374 transcribed mensural music''.
5376 @emph{Petrucci style} means ``inspired by printings published by the
5377 famous engraver Petrucci (1466-1539)''.
5379 @emph{Historic style} means ``as was typeset or written in historic
5380 editions (other than those of Petrucci)''.
5382 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5384 Petrucci used C clefs with differently balanced left-side vertical
5385 beams, depending on which staff line it is printed.
5389 In this manual: see @ref{Clef}.
5393 The mensural g clef is mapped to the Petrucci g clef, until a new
5394 mensural g clef is implemented.
5399 @subsection Ancient flags
5404 Use the @code{flag-style} property of grob @internalsref{Stem} to
5405 select ancient flags. Besides the @code{default} flag style,
5406 only @code{mensural} style is supported
5409 @lilypond[fragment,raggedright,verbatim]
5410 \override Stem #'flag-style = #'mensural
5411 \override Stem #'thickness = #1.0
5412 \override NoteHead #'style = #'mensural
5414 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
5415 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5419 Note that the innermost flare of each mensural flag always is
5420 vertically aligned with a staff line. If you do not like this
5421 behavior, you can set the @code{adjust-if-on-staffline} property of
5422 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5423 of the end of each flare is different between notes on staff lines and
5424 notes between staff lines
5427 @lilypond[fragment,raggedright]
5428 \override Stem #'flag-style = #'mensural
5429 \override Stem #'thickness = #1.0
5430 \override Stem #'adjust-if-on-staffline = ##f
5431 \override NoteHead #'style = #'mensural
5433 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
5434 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5438 There is no particular flag style for neo-mensural notation. Hence,
5439 when typesetting e.g. the incipit of a transcribed piece of mensural
5440 music, the default flag style should be used. There are no flags in
5441 Gregorian Chant notation.
5444 @node Ancient time signatures
5445 @subsection Ancient time signatures
5447 @cindex time signatures
5450 There is limited support for mensural time signatures. The
5451 glyphs are hard-wired to particular time fractions. In other words,
5452 to get a particular mensural signature glyph with the @code{\time n/m}
5453 command, @code{n} and @code{m} have to be chosen according to the
5460 \set Score.timing = ##f
5461 \set Score.barAlways = ##t
5462 s_\markup { "$\\backslash$time 4/4" }
5463 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5465 s_\markup { "$\\backslash$time 2/2" }
5466 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5468 s_\markup { "$\\backslash$time 6/4" }
5469 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5471 s_\markup { "$\\backslash$time 6/8" }
5472 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5474 s_\markup { "$\\backslash$time 3/2" }
5475 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5477 s_\markup { "$\\backslash$time 3/4" }
5478 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5480 s_\markup { "$\\backslash$time 9/4" }
5481 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5483 s_\markup { "$\\backslash$time 9/8" }
5484 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5486 s_\markup { "$\\backslash$time 4/8" }
5487 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5489 s_\markup { "$\\backslash$time 2/4" }
5490 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5498 \remove Staff_symbol_engraver
5499 \remove Clef_engraver
5500 \remove Time_signature_engraver
5507 Use the @code{style} property of grob @internalsref{TimeSignature} to
5508 select ancient time signatures. Supported styles are
5509 @code{neo_mensural} and @code{mensural}. The above table uses the
5510 @code{neo_mensural} style. This style is appropriate e.g. for the
5511 incipit of transcriptions of mensural pieces. The @code{mensural}
5512 style mimics the look of historical printings of the 16th century.
5514 @inputfileref{input/test,time.ly} gives an overview over all available
5515 ancient and modern styles.
5519 Program reference: @ref{Time signature} gives a general introduction into the use of time
5524 Mensural signature glyphs are mapped to time fractions in a hard-wired
5525 way. This mapping is sensible, but still arbitrary: given a mensural
5526 time signature, the time fraction represents a modern meter that
5527 usually will be a good choice when transcribing a mensural piece of
5528 music. For a particular piece of mensural music, however, the mapping
5529 may be unsatisfactory. In particular, the mapping assumes a fixed
5530 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5531 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5532 accessible through the @code{\time} command.
5534 Mensural time signatures are supported typographically, but not yet
5535 musically. The internal representation of durations is
5536 based on a purely binary system; a ternary division such as 1 brevis =
5537 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5538 prolatione maiori) is not correctly handled: event times in ternary
5539 modes will be badly computed, resulting e.g. in horizontally
5540 misaligned note heads, and bar checks are likely to erroneously fail.
5542 The syntax and semantics of the @code{\time} command for mensural
5543 music is subject to change.
5546 @subsection Custodes
5551 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5552 symbol that appears at the end of a staff. It anticipates the pitch
5553 of the first note(s) of the following line and thus helps the player
5554 or singer to manage line breaks during performance, thus enhancing
5555 readability of a score.
5557 Custodes were frequently used in music notation until the 17th
5558 century. Nowadays, they have survived only in a few particular forms
5559 of musical notation such as contemporary editions of Gregorian chant
5560 like the @emph{editio vaticana}. There are different custos glyphs
5561 used in different flavors of notational style.
5563 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5564 @internalsref{Staff} context when declaring the @code{\paper} block,
5565 as shown in the following example
5571 \consists Custos_engraver
5572 Custos \override #'style = #'mensural
5577 The result looks like this
5580 @lilypond[raggedright]
5584 \override Staff.Custos #'style = #'mensural
5591 \consists Custos_engraver
5598 The custos glyph is selected by the @code{style} property. The styles
5599 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5600 @code{mensural}. They are demonstrated in the following fragment
5605 \new Lyrics \lyrics {
5609 { " " \musicglyph #"custodes-vaticana-u0" }
5613 { " " \musicglyph #"custodes-medicaea-u0" }
5618 { " " \musicglyph #"custodes-hufnagel-u0" }
5623 { " " \musicglyph #"custodes-mensural-u0" }
5636 Program reference: @internalsref{Custos}.
5638 Examples: @inputfileref{input/regression,custos.ly}.
5642 @subsection Divisiones
5648 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5649 `division') is a staff context symbol that is used to structure
5650 Gregorian music into phrases and sections. The musical meaning of
5651 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5652 can be characterized as short, medium and long pause, somewhat like
5653 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5654 a chant, but is also frequently used within a single
5655 antiphonal/responsorial chant to mark the end of each section.
5658 To use divisiones, include the file @code{gregorian-init.ly}. It
5659 contains definitions that you can apply by just inserting
5660 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5661 and @code{\finalis} at proper places in the input. Some editions use
5662 @emph{virgula} or @emph{caesura} instead of divisio minima.
5663 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5667 @lilypondfile[]{divisiones.ly}
5672 @cindex @code{\virgula}
5674 @cindex @code{\caesura}
5676 @cindex @code{\divisioMinima}
5677 @code{\divisioMinima},
5678 @cindex @code{\divisioMaior}
5679 @code{\divisioMaior},
5680 @cindex @code{\divisioMaxima}
5681 @code{\divisioMaxima},
5682 @cindex @code{\finalis}
5687 In this manual: @ref{Breath marks}.
5689 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5691 Examples: @inputfileref{input/test,divisiones.ly}.
5694 @subsection Ligatures
5698 @c TODO: Should double check if I recalled things correctly when I wrote
5699 @c down the following paragraph by heart.
5701 A ligature is a coherent graphical symbol that represents at least two
5702 distinct notes. Ligatures originally appeared in the manuscripts of
5703 Gregorian chant notation roughly since the 9th century to denote
5704 ascending or descending sequences of notes.
5706 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5707 Some ligature styles may need additional input syntax specific for
5708 this particular type of ligature. By default, the
5709 @internalsref{LigatureBracket} engraver just puts a square bracket
5713 @lilypond[raggedright,verbatim]
5715 \notes \transpose c c' {
5724 To select a specific style of ligatures, a proper ligature engraver
5725 has to be added to the @internalsref{Voice} context, as explained in
5726 the following subsections. Only white mensural ligatures
5727 are supported with certain limitations.
5730 * White mensural ligatures::
5731 * Gregorian square neumes ligatures::
5734 @node White mensural ligatures
5735 @subsubsection White mensural ligatures
5737 @cindex Mensural ligatures
5738 @cindex White mensural ligatures
5740 There is limited support for white mensural ligatures.
5742 To engrave white mensural ligatures, in the paper block the
5743 @internalsref{Mensural_ligature_engraver} has to be put into the
5744 @internalsref{Voice} context, and remove the
5745 @internalsref{Ligature_bracket_engraver}
5751 \remove Ligature_bracket_engraver
5752 \consists Mensural_ligature_engraver
5757 There is no additional input language to describe the shape of a
5758 white mensural ligature. The shape is rather determined solely from
5759 the pitch and duration of the enclosed notes. While this approach may
5760 take a new user a while to get accustomed, it has the great advantage
5761 that the full musical information of the ligature is known internally.
5762 This is not only required for correct MIDI output, but also allows for
5763 automatic transcription of the ligatures.
5768 \set Score.timing = ##f
5769 \set Score.defaultBarType = "empty"
5770 \override NoteHead #'style = #'neo_mensural
5771 \override Staff.TimeSignature #'style = #'neo_mensural
5773 \[ g\longa c\breve a\breve f\breve d'\longa \]
5775 \[ e1 f1 a\breve g\longa \]
5778 @lilypond[raggedright]
5780 \notes \transpose c c' {
5781 \set Score.timing = ##f
5782 \set Score.defaultBarType = "empty"
5783 \override NoteHead #'style = #'neo_mensural
5784 \override Staff.TimeSignature #'style = #'neo_mensural
5786 \[ g\longa c\breve a\breve f\breve d'\longa \]
5788 \[ e1 f1 a\breve g\longa \]
5793 \remove Ligature_bracket_engraver
5794 \consists Mensural_ligature_engraver
5801 Without replacing @internalsref{Ligature_bracket_engraver} with
5802 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5806 @lilypond[raggedright]
5808 \notes \transpose c c' {
5809 \set Score.timing = ##f
5810 \set Score.defaultBarType = "empty"
5811 \override NoteHead #'style = #'neo_mensural
5812 \override Staff.TimeSignature #'style = #'neo_mensural
5814 \[ g\longa c\breve a\breve f\breve d'\longa \]
5816 \[ e1 f1 a\breve g\longa \]
5824 The implementation is experimental; it may output strange warnings or
5825 even crash in some cases or produce weird results on more complex
5828 @node Gregorian square neumes ligatures
5829 @subsubsection Gregorian square neumes ligatures
5831 @cindex Square neumes ligatures
5832 @cindex Gregorian square neumes ligatures
5834 Gregorian square neumes notation (following the style of the Editio
5835 Vaticana) is under heavy development, but not yet really usable for
5836 production purposes. Core ligatures can already be typeset, but
5837 essential issues for serious typesetting are still under development,
5838 such as (among others) horizontal alignment of multiple ligatures,
5839 lyrics alignment and proper accidentals handling. Still, this section
5840 gives a sneak preview of what Gregorian chant may look like once it
5843 The following table contains the extended neumes table of the 2nd
5844 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5845 1983 by the monks of Solesmes.
5847 @multitable @columnfractions .4 .2 .2 .2
5850 @b{Neuma aut@*Neumarum Elementa} @tab
5851 @b{Figurae@*Rectae} @tab
5852 @b{Figurae@*Liquescentes Auctae} @tab
5853 @b{Figurae@*Liquescentes Deminutae}
5855 @c TODO: \paper block is identical in all of the below examples.
5856 @c Therefore, it should somehow be included rather than duplicated all
5859 @c why not make identifiers in ly/engraver-init.ly? --hwn
5861 @c Because it's just used to typeset plain notes without
5862 @c a staff for demonstration purposes rather than something
5863 @c special of Gregorian chant notation. --jr
5869 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5870 \include "gregorian-init.ly"
5872 \notes \transpose c c' {
5875 \noBreak s^\markup {"a"} \noBreak
5877 % Punctum Inclinatum
5879 \noBreak s^\markup {"b"}
5885 \remove "Bar_number_engraver"
5889 \remove "Clef_engraver"
5890 \remove "Key_engraver"
5891 \override StaffSymbol #'transparent = ##t
5892 \remove "Time_signature_engraver"
5893 \remove "Bar_engraver"
5894 minimumVerticalExtent = ##f
5898 \remove Ligature_bracket_engraver
5899 \consists Vaticana_ligature_engraver
5900 \override NoteHead #'style = #'vaticana_punctum
5901 \override Stem #'transparent = ##t
5909 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5910 \include "gregorian-init.ly"
5912 \notes \transpose c c' {
5913 % Punctum Auctum Ascendens
5914 \[ \auctum \ascendens b \]
5915 \noBreak s^\markup {"c"} \noBreak
5917 % Punctum Auctum Descendens
5918 \[ \auctum \descendens b \]
5919 \noBreak s^\markup {"d"} \noBreak
5921 % Punctum Inclinatum Auctum
5922 \[ \inclinatum \auctum b \]
5923 \noBreak s^\markup {"e"}
5929 \remove "Bar_number_engraver"
5933 \remove "Clef_engraver"
5934 \remove "Key_engraver"
5935 \override StaffSymbol #'transparent = ##t
5936 \remove "Time_signature_engraver"
5937 \remove "Bar_engraver"
5938 minimumVerticalExtent = ##f
5942 \remove Ligature_bracket_engraver
5943 \consists Vaticana_ligature_engraver
5944 \override NoteHead #'style = #'vaticana_punctum
5945 \override Stem #'transparent = ##t
5953 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5954 \include "gregorian-init.ly"
5956 \notes \transpose c c' {
5957 % Punctum Inclinatum Parvum
5958 \[ \inclinatum \deminutum b \]
5959 \noBreak s^\markup {"f"}
5965 \remove "Bar_number_engraver"
5969 \remove "Clef_engraver"
5970 \remove "Key_engraver"
5971 \override StaffSymbol #'transparent = ##t
5972 \remove "Time_signature_engraver"
5973 \remove "Bar_engraver"
5974 minimumVerticalExtent = ##f
5978 \remove Ligature_bracket_engraver
5979 \consists Vaticana_ligature_engraver
5980 \override NoteHead #'style = #'vaticana_punctum
5981 \override Stem #'transparent = ##t
5992 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5993 \include "gregorian-init.ly"
5995 \notes \transpose c c' {
5998 \noBreak s^\markup {"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
6030 @code{3. Apostropha vel Stropha}
6033 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6034 \include "gregorian-init.ly"
6036 \notes \transpose c c' {
6039 \noBreak s^\markup {"h"}
6045 \remove "Bar_number_engraver"
6049 \remove "Clef_engraver"
6050 \remove "Key_engraver"
6051 \override StaffSymbol #'transparent = ##t
6052 \remove "Time_signature_engraver"
6053 \remove "Bar_engraver"
6054 minimumVerticalExtent = ##f
6058 \remove Ligature_bracket_engraver
6059 \consists Vaticana_ligature_engraver
6060 \override NoteHead #'style = #'vaticana_punctum
6061 \override Stem #'transparent = ##t
6069 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6070 \include "gregorian-init.ly"
6072 \notes \transpose c c' {
6074 \[ \stropha \auctum b \]
6075 \noBreak s^\markup {"i"}
6081 \remove "Bar_number_engraver"
6085 \remove "Clef_engraver"
6086 \remove "Key_engraver"
6087 \override StaffSymbol #'transparent = ##t
6088 \remove "Time_signature_engraver"
6089 \remove "Bar_engraver"
6090 minimumVerticalExtent = ##f
6094 \remove Ligature_bracket_engraver
6095 \consists Vaticana_ligature_engraver
6096 \override NoteHead #'style = #'vaticana_punctum
6097 \override Stem #'transparent = ##t
6109 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6110 \include "gregorian-init.ly"
6112 \notes \transpose c c' {
6115 \noBreak s^\markup {"j"}
6121 \remove "Bar_number_engraver"
6125 \remove "Clef_engraver"
6126 \remove "Key_engraver"
6127 \override StaffSymbol #'transparent = ##t
6128 \remove "Time_signature_engraver"
6129 \remove "Bar_engraver"
6130 minimumVerticalExtent = ##f
6134 \remove Ligature_bracket_engraver
6135 \consists Vaticana_ligature_engraver
6136 \override NoteHead #'style = #'vaticana_punctum
6137 \override Stem #'transparent = ##t
6147 @code{5. Clivis vel Flexa}
6150 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6151 \include "gregorian-init.ly"
6153 \notes \transpose c c' {
6162 \remove "Bar_number_engraver"
6166 \remove "Clef_engraver"
6167 \remove "Key_engraver"
6168 \override StaffSymbol #'transparent = ##t
6169 \remove "Time_signature_engraver"
6170 \remove "Bar_engraver"
6171 minimumVerticalExtent = ##f
6175 \remove Ligature_bracket_engraver
6176 \consists Vaticana_ligature_engraver
6177 \override NoteHead #'style = #'vaticana_punctum
6178 \override Stem #'transparent = ##t
6186 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6187 \include "gregorian-init.ly"
6189 \notes \transpose c c' {
6190 % Clivis Aucta Descendens
6191 \[ b \flexa \auctum \descendens g \]
6192 \noBreak s^\markup {"l"} \noBreak
6194 % Clivis Aucta Ascendens
6195 \[ b \flexa \auctum \ascendens g \]
6196 \noBreak s^\markup {"m"}
6202 \remove "Bar_number_engraver"
6206 \remove "Clef_engraver"
6207 \remove "Key_engraver"
6208 \override StaffSymbol #'transparent = ##t
6209 \remove "Time_signature_engraver"
6210 \remove "Bar_engraver"
6211 minimumVerticalExtent = ##f
6215 \remove Ligature_bracket_engraver
6216 \consists Vaticana_ligature_engraver
6217 \override NoteHead #'style = #'vaticana_punctum
6218 \override Stem #'transparent = ##t
6226 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6227 \include "gregorian-init.ly"
6229 \notes \transpose c c' {
6231 \[ b \flexa \deminutum g \]
6238 \remove "Bar_number_engraver"
6242 \remove "Clef_engraver"
6243 \remove "Key_engraver"
6244 \override StaffSymbol #'transparent = ##t
6245 \remove "Time_signature_engraver"
6246 \remove "Bar_engraver"
6247 minimumVerticalExtent = ##f
6251 \remove Ligature_bracket_engraver
6252 \consists Vaticana_ligature_engraver
6253 \override NoteHead #'style = #'vaticana_punctum
6254 \override Stem #'transparent = ##t
6262 @code{6. Podatus vel Pes}
6265 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6266 \include "gregorian-init.ly"
6268 \notes \transpose c c' {
6277 \remove "Bar_number_engraver"
6281 \remove "Clef_engraver"
6282 \remove "Key_engraver"
6283 \override StaffSymbol #'transparent = ##t
6284 \remove "Time_signature_engraver"
6285 \remove "Bar_engraver"
6286 minimumVerticalExtent = ##f
6290 \remove Ligature_bracket_engraver
6291 \consists Vaticana_ligature_engraver
6292 \override NoteHead #'style = #'vaticana_punctum
6293 \override Stem #'transparent = ##t
6301 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6302 \include "gregorian-init.ly"
6304 \notes \transpose c c' {
6305 % Pes Auctus Descendens
6306 \[ g \pes \auctum \descendens b \]
6307 \noBreak s^\markup {"p"} \noBreak
6309 % Pes Auctus Ascendens
6310 \[ g \pes \auctum \ascendens b \]
6311 \noBreak s^\markup {"q"}
6317 \remove "Bar_number_engraver"
6321 \remove "Clef_engraver"
6322 \remove "Key_engraver"
6323 \override StaffSymbol #'transparent = ##t
6324 \remove "Time_signature_engraver"
6325 \remove "Bar_engraver"
6326 minimumVerticalExtent = ##f
6330 \remove Ligature_bracket_engraver
6331 \consists Vaticana_ligature_engraver
6332 \override NoteHead #'style = #'vaticana_punctum
6333 \override Stem #'transparent = ##t
6341 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6342 \include "gregorian-init.ly"
6344 \notes \transpose c c' {
6346 \[ g \pes \deminutum b \]
6353 \remove "Bar_number_engraver"
6357 \remove "Clef_engraver"
6358 \remove "Key_engraver"
6359 \override StaffSymbol #'transparent = ##t
6360 \remove "Time_signature_engraver"
6361 \remove "Bar_engraver"
6362 minimumVerticalExtent = ##f
6366 \remove Ligature_bracket_engraver
6367 \consists Vaticana_ligature_engraver
6368 \override NoteHead #'style = #'vaticana_punctum
6369 \override Stem #'transparent = ##t
6377 @code{7. Pes Quassus}
6380 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6381 \include "gregorian-init.ly"
6383 \notes \transpose c c' {
6385 \[ \oriscus g \pes \virga b \]
6392 \remove "Bar_number_engraver"
6396 \remove "Clef_engraver"
6397 \remove "Key_engraver"
6398 \override StaffSymbol #'transparent = ##t
6399 \remove "Time_signature_engraver"
6400 \remove "Bar_engraver"
6401 minimumVerticalExtent = ##f
6405 \remove Ligature_bracket_engraver
6406 \consists Vaticana_ligature_engraver
6407 \override NoteHead #'style = #'vaticana_punctum
6408 \override Stem #'transparent = ##t
6416 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6417 \include "gregorian-init.ly"
6419 \notes \transpose c c' {
6420 % Pes Quassus Auctus Descendens
6421 \[ \oriscus g \pes \auctum \descendens b \]
6428 \remove "Bar_number_engraver"
6432 \remove "Clef_engraver"
6433 \remove "Key_engraver"
6434 \override StaffSymbol #'transparent = ##t
6435 \remove "Time_signature_engraver"
6436 \remove "Bar_engraver"
6437 minimumVerticalExtent = ##f
6441 \remove Ligature_bracket_engraver
6442 \consists Vaticana_ligature_engraver
6443 \override NoteHead #'style = #'vaticana_punctum
6444 \override Stem #'transparent = ##t
6453 @code{8. Quilisma Pes}
6456 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6457 \include "gregorian-init.ly"
6459 \notes \transpose c c' {
6461 \[ \quilisma g \pes b \]
6468 \remove "Bar_number_engraver"
6472 \remove "Clef_engraver"
6473 \remove "Key_engraver"
6474 \override StaffSymbol #'transparent = ##t
6475 \remove "Time_signature_engraver"
6476 \remove "Bar_engraver"
6477 minimumVerticalExtent = ##f
6481 \remove Ligature_bracket_engraver
6482 \consists Vaticana_ligature_engraver
6483 \override NoteHead #'style = #'vaticana_punctum
6484 \override Stem #'transparent = ##t
6492 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6493 \include "gregorian-init.ly"
6495 \notes \transpose c c' {
6496 % Quilisma Pes Auctus Descendens
6497 \[ \quilisma g \pes \auctum \descendens b \]
6504 \remove "Bar_number_engraver"
6508 \remove "Clef_engraver"
6509 \remove "Key_engraver"
6510 \override StaffSymbol #'transparent = ##t
6511 \remove "Time_signature_engraver"
6512 \remove "Bar_engraver"
6513 minimumVerticalExtent = ##f
6517 \remove Ligature_bracket_engraver
6518 \consists Vaticana_ligature_engraver
6519 \override NoteHead #'style = #'vaticana_punctum
6520 \override Stem #'transparent = ##t
6529 @code{9. Podatus Initio Debilis}
6532 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6533 \include "gregorian-init.ly"
6535 \notes \transpose c c' {
6536 % Pes Initio Debilis
6537 \[ \deminutum g \pes b \]
6544 \remove "Bar_number_engraver"
6548 \remove "Clef_engraver"
6549 \remove "Key_engraver"
6550 \override StaffSymbol #'transparent = ##t
6551 \remove "Time_signature_engraver"
6552 \remove "Bar_engraver"
6553 minimumVerticalExtent = ##f
6557 \remove Ligature_bracket_engraver
6558 \consists Vaticana_ligature_engraver
6559 \override NoteHead #'style = #'vaticana_punctum
6560 \override Stem #'transparent = ##t
6568 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6569 \include "gregorian-init.ly"
6571 \notes \transpose c c' {
6572 % Pes Auctus Descendens Initio Debilis
6573 \[ \deminutum g \pes \auctum \descendens b \]
6580 \remove "Bar_number_engraver"
6584 \remove "Clef_engraver"
6585 \remove "Key_engraver"
6586 \override StaffSymbol #'transparent = ##t
6587 \remove "Time_signature_engraver"
6588 \remove "Bar_engraver"
6589 minimumVerticalExtent = ##f
6593 \remove Ligature_bracket_engraver
6594 \consists Vaticana_ligature_engraver
6595 \override NoteHead #'style = #'vaticana_punctum
6596 \override Stem #'transparent = ##t
6608 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6609 \include "gregorian-init.ly"
6611 \notes \transpose c c' {
6613 \[ a \pes b \flexa g \]
6620 \remove "Bar_number_engraver"
6624 \remove "Clef_engraver"
6625 \remove "Key_engraver"
6626 \override StaffSymbol #'transparent = ##t
6627 \remove "Time_signature_engraver"
6628 \remove "Bar_engraver"
6629 minimumVerticalExtent = ##f
6633 \remove Ligature_bracket_engraver
6634 \consists Vaticana_ligature_engraver
6635 \override NoteHead #'style = #'vaticana_punctum
6636 \override Stem #'transparent = ##t
6644 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6645 \include "gregorian-init.ly"
6647 \notes \transpose c c' {
6648 % Torculus Auctus Descendens
6649 \[ a \pes b \flexa \auctum \descendens g \]
6656 \remove "Bar_number_engraver"
6660 \remove "Clef_engraver"
6661 \remove "Key_engraver"
6662 \override StaffSymbol #'transparent = ##t
6663 \remove "Time_signature_engraver"
6664 \remove "Bar_engraver"
6665 minimumVerticalExtent = ##f
6669 \remove Ligature_bracket_engraver
6670 \consists Vaticana_ligature_engraver
6671 \override NoteHead #'style = #'vaticana_punctum
6672 \override Stem #'transparent = ##t
6680 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6681 \include "gregorian-init.ly"
6683 \notes \transpose c c' {
6684 % Torculus Deminutus
6685 \[ a \pes b \flexa \deminutum g \]
6692 \remove "Bar_number_engraver"
6696 \remove "Clef_engraver"
6697 \remove "Key_engraver"
6698 \override StaffSymbol #'transparent = ##t
6699 \remove "Time_signature_engraver"
6700 \remove "Bar_engraver"
6701 minimumVerticalExtent = ##f
6705 \remove Ligature_bracket_engraver
6706 \consists Vaticana_ligature_engraver
6707 \override NoteHead #'style = #'vaticana_punctum
6708 \override Stem #'transparent = ##t
6716 @code{11. Torculus Initio Debilis}
6719 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6720 \include "gregorian-init.ly"
6722 \notes \transpose c c' {
6723 % Torculus Initio Debilis
6724 \[ \deminutum a \pes b \flexa g \]
6731 \remove "Bar_number_engraver"
6735 \remove "Clef_engraver"
6736 \remove "Key_engraver"
6737 \override StaffSymbol #'transparent = ##t
6738 \remove "Time_signature_engraver"
6739 \remove "Bar_engraver"
6740 minimumVerticalExtent = ##f
6744 \remove Ligature_bracket_engraver
6745 \consists Vaticana_ligature_engraver
6746 \override NoteHead #'style = #'vaticana_punctum
6747 \override Stem #'transparent = ##t
6755 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6756 \include "gregorian-init.ly"
6758 \notes \transpose c c' {
6759 % Torculus Auctus Descendens Initio Debilis
6760 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6767 \remove "Bar_number_engraver"
6771 \remove "Clef_engraver"
6772 \remove "Key_engraver"
6773 \override StaffSymbol #'transparent = ##t
6774 \remove "Time_signature_engraver"
6775 \remove "Bar_engraver"
6776 minimumVerticalExtent = ##f
6780 \remove Ligature_bracket_engraver
6781 \consists Vaticana_ligature_engraver
6782 \override NoteHead #'style = #'vaticana_punctum
6783 \override Stem #'transparent = ##t
6791 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6792 \include "gregorian-init.ly"
6794 \notes \transpose c c' {
6795 % Torculus Deminutus Initio Debilis
6796 \[ \deminutum a \pes b \flexa \deminutum g \]
6803 \remove "Bar_number_engraver"
6807 \remove "Clef_engraver"
6808 \remove "Key_engraver"
6809 \override StaffSymbol #'transparent = ##t
6810 \remove "Time_signature_engraver"
6811 \remove "Bar_engraver"
6812 minimumVerticalExtent = ##f
6816 \remove Ligature_bracket_engraver
6817 \consists Vaticana_ligature_engraver
6818 \override NoteHead #'style = #'vaticana_punctum
6819 \override Stem #'transparent = ##t
6827 @code{12. Porrectus}
6830 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6831 \include "gregorian-init.ly"
6833 \notes \transpose c c' {
6835 \[ a \flexa g \pes b \]
6842 \remove "Bar_number_engraver"
6846 \remove "Clef_engraver"
6847 \remove "Key_engraver"
6848 \override StaffSymbol #'transparent = ##t
6849 \remove "Time_signature_engraver"
6850 \remove "Bar_engraver"
6851 minimumVerticalExtent = ##f
6855 \remove Ligature_bracket_engraver
6856 \consists Vaticana_ligature_engraver
6857 \override NoteHead #'style = #'vaticana_punctum
6858 \override Stem #'transparent = ##t
6866 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6867 \include "gregorian-init.ly"
6869 \notes \transpose c c' {
6870 % Porrectus Auctus Descendens
6871 \[ a \flexa g \pes \auctum \descendens b \]
6878 \remove "Bar_number_engraver"
6882 \remove "Clef_engraver"
6883 \remove "Key_engraver"
6884 \override StaffSymbol #'transparent = ##t
6885 \remove "Time_signature_engraver"
6886 \remove "Bar_engraver"
6887 minimumVerticalExtent = ##f
6891 \remove Ligature_bracket_engraver
6892 \consists Vaticana_ligature_engraver
6893 \override NoteHead #'style = #'vaticana_punctum
6894 \override Stem #'transparent = ##t
6902 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6903 \include "gregorian-init.ly"
6905 \notes \transpose c c' {
6906 % Porrectus Deminutus
6907 \[ a \flexa g \pes \deminutum b \]
6914 \remove "Bar_number_engraver"
6918 \remove "Clef_engraver"
6919 \remove "Key_engraver"
6920 \override StaffSymbol #'transparent = ##t
6921 \remove "Time_signature_engraver"
6922 \remove "Bar_engraver"
6923 minimumVerticalExtent = ##f
6927 \remove Ligature_bracket_engraver
6928 \consists Vaticana_ligature_engraver
6929 \override NoteHead #'style = #'vaticana_punctum
6930 \override Stem #'transparent = ##t
6941 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6942 \include "gregorian-init.ly"
6944 \notes \transpose c c' {
6946 \[ \virga b \inclinatum a \inclinatum g \]
6953 \remove "Bar_number_engraver"
6957 \remove "Clef_engraver"
6958 \remove "Key_engraver"
6959 \override StaffSymbol #'transparent = ##t
6960 \remove "Time_signature_engraver"
6961 \remove "Bar_engraver"
6962 minimumVerticalExtent = ##f
6966 \remove Ligature_bracket_engraver
6967 \consists Vaticana_ligature_engraver
6968 \override NoteHead #'style = #'vaticana_punctum
6969 \override Stem #'transparent = ##t
6977 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6978 \include "gregorian-init.ly"
6980 \notes \transpose c c' {
6982 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6989 \remove "Bar_number_engraver"
6993 \remove "Clef_engraver"
6994 \remove "Key_engraver"
6995 \override StaffSymbol #'transparent = ##t
6996 \remove "Time_signature_engraver"
6997 \remove "Bar_engraver"
6998 minimumVerticalExtent = ##f
7002 \remove Ligature_bracket_engraver
7003 \consists Vaticana_ligature_engraver
7004 \override NoteHead #'style = #'vaticana_punctum
7005 \override Stem #'transparent = ##t
7013 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7014 \include "gregorian-init.ly"
7016 \notes \transpose c c' {
7017 % Climacus Deminutus
7018 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7025 \remove "Bar_number_engraver"
7029 \remove "Clef_engraver"
7030 \remove "Key_engraver"
7031 \override StaffSymbol #'transparent = ##t
7032 \remove "Time_signature_engraver"
7033 \remove "Bar_engraver"
7034 minimumVerticalExtent = ##f
7038 \remove Ligature_bracket_engraver
7039 \consists Vaticana_ligature_engraver
7040 \override NoteHead #'style = #'vaticana_punctum
7041 \override Stem #'transparent = ##t
7049 @code{14. Scandicus}
7052 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7053 \include "gregorian-init.ly"
7055 \notes \transpose c c' {
7057 \[ g \pes a \virga b \]
7064 \remove "Bar_number_engraver"
7068 \remove "Clef_engraver"
7069 \remove "Key_engraver"
7070 \override StaffSymbol #'transparent = ##t
7071 \remove "Time_signature_engraver"
7072 \remove "Bar_engraver"
7073 minimumVerticalExtent = ##f
7077 \remove Ligature_bracket_engraver
7078 \consists Vaticana_ligature_engraver
7079 \override NoteHead #'style = #'vaticana_punctum
7080 \override Stem #'transparent = ##t
7088 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7089 \include "gregorian-init.ly"
7091 \notes \transpose c c' {
7092 % Scandicus Auctus Descendens
7093 \[ g \pes a \pes \auctum \descendens b \]
7100 \remove "Bar_number_engraver"
7104 \remove "Clef_engraver"
7105 \remove "Key_engraver"
7106 \override StaffSymbol #'transparent = ##t
7107 \remove "Time_signature_engraver"
7108 \remove "Bar_engraver"
7109 minimumVerticalExtent = ##f
7113 \remove Ligature_bracket_engraver
7114 \consists Vaticana_ligature_engraver
7115 \override NoteHead #'style = #'vaticana_punctum
7116 \override Stem #'transparent = ##t
7124 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7125 \include "gregorian-init.ly"
7127 \notes \transpose c c' {
7128 % Scandicus Deminutus
7129 \[ g \pes a \pes \deminutum b \]
7136 \remove "Bar_number_engraver"
7140 \remove "Clef_engraver"
7141 \remove "Key_engraver"
7142 \override StaffSymbol #'transparent = ##t
7143 \remove "Time_signature_engraver"
7144 \remove "Bar_engraver"
7145 minimumVerticalExtent = ##f
7149 \remove Ligature_bracket_engraver
7150 \consists Vaticana_ligature_engraver
7151 \override NoteHead #'style = #'vaticana_punctum
7152 \override Stem #'transparent = ##t
7163 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7164 \include "gregorian-init.ly"
7166 \notes \transpose c c' {
7168 \[ g \oriscus a \pes \virga b \]
7175 \remove "Bar_number_engraver"
7179 \remove "Clef_engraver"
7180 \remove "Key_engraver"
7181 \override StaffSymbol #'transparent = ##t
7182 \remove "Time_signature_engraver"
7183 \remove "Bar_engraver"
7184 minimumVerticalExtent = ##f
7188 \remove Ligature_bracket_engraver
7189 \consists Vaticana_ligature_engraver
7190 \override NoteHead #'style = #'vaticana_punctum
7191 \override Stem #'transparent = ##t
7199 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7200 \include "gregorian-init.ly"
7202 \notes \transpose c c' {
7203 % Salicus Auctus Descendens
7204 \[ g \oriscus a \pes \auctum \descendens b \]
7211 \remove "Bar_number_engraver"
7215 \remove "Clef_engraver"
7216 \remove "Key_engraver"
7217 \override StaffSymbol #'transparent = ##t
7218 \remove "Time_signature_engraver"
7219 \remove "Bar_engraver"
7220 minimumVerticalExtent = ##f
7224 \remove Ligature_bracket_engraver
7225 \consists Vaticana_ligature_engraver
7226 \override NoteHead #'style = #'vaticana_punctum
7227 \override Stem #'transparent = ##t
7239 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7240 \include "gregorian-init.ly"
7242 \notes \transpose c c' {
7244 \[ \stropha b \stropha b \stropha a \]
7251 \remove "Bar_number_engraver"
7255 \remove "Clef_engraver"
7256 \remove "Key_engraver"
7257 \override StaffSymbol #'transparent = ##t
7258 \remove "Time_signature_engraver"
7259 \remove "Bar_engraver"
7260 minimumVerticalExtent = ##f
7264 \remove Ligature_bracket_engraver
7265 \consists Vaticana_ligature_engraver
7266 \override NoteHead #'style = #'vaticana_punctum
7267 \override Stem #'transparent = ##t
7279 Unlike most other neumes notation systems, the input language for
7280 neumes does not necessarily reflect directly the typographical
7281 appearance, but is designed to solely focuse on musical meaning. For
7282 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
7283 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
7284 a Porrectus with a curved flexa shape and only a single Punctum head.
7285 There is no command to explicitly typeset the curved flexa shape; the
7286 decision of when to typeset a curved flexa shape is purely taken from
7287 the musical input. The idea of this approach is to separate the
7288 musical aspects of the input from the notation style of the output.
7289 This way, the same input can be reused to typeset the same music in a
7290 different style of Gregorian chant notation.
7292 The following table shows the code fragments that produce the
7293 ligatures in the above neumes table. The letter in the first column
7294 in each line of the below table indicates to which ligature in the
7295 above table it refers. The second column gives the name of the
7296 ligature. The third column shows the code fragment that produces this
7297 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7299 @multitable @columnfractions .1 .4 .5
7313 Punctum Inclinatum @tab
7314 @code{\[ \inclinatum b \]}
7318 Punctum Auctum Ascendens @tab
7319 @code{\[ \auctum \ascendens b \]}
7323 Punctum Auctum Descendens @tab
7324 @code{\[ \auctum \descendens b \]}
7328 Punctum Inclinatum Auctum @tab
7329 @code{\[ \inclinatum \auctum b \]}
7333 Punctum Inclinatum Parvum @tab
7334 @code{\[ \inclinatum \deminutum b \]}
7339 @code{\[ \virga b \]}
7344 @code{\[ \stropha b \]}
7349 @code{\[ \stropha \auctum b \]}
7354 @code{\[ \oriscus b \]}
7358 Clivis vel Flexa @tab
7359 @code{\[ b \flexa g \]}
7363 Clivis Aucta Descendens @tab
7364 @code{\[ b \flexa \auctum \descendens g \]}
7368 Clivis Aucta Ascendens @tab
7369 @code{\[ b \flexa \auctum \ascendens g \]}
7374 @code{\[ b \flexa \deminutum g \]}
7378 Podatus vel Pes @tab
7379 @code{\[ g \pes b \]}
7383 Pes Auctus Descendens @tab
7384 @code{\[ g \pes \auctum \descendens b \]}
7388 Pes Auctus Ascendens @tab
7389 @code{\[ g \pes \auctum \ascendens b \]}
7394 @code{\[ g \pes \deminutum b \]}
7399 @code{\[ \oriscus g \pes \virga b \]}
7403 Pes Quassus Auctus Descendens @tab
7404 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7409 @code{\[ \quilisma g \pes b \]}
7413 Quilisma Pes Auctus Descendens @tab
7414 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7418 Pes Initio Debilis @tab
7419 @code{\[ \deminutum g \pes b \]}
7423 Pes Auctus Descendens Initio Debilis @tab
7424 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7429 @code{\[ a \pes b \flexa g \]}
7433 Torculus Auctus Descendens @tab
7434 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7438 Torculus Deminutus @tab
7439 @code{\[ a \pes b \flexa \deminutum g \]}
7443 Torculus Initio Debilis @tab
7444 @code{\[ \deminutum a \pes b \flexa g \]}
7448 Torculus Auctus Descendens Initio Debilis @tab
7449 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7453 Torculus Deminutus Initio Debilis @tab
7454 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7459 @code{\[ a \flexa g \pes b \]}
7463 Porrectus Auctus Descendens @tab
7464 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7468 Porrectus Deminutus @tab
7469 @code{\[ a \flexa g \pes \deminutum b \]}
7474 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7478 Climacus Auctus @tab
7479 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7483 Climacus Deminutus @tab
7484 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7489 @code{\[ g \pes a \virga b \]}
7493 Scandicus Auctus Descendens @tab
7494 @code{\[ g \pes a \pes \auctum \descendens b \]}
7498 Scandicus Deminutus @tab
7499 @code{\[ g \pes a \pes \deminutum b \]}
7504 @code{\[ g \oriscus a \pes \virga b \]}
7508 Salicus Auctus Descendens @tab
7509 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7514 @code{\[ \stropha b \stropha b \stropha a \]}
7520 The following head prefixes are supported
7522 @cindex @code{\virga}
7524 @cindex @code{\stropha}
7526 @cindex @code{\inclinatum}
7528 @cindex @code{\auctum}
7530 @cindex @code{\descendens}
7532 @cindex @code{\ascendens}
7534 @cindex @code{\oriscus}
7536 @cindex @code{\quilisma}
7538 @cindex @code{\deminutum}
7541 Head prefixes can be accumulated, though restrictions apply. For
7542 example, either @code{\descendens} or @code{\ascendens} can be applied
7543 to a head, but not both to the same head.
7546 @cindex @code{\flexa}
7547 Two adjacent heads can be tied together with the @code{\pes} and
7548 @code{\flexa} infix commands for a rising and falling line of melody,
7553 @node Vaticana style contexts
7554 @subsection Vaticana style contexts
7556 @cindex VaticanaVoiceContext
7557 @cindex VaticanaStaffContext
7559 The predefined @code{VaticanaVoiceContext} and
7560 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7561 Gregorian Chant in the style of the Editio Vaticana. These contexts
7562 initialize all relevant context properties and grob properties to
7563 proper values. With these contexts, you can immediately go ahead
7564 entering the chant, as the following short excerpt demonstrates
7567 @lilypond[raggedright,verbatim,noindent]
7568 \include "gregorian-init.ly"
7571 \context VaticanaVoice = "cantus" {
7572 \override Score.BarNumber #'transparent = ##t
7574 \[ c'\melisma c' \flexa a \]
7575 \[ a \flexa \deminutum g\melismaEnd \]
7577 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7578 c' \divisioMinima \break
7579 \[ c'\melisma c' \flexa a \]
7580 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7583 \lyricsto "cantus" \new Lyrics \lyrics {
7584 San- ctus, San- ctus, San- ctus
7592 @subsection Figured bass
7594 @cindex Basso continuo
7596 @c TODO: musicological blurb about FB
7599 LilyPond has limited support for figured bass
7602 @lilypond[verbatim,fragment]
7604 \context Voice \notes { \clef bass dis4 c d ais }
7605 \context FiguredBass \figures {
7606 < 6 >4 < 7 >8 < 6+ [_!] >
7613 The support for figured bass consists of two parts: there is an input
7614 mode, introduced by @code{\figures}, where you can enter bass figures
7615 as numbers, and there is a context called @internalsref{FiguredBass} that
7616 takes care of making @internalsref{BassFigure} objects.
7618 In figures input mode, a group of bass figures is delimited by
7619 @code{<} and @code{>}. The duration is entered after the @code{>>}
7625 \context FiguredBass
7630 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7638 \context FiguredBass
7639 \figures { <4- 6+ 7!> }
7643 Spaces or dashes may be inserted by using @code{_}. Brackets are
7644 introduced with @code{[} and @code{]}
7651 \context FiguredBass
7652 \figures { < [4 6] 8 [_! 12]> }
7656 Although the support for figured bass may superficially resemble chord
7657 support, it works much simpler. The @code{\figures} mode simply
7658 stores the numbers , and @internalsref{FiguredBass} context prints
7659 them as entered. There is no conversion to pitches, and no
7660 realizations of the bass are played in the MIDI file.
7662 Internally, the code produces markup texts. You can use any of the
7663 markup text properties to override formatting. For example, the
7664 vertical spacing of the figures may be set with @code{baseline-skip}.
7668 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7669 and @internalsref{FiguredBass} context.
7673 Slash notation for alterations is not supported.
7675 @node Contemporary notation
7676 @section Contemporary notation
7678 In the 20th century, composers have greatly expanded the musical
7679 vocabulary. With this expansion, many innovations in musical notation
7680 have been tried. The book by Stone (1980) gives a comprehensive
7681 overview (see @ref{Literature list}). In general, the use of new,
7682 innovative notation makes a piece harder to understand and perform and
7683 its use should therefore be avoided if possible. For this reason,
7684 support for contemporary notation in LilyPond is limited.
7693 @subsection Clusters
7697 A cluster indicates a continuous range of pitches to be played. They
7698 can be denoted as the envelope of a set of notes. They are entered by
7699 applying the function @code{notes-to-clusters} to a sequence of
7703 @lilypond[relative=2,verbatim]
7704 \apply #notes-to-clusters { <c e > <b f'> }
7708 The following example (from
7709 @inputfileref{input/regression,cluster.ly}) shows what the result
7713 @lilypondfile[]{cluster.ly}
7716 Ordinary notes and clusters can be put together in the same staff,
7717 even simultaneously. In such a case no attempt is made to
7718 automatically avoid collisions between ordinary notes and clusters.
7722 Program reference: @internalsref{ClusterSpanner},
7723 @internalsref{ClusterSpannerBeacon},
7724 @internalsref{Cluster_spanner_engraver}, and
7725 @internalsref{ClusterNoteEvent}.
7727 Examples: @inputfileref{input/regression,cluster.ly}.
7731 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7732 accurately. Use @code{<g a>8 <e a>8} instead.
7737 @subsection Fermatas
7743 Contemporary music notation frequently uses special fermata symbols to
7744 indicate fermatas of differing lengths. The following fermatas are
7748 @lilypond[raggedright]
7771 \context Lyrics \lyrics {
7772 \override LyricText #'font-family = #'typewriter
7773 "shortfermata" "fermata" "longfermata" "verylongfermata"
7780 See @ref{Articulations} for general instructions how to apply scripts
7781 such as fermatas to a @code{\notes@{@}} block.
7784 @node Special notation
7785 @section Special notation
7789 * Easy Notation note heads::
7793 @subsection Balloon help
7795 Elements of notation can be marked and named with the help of a square
7796 balloon. The primary purpose of this feature is to explain notation.
7798 The following example demonstrates its use.
7801 @lilypond[verbatim,fragment,raggedright,relative=2]
7804 #(add-balloon-text 'NoteHead "heads, or tails?"
7811 The function @code{add-balloon-text} takes the name of a grob, the
7812 label to print and where to put the label relative to the object. In
7813 the above example, the text ``heads or tails?'' ends 3 spaces below
7817 @cindex notation, explaining
7821 Program reference: @internalsref{text-balloon-interface}.
7823 Examples: @inputfileref{input/regression,balloon.ly}.
7825 @node Easy Notation note heads
7826 @subsection Easy Notation note heads
7828 @cindex easy notation
7831 The `easy play' note head includes a name inside the head. It is
7832 used in music for beginners
7835 @lilypond[raggedright,verbatim,staffsize=26]
7841 The command @code{\setEasyHeads} overrides settings for the
7842 @internalsref{NoteHead} object. To make the letters readable, it has
7843 to be printed in a large font size. To print with a larger font, see
7844 @ref{Setting global staff size}.
7849 If you view the result with Xdvi, staff lines may show through the
7850 letters. Printing the PostScript file obtained does produce the
7855 @cindex \setEasyHeads
7856 @code{\setEasyHeads}
7862 Entered music can also be converted to MIDI output. The performance
7863 is intended for proof-hearing the music for errors.
7865 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7866 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7867 marks translate to a fixed fraction of the available MIDI volume
7868 range, crescendi and decrescendi make the volume vary linearly between
7869 their two extremities. The fractions can be adjusted by
7870 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7871 For each type of MIDI instrument, a volume range can be defined. This
7872 gives a basic equalizer control, which can enhance the quality of
7873 the MIDI output remarkably. The equalizer can be controlled by
7874 setting @code{instrumentEqualizer}.
7878 Many musically interesting effects, such as swing, articulation,
7879 slurring, etc., are not translated to MIDI.
7881 The MIDI output allocates a channel for each Staff, and one for global
7882 settings. Hence, the MIDI file should not have more than 15 staves
7883 (or 14 if you do not use drums). Other staves will remain silent.
7888 * MIDI instrument names::
7893 @subsection MIDI block
7897 The MIDI block is analogous to the paper block, but it is somewhat
7898 simpler. The @code{\midi} block can contain
7902 @item a @code{\tempo} definition, and
7903 @item context definitions.
7906 A number followed by a period is interpreted as a real number, so
7907 for setting the tempo for dotted notes, an extra space should be
7908 inserted, for example
7911 \midi @{ \tempo 4 . = 120 @}
7915 @cindex context definition
7917 Context definitions follow precisely the same syntax as within the
7918 \paper block. Translation modules for sound are called performers.
7919 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7922 @node MIDI instrument names
7923 @subsection MIDI instrument names
7925 @cindex instrument names
7926 @cindex @code{Staff.midiInstrument}
7928 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7929 property. The instrument name should be chosen from the list in
7930 @ref{MIDI instruments}.
7934 If the selected string does not exactly match, the default is used,
7935 which is the Grand Piano.