2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
31 * Formatting cue notes::
33 * Contemporary notation::
37 @c FIXME: Note entry vs Music entry at top level menu is confusing.
43 This section is about basic notation elements notes, rests and
44 related constructs, such as stems, tuplets and ties.
49 * Chromatic alterations::
67 A note is printed by specifying its pitch and then its duration,
69 @lilypond[quote,verbatim]
70 { cis'4 d'8 e'16 c'16 }
78 @cindex Note specification
80 @cindex entering notes
82 The most common syntax for pitch entry is used in standard notes and
83 @code{\chords} mode. In these modes, pitches may be designated by
84 names. The notes are specified by the letters @code{a} through
85 @code{g}, while the octave is formed with notes ranging from @code{c}
86 to @code{b}. The pitch @code{c} is an octave below middle C and the
87 letters span the octave above that C
89 @lilypond[fragment,verbatim,noindent]
91 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
94 @cindex note names, Dutch
96 A sharp is formed by adding @code{-is} to the end of a pitch name and
97 a flat is formed by adding @code{-es}. Double sharps and double flats
98 are obtained by adding @code{-isis} or @code{-eses}. These
99 names are the Dutch note names. In Dutch, @code{aes} is contracted to
100 @code{as}, but both forms are accepted. Similarly, both
101 @code{es} and @code{ees} are accepted.
103 @lilypond[fragment,quote,verbatim,relative=2]
111 There are predefined sets of note names for various other languages.
112 To use them, include the language specific init file. For
113 example: @code{\include "english.ly"}. The available language files
114 and the note names they define are
119 Note Names sharp flat
120 nederlands.ly c d e f g a bes b -is -es
121 english.ly c d e f g a bf b -s/-sharp -f/-flat
123 deutsch.ly c d e f g a b h -is -es
124 norsk.ly c d e f g a b h -iss/-is -ess/-es
125 svenska.ly c d e f g a b h -iss -ess
126 italiano.ly do re mi fa sol la sib si -d -b
127 catalan.ly do re mi fa sol la sib si -d/-s -b
128 espanol.ly do re mi fa sol la sib si -s -b
137 The optional octave specification takes the form of a series of
138 single quote (`@code{'}') characters or a series of comma
139 (`@code{,}') characters. Each @code{'} raises the pitch by one
140 octave; each @code{,} lowers the pitch by an octave
142 @lilypond[quote,fragment,verbatim]
143 c' c'' es' g' as' gisis' ais'
149 Notes can be hidden and unhidden with the following commands
151 @cindex @code{\hideNotes}
153 @cindex @code{\unHideNotes}
159 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
163 @node Chromatic alterations
164 @subsection Chromatic alterations
166 Normally accidentals are printed automatically, but you may also
167 print them manually. A reminder accidental
168 @cindex reminder accidental
170 can be forced by adding an exclamation mark @code{!}
171 after the pitch. A cautionary accidental
172 @cindex cautionary accidental
173 @cindex parenthesized accidental
174 (i.e. an accidental within parentheses) can be obtained by adding the
175 question mark `@code{?}' after the pitch
177 @lilypond[quote,fragment,verbatim]
178 cis' cis' cis'! cis'?
184 The automatic production of accidentals can be tuned in many
185 ways. For more information, refer to @ref{Accidentals}.
190 @subsection Micro tones
192 Half-flats and half-sharps are formed by adding @code{-eh} and
193 @code{-ih}; the following is a series of Cs with increasing pitches
195 @cindex quarter tones
196 @cindex semi-flats, semi-sharps
198 @lilypond[verbatim,quote,relative=2,fragment]
199 { ceseh ceh cih cisih }
202 Micro tones are also exported to the MIDI file
207 There are no generally accepted standards for denoting three quarter
208 flats, so LilyPond's symbol does not conform to any standard.
213 A chord is formed by a enclosing a set of pitches in @code{<} and
214 @code{>}. A chord may be followed by a duration, and a set of
215 articulations, just like simple notes.
217 @lilypond[verbatim,fragment,quote,relative=1]
228 Rests are entered like notes, with the note name @code{r}
230 @lilypond[fragment,quote,raggedright,verbatim]
234 Whole bar rests, centered in middle of the bar,
235 must be done with multi-measure rests. They are discussed in
236 @ref{Multi measure rests}.
239 A rest's vertical position may be explicitly specified by entering a
240 note with the @code{\rest} keyword appended. This makes manual
241 formatting in polyphonic music easier. Automatic rest collision
242 formatting will leave these rests alone
246 @lilypond[fragment,quote,raggedright,verbatim]
252 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
259 @cindex Invisible rest
262 An invisible rest (also called a `skip') can be entered like a note
263 with note name `@code{s}' or with @code{\skip @var{duration}}
265 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
269 The @code{s} syntax is only available in note mode and chord mode. In
270 other situations, for example, when entering lyrics, you should use
271 the @code{\skip} command
273 @lilypond[quote,raggedright,verbatim]
276 \new Lyrics \lyrics { \skip 2 bla1 }
280 The skip command is merely an empty musical placeholder. It does not
281 produce any output, not even transparent output.
283 The @code{s} skip command does create @internalsref{Staff} and
284 @internalsref{Voice} when necessary, similar to note and rest
285 commands. For example, the following results in an empty staff.
287 @lilypond[quote,raggedright,verbatim]
291 The fragment @code{@{ \skip 4 @} } would produce an empty page.
295 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
300 @subsection Durations
304 @cindex @code{\longa}
305 @cindex @code{\breve}
306 @cindex @code{\maxima}
309 In Note, Chord, and Lyrics mode, durations are designated by numbers
310 and dots: durations are entered as their reciprocal values. For example,
311 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
312 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
313 longer than a whole you must use variables
317 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
319 r1 r2 r4 r8 r16 r32 r64 r64
322 @lilypond[quote,noindent]
325 a\breve*1/2 \autoBeamOff
326 a1 a2 a4 a8 a16 a32 a64 a64
329 r\longa*1/4 r\breve *1/2
330 r1 r2 r4 r8 r16 r32 r64 r64
336 \remove "Clef_engraver"
337 \override StaffSymbol #'transparent = ##t
338 \override TimeSignature #'transparent = ##t
339 \override BarLine #'transparent = ##t
340 \consists "Pitch_squash_engraver"
347 @node Augmentation dots
348 @subsection Augmentation dots
350 If the duration is omitted then it is set to the previously entered
351 duration. The default for the first note is a quarter note. The duration
352 can be followed by dots (`@code{.}') to obtain dotted note
356 @lilypond[quote,fragment,verbatim]
357 a' b' c''8 b' a'4 a'4. b'4.. c'8.
364 Dots are normally moved up to avoid staff lines, except in polyphonic
365 situations. The following commands may be used to force a particular
368 @cindex @code{\dotsUp}
370 @cindex @code{\dotsDown}
372 @cindex @code{\dotsBoth}
377 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
379 @node Scaling durations
380 @subsection Scaling durations
382 You can alter the length of duration by a fraction @var{N/M}
383 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
384 will not affect the appearance of the notes or rests produced.
386 In the following example, the first three notes take up exactly two
387 beats, but no triplet bracket is printed.
388 @lilypond[quote,fragment,relative=2,verbatim]
390 a4*2/3 gis4*2/3 a4*2/3
397 This manual: @ref{Tuplets}
403 Whenever a note is found, a @internalsref{Stem} object is created
404 automatically. For whole notes and rests, they are also created but
409 @cindex @code{\stemUp}
411 @cindex @code{\stemDown}
413 @cindex @code{\stemBoth}
424 A tie connects two adjacent note heads of the same pitch. The tie in
425 effect extends the length of a note. Ties should not be confused with
426 slurs, which indicate articulation, or phrasing slurs, which indicate
427 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
429 @lilypond[quote,fragment,verbatim]
430 e' ~ e' <c' e' g'> ~ <c' e' g'>
433 When a tie is applied to a chord, all note heads whose pitches match
434 are connected. When no note heads match, no ties will be created.
436 A tie is just a way of extending a note duration, similar to the
437 augmentation dot. The following example shows two ways of notating
438 exactly the same concept
440 @lilypond[quote,fragment,raggedright]
441 \time 3/4 c'2. c'2 ~ c'4
445 Ties are used either when the note crosses a bar line, or when dots
446 cannot be used to denote the rhythm. When using ties, larger note
447 values should be aligned to subdivisions of the measure, eg.
451 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
455 If you need to tie a lot of notes over bars, it may be easier to use
456 automatic note splitting (see @ref{Automatic note splitting}). This
457 mechanism automatically splits long notes, and ties them across bar
463 @cindex @code{\tieUp}
465 @cindex @code{\tieDown}
467 @cindex @code{\tieBoth}
469 @cindex @code{\tieDotted}
471 @cindex @code{\tieSolid}
476 In this manual: @ref{Automatic note splitting}.
478 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
483 Switching staves when a tie is active will not produce a slanted tie.
485 Formatting of ties is a difficult subject. The results are often not
493 @cindex @code{\times}
495 Tuplets are made out of a music expression by multiplying all durations
498 @cindex @code{\times}
500 \times @var{fraction} @var{musicexpr}
504 The duration of @var{musicexpr} will be multiplied by the fraction.
505 The fraction's denominator will be printed over the notes, optionally
506 with a bracket. The most common tuplet is the triplet in which 3
507 notes have the length of 2, so the notes are 2/3 of their written
510 @lilypond[quote,fragment,verbatim]
511 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
514 The property @code{tupletSpannerDuration} specifies how long each
515 bracket should last. With this, you can make lots of tuplets while
516 typing @code{\times} only once, thus saving lots of typing. In the next
517 example, there are two triplets shown, while @code{\times} was only
520 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
521 \set tupletSpannerDuration = #(ly:make-moment 1 4)
522 \times 2/3 { c'8 c c c c c }
525 The format of the number is determined by the property
526 @code{tupletNumberFormatFunction}. The default prints only the
527 denominator, but if it is set to the Scheme function
528 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
532 @cindex @code{tupletNumberFormatFunction}
533 @cindex tuplet formatting
538 @cindex @code{\tupletUp}
540 @cindex @code{\tupletDown}
542 @cindex @code{\tupletBoth}
547 User manual: @ref{Changing context properties on the fly} for the
551 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
553 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
557 Nested tuplets are not formatted automatically. In this case, outer
558 tuplet brackets should be moved manually, which is demonstrated in
559 @inputfileref{input/regression,tuplet-nest.ly}.
563 @node Easier music entry
564 @section Easier music entry
567 This section deals with tricks and features of the input language that
568 were added solely to help entering music and finding and correcting
569 mistakes. There are also external tools that make debugging easier.
570 See @ref{Point and click} for more information.
572 It is also possible to enter and edit music using other programs. For
573 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
574 website for more information.
581 * Skipping corrected music::
582 * Automatic note splitting::
588 @node Relative octaves
589 @subsection Relative octaves
591 @cindex relative octave specification
593 Octaves are specified by adding @code{'} and @code{,} to pitch names.
594 When you copy existing music, it is easy to accidentally put a pitch
595 in the wrong octave and hard to find such an error. The relative
596 octave mode prevents these errors: a single error puts the rest of the
597 piece off by one octave
599 @cindex @code{\relative}
601 \relative @var{startpitch} @var{musicexpr}
605 \relative @var{musicexpr}
608 The octave of notes that appear in @var{musicexpr} are calculated as
609 follows: If no octave changing marks are used, the basic interval
610 between this and the last note is always taken to be a fourth or
611 less. This distance is determined without regarding alterations; a
612 @code{fisis} following a @code{ceses} will be put above the
615 The octave changing marks @code{'} and @code{,} can be added to raise
616 or lower the pitch by an extra octave. Upon entering relative mode,
617 an absolute starting pitch can be specified that will act as the
618 predecessor of the first note of @var{musicexpr}. If no starting pitch
619 is specified, then middle C is used as a start.
621 Here is the relative mode shown in action
622 @lilypond[quote,fragment,raggedright,verbatim]
628 Octave changing marks are used for intervals greater than a fourth
629 @lilypond[quote,fragment,verbatim]
635 If the preceding item is a chord, the first note of the chord is used
636 to determine the first note of the next chord
638 @lilypond[quote,fragment,verbatim]
646 The pitch after the @code{\relative} contains a note name.
649 The relative conversion will not affect @code{\transpose},
650 @code{\chords} or @code{\relative} sections in its argument. To use
651 relative within transposed music, an additional @code{\relative} must
652 be placed inside @code{\transpose}.
655 @subsection Octave check
658 Octave checks make octave errors easier to correct: a note may be
659 followed by @code{=}@var{quotes} which indicates what its absolute
660 octave should be. In the following example,
662 \relative c'' @{ c='' b=' d,='' @}
666 @c take care with @code, adds confusing quotes.
667 the d will generate a warning, because a d'' is expected, but a d' is
668 found. In the output, the octave is corrected for this and the
673 There is also a syntax that is separate from the notes. The syntax
679 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
680 quotes) 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.
699 @lilypond[quote,verbatim,fragment]
708 @subsection Bar check
712 @cindex @code{barCheckSynchronize}
715 Bar checks help detect errors in the durations. A bar check is
716 entered using the bar symbol, `@code{|}'. Whenever it is encountered
717 during interpretation, it should fall on a measure boundary. If it
718 does not, a warning is printed. In the next example, the second bar
719 check will signal an error
721 \time 3/4 c2 e4 | g2 |
724 Bar checks can also be used in lyrics, for example
729 Twin -- kle | Twin -- kle
734 @cindex @code{skipTypesetting}
736 Failed bar checks are caused by entering incorrect
737 durations. Incorrect durations often completely garble up the score,
738 especially if it is polyphonic, so a good place to correcting input is
739 by scanning for failed bar checks and incorrect durations. To speed
740 up this process, the @code{skipTypesetting} feature may be used. It is
741 described in the next section.
744 @cindex @code{pipeSymbol}
746 It is also possible to redefine the meaning of @code{|}. This is done
747 by assigning a music expression to @code{pipeSymbol},
750 pipeSymbol = \bar "||"
752 { c'2 c'2 | c'2 c'2 | }
756 @node Skipping corrected music
757 @subsection Skipping corrected music
759 The property @code{Score.skipTypesetting} can be used to switch on and
760 off typesetting completely during the interpretation phase. When
761 typesetting is switched off, the music is processed much more quickly.
762 This can be used to skip over the parts of a score that have already
763 been checked for errors
765 @lilypond[quote,fragment,raggedright,verbatim]
768 \set Score.skipTypesetting = ##t
770 \set Score.skipTypesetting = ##f
774 @node Automatic note splitting
775 @subsection Automatic note splitting
777 Long notes can be converted automatically to tied notes. This is done
778 by replacing the @internalsref{Note_heads_engraver} by the
779 @internalsref{Completion_heads_engraver}.
780 In the following examples, notes crossing the bar line are split and tied.
783 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
785 \remove "Note_heads_engraver"
786 \consists "Completion_heads_engraver"
788 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
792 This engraver splits all running notes at the bar line, and inserts
793 ties. One of its uses is to debug complex scores: if the measures are
794 not entirely filled, then the ties exactly show how much each measure
799 Not all durations (especially those containing tuplets) can be
800 represented exactly with normal notes and dots, but the engraver will
805 Examples: @inputfileref{input/regression,completion-heads.ly}.
809 Program reference: @internalsref{Completion_heads_engraver}.
813 @section Staff notation
815 This section describes music notation that occurs on staff level,
816 such as key signatures, clefs and time signatures.
818 @cindex Staff notation
829 * Time administration::
830 * Controlling formatting of prefatory matter::
834 @subsection Staff symbol
836 @cindex adjusting staff symbol
838 Notes, dynamic signs, etc. are grouped
839 with a set of horizontal lines, into a staff (plural `staves'). In our
840 system, these lines are drawn using a separate layout object called
844 @cindex staff lines, setting number of
845 @cindex staff lines, setting thickness of
846 @cindex thickness of staff lines, setting
847 @cindex number of staff lines, setting
851 Program reference: @internalsref{StaffSymbol}.
853 Examples: @inputfileref{input/test,staff-lines.ly},
854 @inputfileref{input/test,staff-size.ly}.
858 If a staff is ended halfway a piece, the staff symbol may not end
859 exactly on the bar line.
863 @subsection Key signature
864 @cindex Key signature
868 The key signature indicates the scale in which a piece is played. It
869 is denoted by a set of alterations (flats or sharps) at the start of
873 Setting or changing the key signature is done with the @code{\key}
876 @code{\key} @var{pitch} @var{type}
879 @cindex @code{\minor}
880 @cindex @code{\major}
881 @cindex @code{\minor}
882 @cindex @code{\ionian}
883 @cindex @code{\locrian}
884 @cindex @code{\aeolian}
885 @cindex @code{\mixolydian}
886 @cindex @code{\lydian}
887 @cindex @code{\phrygian}
888 @cindex @code{\dorian}
890 Here, @var{type} should be @code{\major} or @code{\minor} to get
891 @var{pitch}-major or @var{pitch}-minor, respectively.
892 The standard mode names @code{\ionian},
893 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
894 @code{\phrygian}, and @code{\dorian} are also defined.
896 This command sets the context property
897 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
898 can be specified by setting this property directly.
900 Accidentals and key signatures often confuse new users, because
901 unaltered notes get natural signs depending on the key signature. For
902 more information, see @ref{More about pitches}.
906 The ordering of a key cancellation is wrong when it is combined with
907 repeat bar lines. The cancellation is also printed after a line break.
911 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
913 @cindex @code{keySignature}
920 The clef indicates which lines of the staff correspond to which
924 The clef can be set with the @code{\clef} command
925 @lilypond[quote,fragment,verbatim]
926 { c''2 \clef alto g'2 }
929 Supported clef-names include
930 @c Moved standard clefs to the top /MB
934 @item treble, violin, G, G2
947 G clef on 1st line, so-called French violin clef
952 @cindex mezzosoprano clef
955 @cindex baritone clef
958 @cindex varbaritone clef
969 By adding @code{_8} or @code{^8} to the clef name, the clef is
970 transposed one octave down or up, respectively, and @code{_15} and
971 @code{^15} transposes by two octaves. The argument @var{clefname}
972 must be enclosed in quotes when it contains underscores or digits. For
976 @cindex choral tenor clef
977 @lilypond[quote,verbatim,fragment,relative=1]
981 This command is equivalent to setting @code{clefGlyph},
982 @code{clefPosition} (which controls the Y position of the clef),
983 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
984 when any of these properties are changed. The following example shows
985 possibilities when setting properties manually.
989 \set Staff.clefGlyph = #"clefs-F"
990 \set Staff.clefPosition = #2
992 \set Staff.clefGlyph = #"clefs-G"
994 \set Staff.clefGlyph = #"clefs-C"
996 \set Staff.clefOctavation = #7
998 \set Staff.clefOctavation = #0
999 \set Staff.clefPosition = #0
1009 Program reference: @internalsref{Clef}.
1013 @node Ottava brackets
1014 @subsection Ottava brackets
1016 ``Ottava'' brackets introduce an extra transposition of an octave for
1017 the staff. They are created by invoking the function
1018 @code{set-octavation}
1024 @lilypond[quote,verbatim,fragment]
1034 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1035 (for 15ma) as arguments. Internally the function sets the properties
1036 @code{ottavation} (e.g. to @code{"8va"}) and
1037 @code{centralCPosition}. For overriding the text of the bracket, set
1038 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1043 \set Staff.ottavation = #"8"
1050 Program reference: @internalsref{OttavaBracket}.
1052 Examples: @inputfileref{input/regression,ottava.ly},
1053 @inputfileref{input/regression,ottava-broken.ly}.
1057 @code{set-octavation} will get confused when clef changes happen
1058 during an octavation bracket.
1063 @node Time signature
1064 @subsection Time signature
1065 @cindex Time signature
1067 @cindex @code{\time}
1069 Time signature indicates the metrum of a piece: a regular pattern of
1070 strong and weak beats. It is denoted by a fraction at the start of the
1074 The time signature is set or changed by the @code{\time}
1076 @lilypond[quote,fragment,verbatim]
1077 \time 2/4 c'2 \time 3/4 c'2.
1080 The symbol that is printed can be customized with the @code{style}
1081 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1084 @lilypond[fragment,verbatim]
1087 \override TimeSignature #'style = #'()
1094 There are many more options for its layout. See @ref{Ancient time
1095 signatures} for more examples.
1098 This command sets the property @code{timeSignatureFraction},
1099 @code{beatLength} and @code{measureLength} in the @code{Timing}
1100 context, which is normally aliased to @internalsref{Score}. The
1101 property @code{measureLength} determines where bar lines should be
1102 inserted, and how automatic beams should be generated. Changing the
1103 value of @code{timeSignatureFraction} also causes the symbol to be
1106 More options are available through the Scheme function
1107 @code{set-time-signature}. In combination with the
1108 @internalsref{Measure_grouping_engraver}, it will create
1109 @internalsref{MeasureGrouping} signs. Such signs ease reading
1110 rhythmically complex modern music. In the following example, the 9/8
1111 measure is subdivided in 2, 2, 2 and 3. This is passed to
1112 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1114 @lilypond[quote,raggedright,verbatim]
1117 #(set-time-signature 9 8 '(2 2 2 3))
1118 g8[ g] d[ d] g[ g] a8[( bes g]) |
1119 #(set-time-signature 5 8 '(3 2))
1125 \consists "Measure_grouping_engraver"
1133 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1138 Automatic beaming does not use the measure grouping specified with
1139 @code{set-time-signature}.
1141 @node Partial measures
1142 @subsection Partial measures
1145 @cindex partial measure
1146 @cindex measure, partial
1147 @cindex shorten measures
1148 @cindex @code{\partial}
1150 Partial measures, for example in upsteps, are entered using the
1151 @code{\partial} command
1152 @lilypond[quote,fragment,verbatim,relative=2]
1153 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1156 The syntax for this command is
1158 \partial @var{duration}
1160 This is internally translated into
1162 \set Timing.measurePosition = -@var{length of duration}
1165 The property @code{measurePosition} contains a rational number
1166 indicating how much of the measure has passed at this point.
1170 This command does not take into account grace notes at the start of
1171 the music. When a piece starts with graces notes in the pickup, then
1172 the @code{\partial} should follow the grace notes
1174 @lilypond[verbatim,relative,fragment]
1184 @node Unmetered music
1185 @subsection Unmetered music
1189 Bar lines and bar numbers are calculated automatically. For unmetered
1190 music (e.g. cadenzas), this is not desirable. By setting
1191 @code{Score.timing} to false, this automatic timing can be switched
1192 off. Empty bar lines,
1199 indicate where line breaks can occur.
1203 @cindex @code{\cadenzaOn}
1205 @cindex @code{\cadenzaOff}
1212 @subsection Bar lines
1216 @cindex measure lines
1220 Bar lines delimit measures, but are also used to indicate repeats.
1221 Normally, they are inserted automatically. Line breaks may only
1222 happen on bar lines.
1224 Special types of bar lines can be forced with the @code{\bar} command
1226 @lilypond[quote,relative=2,fragment,verbatim]
1230 The following bar types are available
1231 @lilypondfile[notexidoc]{bar-lines.ly}
1233 For allowing line breaks, there is a special command,
1237 This will insert an invisible bar line, and allow line breaks at this
1240 In scores with many staves, a @code{\bar} command in one staff is
1241 automatically applied to all staves. The resulting bar lines are
1242 connected between different staves of a @internalsref{StaffGroup}
1244 @lilypond[quote,fragment,verbatim]
1246 \context StaffGroup <<
1252 \new Staff { \clef bass c4 g e g }
1254 \new Staff { \clef bass c2 c2 }
1259 The command @code{\bar }@var{bartype} is a short cut for doing
1260 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1261 is set to a string, a bar line of that type is created.
1263 A bar line is created whenever the @code{whichBar} property is set.
1264 At the start of a measure it is set to the contents of
1265 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1266 to override default measure bars.
1268 @cindex @code{whichBar}
1269 @cindex @code{repeatCommands}
1270 @cindex @code{defaultBarType}
1272 You are encouraged to use @code{\repeat} for repetitions. See
1279 In this manual: @ref{Repeats}, @ref{System start delimiters}
1282 Program reference: @internalsref{BarLine} (created at
1283 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1285 @cindex bar lines at start of system
1286 @cindex start of system
1290 Examples: @inputfileref{input/test,bar-lines.ly},
1293 @node Time administration
1294 @subsection Time administration
1296 Time is administered by the @internalsref{Time_signature_engraver},
1297 which usually lives in the @internalsref{Score} context.
1298 The bookkeeping deals with the following variables
1301 @item currentBarNumber
1304 the length of the measures in the current time signature. For a 4/4
1305 time this is 1, and for 6/8 it is 3/4.
1306 @item measurePosition
1307 the point within the measure where we currently are. This quantity
1308 is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
1309 @code{currentBarNumber} is incremented.
1311 if set to true, the above variables are updated for every time
1312 step. When set to false, the engraver stays in the current measure
1316 Timing can be changed by setting any of these variables explicitly.
1317 In the next example, the 4/4 time signature is printed, but
1318 @code{measureLength} is set to 5/4. After a while, the measure is
1319 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1320 the measure, so the next bar line will fall at 2/4 + 3/8.
1324 \set Score.measureLength = #(ly:make-moment 5 4)
1328 \set Score.measurePosition = #(ly:make-moment -3 8)
1335 @node Controlling formatting of prefatory matter
1336 @subsection Controlling formatting of prefatory matter
1342 \override Staff.Clef #'break-visibility = #end-of-line-visible
1343 \override Staff.KeySignature #'break-visibility = #end-of-line-visible
1344 \set Staff.explicitClefVisibility = #end-of-line-visible
1345 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1347 % We want the time sig to take space, otherwise there is not
1348 % enough white at the start of the line.
1351 \override Staff.TimeSignature #'transparent = ##t
1352 \set Score.defaultBarType = #"empty"
1373 The easiest way to enter fragments with more than one voice on a staff
1374 is to split chords using the separator @code{\\}. You can use it for
1375 small, short-lived voices or for single chords
1379 @lilypond[quote,verbatim,fragment]
1380 \context Staff \relative c'' {
1381 c4 << { f d e } \\ { b c2 } >>
1382 c4 << g' \\ b, \\ f' \\ d >>
1386 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1387 voices are sometimes called "layers" in other notation packages}
1389 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1390 each of these contexts, vertical direction of slurs, stems, etc. is set
1393 @cindex @code{\voiceOne}
1394 @cindex @code{\voiceFour}
1396 This can also be done by instantiating @internalsref{Voice} contexts
1397 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1398 a stem directions and horizontal shift for each part
1401 @lilypond[quote,raggedright,verbatim]
1404 \new Voice { \voiceOne cis2 b }
1405 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1406 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1410 The command @code{\oneVoice} will revert back to the normal setting.
1411 @cindex @code{\oneVoice}
1414 Normally, note heads with a different number of dots are not merged, but
1415 when the object property @code{merge-differently-dotted} is set in
1416 the @internalsref{NoteCollision} object, they are merged
1417 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1420 \override Staff.NoteCollision
1421 #'merge-differently-dotted = ##t
1423 } \\ { g8.[ f16] g8.[ f16] } >>
1426 Similarly, you can merge half note heads with eighth notes, by setting
1427 @code{merge-differently-headed}
1428 @lilypond[quote,fragment,relative=2,verbatim]
1431 \override Staff.NoteCollision
1432 #'merge-differently-headed = ##t
1433 c8 c4. } \\ { c2 c2 } >>
1436 LilyPond also vertically shifts rests that are opposite of a stem,
1439 @lilypond[quote,raggedright,fragment,verbatim]
1440 \context Voice << c''4 \\ r4 >>
1448 @cindex @code{\oneVoice}
1450 @cindex @code{\voiceOne}
1452 @cindex @code{\voiceTwo}
1454 @cindex @code{\voiceThree}
1456 @cindex @code{\voiceFour}
1461 @cindex @code{\shiftOn}
1463 @cindex @code{\shiftOnn}
1465 @cindex @code{\shiftOnnn}
1467 @cindex @code{\shiftOff}
1468 @code{\shiftOff}: these commands specify in what chords of the current
1469 voice should be shifted. The outer voices (normally: voice one and
1470 two) have @code{\shiftOff}, while the inner voices (three and four)
1471 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1472 further shift levels.
1475 When LilyPond cannot cope, the @code{force-hshift}
1476 property of the @internalsref{NoteColumn} object and pitched rests can
1477 be used to override typesetting decisions.
1479 @lilypond[verbatim,raggedright]
1486 \once \override NoteColumn #'force-hshift = #1.7
1495 Program reference: the objects responsible for resolving collisions are
1496 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1499 @inputfileref{input/regression,collision-dots.ly},
1500 @inputfileref{input/regression,collision-head-chords.ly},
1501 @inputfileref{input/regression,collision-heads.ly},
1502 @inputfileref{input/regression,collision-mesh.ly}, and
1503 @inputfileref{input/regression,collisions.ly}.
1509 When using @code{merge-differently-headed} with an upstem eighth or a
1510 shorter note, and a downstem half note, the eighth note gets the wrong
1513 There is no support for clusters where the same note occurs with
1514 different accidentals in the same chord. In this case, it is
1515 recommended to use enharmonic transcription, or to use special cluster
1516 notation (see @ref{Clusters}).
1521 Beams are used to group short notes into chunks that are aligned with
1522 the metrum. They are inserted automatically
1524 @lilypond[quote,fragment,verbatim,relative=2]
1525 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1528 When these automatic decisions are not good enough, beaming can be
1529 entered explicitly. It is also possible to define beaming patterns
1530 that differ from the defaults.
1532 Individual notes may be marked with @code{\noBeam}, to prevent them
1535 @lilypond[quote,fragment,verbatim,relative=2]
1536 \time 2/4 c8 c\noBeam c c
1542 Program reference: @internalsref{Beam}.
1545 @cindex Automatic beams
1548 * Setting automatic beam behavior::
1553 @subsection Manual beams
1554 @cindex beams, manual
1558 In some cases it may be necessary to override the automatic beaming
1559 algorithm. For example, the autobeamer will not put beams over rests
1560 or bar lines. Such beams are specified manually by marking the begin
1561 and end point with @code{[} and @code{]}
1563 @lilypond[quote,fragment,relative=1,verbatim]
1565 r4 r8[ g' a r8] r8 g[ | a] r8
1569 @cindex @code{stemLeftBeamCount}
1571 Normally, beaming patterns within a beam are determined automatically.
1572 If necessary, the properties @code{stemLeftBeamCount} and
1573 @code{stemRightBeamCount} can be used to override the defaults. If
1574 either property is set, its value will be used only once, and then it
1577 @lilypond[quote,fragment,relative=1,verbatim]
1580 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1583 @cindex @code{stemRightBeamCount}
1586 The property @code{subdivideBeams} can be set in order to subdivide
1587 all 16th or shorter beams at beat positions, as defined by the
1588 @code{beatLength} property.
1591 @lilypond[fragment,quote,relative=2,verbatim,noindent]
1593 \set subdivideBeams = ##t
1595 \set Score.beatLength = #(ly:make-moment 1 8)
1598 @cindex @code{subdivideBeams}
1600 Normally, line breaks are forbidden when beams cross bar lines. This
1601 behavior can be changed by setting @code{allowBeamBreak}.
1603 @cindex @code{allowBeamBreak}
1604 @cindex beams and line breaks
1606 @cindex beams, kneed
1608 @cindex auto-knee-gap
1613 User manual: @ref{Changing context properties on the fly} for the
1619 @cindex Frenched staves
1620 Kneed beams are inserted automatically, when a large gap is detected
1621 between the note heads. This behavior can be tuned through the object
1624 Automatically kneed cross-staff beams cannot be used together with
1625 hidden staves. See @ref{Hiding staves}.
1627 Beams do not avoid collisions with symbols around the notes, such as
1628 texts and accidentals.
1633 @node Setting automatic beam behavior
1634 @subsection Setting automatic beam behavior
1636 @cindex @code{autoBeamSettings}
1637 @cindex @code{(end * * * *)}
1638 @cindex @code{(begin * * * *)}
1639 @cindex automatic beams, tuning
1640 @cindex tuning automatic beaming
1642 @c [TODO: use \applycontext]
1644 In normal time signatures, automatic beams can start on any note but can
1645 only end in a few positions within the measure: beams can end on a beat,
1646 or at durations specified by the properties in
1647 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1648 are defined in @file{scm/auto-beam.scm}.
1650 The value of @code{autoBeamSettings} is changed with two functions,
1652 #(override-auto-beam-setting
1653 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1655 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1657 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1658 @var{context} is an optional context (default: @code{'Voice}). It
1659 determines whether the rule applies to begin or end-points. The
1660 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1661 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1662 to a time signature (wildcards `@code{* *}' may be entered to
1663 designate all time signatures), @var{a}/@var{b} is a duration. By
1664 default, this command changes settings for the current voice. It is
1665 also possible to adjust settings at higher contexts, by adding a
1666 @var{context} argument.
1668 For example, if automatic beams should end on every quarter note, use
1671 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1673 Since the duration of a quarter note is 1/4 of a whole note, it is
1674 entered as @code{(ly:make-moment 1 4)}.
1676 The same syntax can be used to specify beam starting points. In this
1677 example, automatic beams can only end on a dotted quarter note
1679 #(override-auto-beam-setting '(end * * * *) 3 8)
1681 In 4/4 time signature, this means that automatic beams could end only on
1682 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1683 3/8, has passed within the measure).
1685 Rules can also be restricted to specific time signatures. A rule that
1686 should only be applied in @var{N}/@var{M} time signature is formed by
1687 replacing the second asterisks by @var{N} and @var{M}. For example, a
1688 rule for 6/8 time exclusively looks like
1690 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1693 If a rule should be to applied only to certain types of beams, use the
1694 first pair of asterisks. Beams are classified according to the
1695 shortest note they contain. For a beam ending rule that only applies
1696 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1699 @cindex automatic beam generation
1701 @cindex @code{autoBeaming}
1704 If beams are used to indicate melismata in songs, then automatic
1705 beaming should be switched off. This is done by setting
1706 @code{autoBeaming} to @code{#f}.
1710 @cindex @code{\autoBeamOff}
1711 @code{\autoBeamOff},
1712 @cindex @code{\autoBeamOn}
1718 If a score ends while an automatic beam has not been ended and is
1719 still accepting notes, this last beam will not be typeset at all. The
1720 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1721 >>}. If a polyphonic voice ends while an automatic beam is still
1722 accepting notes, it is not typeset.
1724 The rules for ending a beam depend on the shortest note in a beam.
1725 So, while it is possible to have different ending rules for eight
1726 beams and sixteenth beams, a beam that contains both eight and
1727 sixteenth notes will use the rules for the sixteenth beam.
1729 In the example below, the autobeamer makes eighth beams and sixteenth
1730 end at three eighths. The third beam can only be corrected by
1731 specifying manual beaming.
1733 @lilypond[quote,raggedright,fragment,relative=1]
1734 #(override-auto-beam-setting '(end * * * *) 3 8)
1735 % rather show case where it goes wrong
1736 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1737 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1739 It is not possible to specify beaming parameters that act differently in
1740 different parts of a measure. This means that it is not possible to use
1741 automatic beaming in irregular meters such as @code{5/8}.
1743 @node Beam formatting
1744 @subsection Beam formatting
1747 When a beam falls in the middle of the staff, the beams point normally
1748 down. However, this behaviour can be altered with the
1749 @code{neutral-direction} property.
1755 \override Beam #'neutral-direction = #-1
1757 \override Beam #'neutral-direction = #1
1763 @section Accidentals
1766 This section describes how to change the way that accidentals are
1767 inserted automatically before the running notes.
1769 Common rules for typesetting accidentals have been canned in a
1770 function. This function is called as follows
1772 @cindex @code{set-accidental-style}
1774 #(set-accidental-style 'modern 'Voice)
1777 The function takes two arguments: a symbol that denotes the style (in
1778 the example, @code{modern}), and another symbol that denotes the
1779 context name (in this example, @code{Voice}). If no context name is
1780 supplied, @code{Staff} is the default.
1782 The following styles are supported
1785 This is the default typesetting behavior. It should correspond
1786 to 18th century common practice: Accidentals are
1787 remembered to the end of the measure in which they occur and
1788 only on their own octave.
1792 The normal behavior is to remember the accidentals on
1793 Staff-level. This variable, however, typesets accidentals
1794 individually for each voice. Apart from that, the rule is similar to
1798 accidentals from one voice do not get canceled in other
1799 voices, which is often unwanted result
1801 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1803 #(set-accidental-style 'voice)
1810 The @code{voice} option should be used if the voices
1811 are to be read solely by individual musicians. If the staff is to be
1812 used by one musician (e.g. a conductor) then
1813 @code{modern} or @code{modern-cautionary}
1814 should be used instead.
1817 @cindex @code{modern} style accidentals
1818 This rule corresponds to the common practice in the 20th
1820 This rule prints the same accidentals as @code{default}, but temporary
1821 accidentals also are canceled in other octaves. Furthermore,
1822 in the same octave, they also get canceled in the following
1825 @lilypond[quote,raggedright,fragment,verbatim]
1826 #(set-accidental-style 'modern)
1827 cis' c'' cis'2 | c'' c'
1830 @item @code{modern-cautionary}
1831 @cindex @code{modern-cautionary}
1832 This rule is similar to @code{modern}, but the
1833 ``extra'' accidentals (the ones not typeset by
1834 @code{default}) are typeset as cautionary accidentals.
1835 They are printed in reduced size or with parentheses
1836 @lilypond[quote,raggedright,fragment,verbatim]
1837 #(set-accidental-style 'modern-cautionary)
1838 cis' c'' cis'2 | c'' c'
1841 @cindex @code{modern-voice}
1843 This rule is used for multivoice accidentals to be read both by musicians
1844 playing one voice and musicians playing all voices. Accidentals are
1845 typeset for each voice, but they @emph{are} canceled across voices in
1846 the same @internalsref{Staff}.
1848 @cindex @code{modern-voice-cautionary}
1849 @item modern-voice-cautionary
1850 This rule is the same as @code{modern-voice}, but with the extra
1851 accidentals (the ones not typeset by @code{voice}) typeset
1852 as cautionaries. Even though all accidentals typeset by
1853 @code{default} @emph{are} typeset by this variable then
1854 some of them are typeset as cautionaries.
1857 @cindex @code{piano} accidentals
1858 This rule reflects 20th century practice for piano notation. Very similar to
1859 @code{modern} but accidentals also get canceled
1860 across the staves in the same @internalsref{GrandStaff} or
1861 @internalsref{PianoStaff}.
1863 @item piano-cautionary
1864 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1865 As @code{#(set-accidental-style 'piano)} but with the extra accidentals
1866 typeset as cautionaries.
1869 @cindex @code{no-reset} accidental style
1871 This is the same as @code{default} but with accidentals lasting
1872 ``forever'' and not only until the next measure
1873 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1874 #(set-accidental-style 'no-reset)
1879 This is sort of the opposite of @code{no-reset}: Accidentals
1880 are not remembered at all---and hence all accidentals are
1881 typeset relative to the key signature, regardless of what was
1884 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1885 #(set-accidental-style 'forget)
1886 \key d\major c4 c cis cis d d dis dis
1893 Program reference: @internalsref{Accidental_engraver},
1894 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1899 Simultaneous notes are considered to be entered in sequential
1900 mode. This means that in a chord the accidentals are typeset as if the
1901 notes in the chord happened once at a time - in the order in which
1902 they appear in the input file.
1904 This is a problem when accidentals in a chord depend on each other,
1905 which does not happen for the default accidental style. The problem
1906 can be solved by manually inserting @code{!} and @code{?} for the
1910 @node Expressive marks
1911 @section Expressive marks
1914 @c todo: should change ordering
1915 @c where to put text spanners, metronome marks,
1924 * Analysis brackets::
1927 * Fingering instructions::
1938 A slur indicates that notes are to be played bound or @emph{legato}.
1940 They are entered using parentheses
1941 @lilypond[quote,relative=2,fragment,verbatim]
1942 f( g a) a8 b( a4 g2 f4)
1946 The direction of a slur can be set with the
1950 \override Slur #'direction = #UP
1951 \slurUp % shortcut for the previous line
1955 However, there is a convenient shorthand for forcing slur
1956 directions. By adding @code{_} or @code{^} before the opening
1957 parentheses, the direction is also set. For example,
1959 @lilypond[relative=2,verbatim,fragment]
1963 Some composers write two slurs when they want legato chords. This can
1964 be achieved in LilyPond, by setting @code{doubleSlurs},
1966 @lilypond[verbatim,raggedright]
1968 \set doubleSlurs = ##t
1969 <c e>4 ( <d f> <c e> <d f> )
1977 @cindex @code{\slurUp}
1979 @cindex @code{\slurDown}
1981 @cindex @code{\slurBoth}
1983 @cindex @code{\slurDotted}
1985 @cindex @code{\slurSolid}
1990 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1993 @node Phrasing slurs
1994 @subsection Phrasing slurs
1996 @cindex phrasing slurs
1997 @cindex phrasing marks
1999 A phrasing slur (or phrasing mark) connects chords and is used to
2000 indicate a musical sentence. It is started using @code{\(} and @code{\)}
2003 @lilypond[quote,fragment,verbatim,relative=1]
2004 \time 6/4 c'\( d( e) f( e) d\)
2007 Typographically, the phrasing slur behaves almost exactly like a
2008 normal slur. However, they are treated as different objects. A
2009 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2010 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2011 @code{\phrasingSlurBoth}.
2013 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
2014 will only affect normal slurs and not phrasing slurs.
2018 @cindex @code{\phrasingSlurUp}
2019 @code{\phrasingSlurUp},
2020 @cindex @code{\phrasingSlurDown}
2021 @code{\phrasingSlurDown},
2022 @cindex @code{\phrasingSlurBoth}
2023 @code{\phrasingSlurBoth}.
2027 Program reference: see also @internalsref{PhrasingSlur}, and
2028 @internalsref{PhrasingSlurEvent}.
2032 Putting phrasing slurs over rests leads to spurious warnings.
2035 @subsection Breath marks
2037 Breath marks are entered using @code{\breathe}
2040 @lilypond[quote,fragment,relative=1,verbatim]
2044 The glyph of the breath mark can be tuned by overriding the
2045 @code{text} property of the @code{BreathingSign} layout object with
2046 any markup text. For example,
2047 @lilypond[quote,fragment,verbatim,relative=1]
2049 \override BreathingSign #'text
2050 = #(make-musicglyph-markup "scripts-rvarcomma")
2057 Program reference: @internalsref{BreathingSign},
2058 @internalsref{BreathingSignEvent}.
2060 Examples: @inputfileref{input/regression,breathing-sign.ly}.
2063 @node Metronome marks
2064 @subsection Metronome marks
2067 @cindex beats per minute
2068 @cindex metronome marking
2070 Metronome settings can be entered as follows
2072 i \tempo @var{duration} = @var{per-minute}
2075 In the MIDI output, they are interpreted as a tempo change, and in the
2076 paper output, a metronome marking is printed
2077 @cindex @code{\tempo}
2078 @lilypond[quote,fragment,verbatim]
2084 Program reference: @internalsref{MetronomeChangeEvent}.
2089 @subsection Text spanners
2090 @cindex Text spanners
2092 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2093 are written as texts, and extended over many measures with dotted
2094 lines. Such texts are created using text spanners: attach
2095 @code{\startTextSpan} and @code{\stopTextSpan} to the start and ending
2096 note of the spanner.
2098 The string to be printed, as well as the style, is set through object
2101 @lilypond[quote,fragment,relative=1,verbatim]
2104 \override TextSpanner #'direction = #-1
2105 \override TextSpanner #'edge-text = #'("rall " . "")
2106 c2\startTextSpan b c\stopTextSpan a
2113 Internals @internalsref{TextSpanEvent},
2114 @internalsref{TextSpanner}.
2116 Examples: @inputfileref{input/regression,text-spanner.ly}.
2119 @node Analysis brackets
2120 @subsection Analysis brackets
2122 @cindex phrasing brackets
2123 @cindex musicological analysis
2124 @cindex note grouping bracket
2126 Brackets are used in musical analysis to indicate structure in musical
2127 pieces. LilyPond supports a simple form of nested horizontal brackets.
2128 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2129 @internalsref{Staff} context. A bracket is started with
2130 @code{\startGroup} and closed with @code{\stopGroup}
2132 @lilypond[quote,raggedright,verbatim]
2135 c4\startGroup\startGroup
2138 c4\stopGroup\stopGroup
2142 \Staff \consists "Horizontal_bracket_engraver"
2148 Program reference: @internalsref{HorizontalBracket},
2149 @internalsref{NoteGroupingEvent}.
2151 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2155 @subsection Articulations
2156 @cindex Articulations
2158 @cindex articulations
2162 A variety of symbols can appear above and below notes to indicate
2163 different characteristics of the performance. They are added to a note
2164 by adding a dash and the character signifying the
2165 articulation. They are demonstrated here
2167 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2169 The meanings of these shorthands can be changed. See
2170 @file{ly/script-init.ly} for examples.
2173 The script is automatically placed, but the direction can be forced as
2174 well. @code{_} will put them down, and @code{^} will put them up,
2177 @lilypond[quote,fragment,verbatim]
2181 Other symbols can be added using the syntax
2182 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2183 can be forced up or down using @code{^} and @code{_},
2186 @lilypond[quote,verbatim,fragment,relative=2]
2187 c\fermata c^\fermata c_\fermata
2194 @cindex staccatissimo
2203 @cindex organ pedal marks
2212 @cindex prallmordent
2216 @cindex thumb marking
2221 Here is a chart showing all scripts available,
2223 @lilypondfile[quote]{script-chart.ly}
2226 The vertical ordering of scripts is controlled with the
2227 @code{script-priority} property. The lower this number, the closer it
2228 will be put to the note. In this example, the
2229 @internalsref{TextScript} (the sharp symbol) first has the lowest
2230 priority, so it is put lowest in the first example. In the second, the
2231 prall trill (the @internalsref{Script}) has the lowest, so it on the
2232 inside. When two objects have the same priority, the order in which
2233 they are entered decides which one comes first.
2236 @lilypond[verbatim,raggedright]
2238 \once \override TextScript #'script-priority = #-100
2239 a4^\prall^\markup { \sharp }
2241 \once \override Script #'script-priority = #-100
2242 a4^\prall^\markup { \sharp }
2251 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2255 These signs appear in the printed output but have no effect on the
2256 MIDI rendering of the music.
2260 @node Running trills
2261 @subsection Running trills
2263 Long running trills are made with @code{\startTrillSpan} and
2264 @code{\stopTrillSpan},
2267 @lilypond[verbatim,raggedright]
2268 \relative \new Voice {
2269 << { c1 \startTrillSpan }
2270 { s2. \grace { d16[\stopTrillSpan e] } } >>
2276 @code{\startTrillSpan},
2277 @cindex @code{\startTrillSpan}
2278 @code{\stopTrillSpan}.
2279 @cindex @code{\stopTrillSpan}
2283 Program reference: @internalsref{TrillSpanner},
2284 @internalsref{TrillSpanEvent}.
2286 @node Fingering instructions
2287 @subsection Fingering instructions
2291 Fingering instructions can be entered using
2293 @var{note}-@var{digit}
2295 For finger changes, use markup texts
2297 @lilypond[quote,verbatim,raggedright,fragment]
2298 c'4-1 c'4-2 c'4-3 c'4-4
2299 c'^\markup { \finger "2-3" }
2302 @cindex finger change
2307 You can use the thumb-script to indicate that a note should be
2308 played with the thumb (e.g. in cello music)
2310 @lilypond[quote,verbatim,raggedright,fragment]
2311 <a'_\thumb a''-3>8 <b'_\thumb b''-3>
2314 Fingerings for chords can also be added to individual notes
2315 of the chord by adding them after the pitches
2316 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2317 < c-1 e-2 g-3 b-5 >4
2321 In this case, setting @code{fingeringOrientations} will put fingerings next
2324 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2325 \set fingeringOrientations = #'(left down)
2326 <c-1 es-2 g-4 bes-5 > 4
2327 \set fingeringOrientations = #'(up right down)
2328 <c-1 es-2 g-4 bes-5 > 4
2331 Using this feature, it is also possible to put fingering instructions
2332 very close to note heads in monophonic music,
2334 @lilypond[verbatim,raggedright]
2336 \set fingeringOrientations = #'(right)
2344 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2346 Examples: @inputfileref{input/regression,finger-chords.ly}.
2349 @subsection Text scripts
2350 @cindex Text scripts
2352 @cindex text items, non-empty
2353 @cindex non-empty texts
2355 It is possible to place arbitrary strings of text or markup text (see
2356 @ref{Text markup}) above or below notes by using a string
2357 @code{c^"text"}. By default, these indications do not influence the
2358 note spacing, but by using the command @code{\fatText}, the widths
2359 will be taken into account
2361 @lilypond[quote,fragment,raggedright,verbatim]
2363 c4^"longtext" \fatText c4_"longlongtext" c4
2367 More complex formatting may also be added to a note by using the
2369 @lilypond[fragment,raggedright,verbatim]
2371 c'4^\markup { bla \bold bla }
2375 The @code{\markup} is described in more detail in
2381 @cindex @code{\fatText}
2383 @cindex @code{\emptyText}
2388 In this manual: @ref{Text markup}.
2390 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2396 @subsection Grace notes
2399 @c should have blurb about accaciatura / appogiatura
2401 @cindex @code{\grace}
2405 Grace notes are ornaments that are written out. The most common ones
2406 are acciaccatura, which should be played as very short. It is denoted
2407 by a slurred small note with a slashed stem. The appoggiatura is a
2408 grace note that takes a fixed fraction of the main note, is and
2409 denoted as a slurred note in small print without a slash.
2410 They are entered with the commands @code{\acciaccatura} and
2411 @code{\appoggiatura}, as demonstrated in the following example
2414 @cindex appoggiatura
2415 @cindex acciaccatura
2417 @lilypond[quote,relative=2,verbatim,fragment]
2418 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2419 \acciaccatura { g16[ f] } e4
2422 Both are special forms of the @code{\grace} command. By prefixing this
2423 keyword to a music expression, a new one is formed, which will be
2424 printed in a smaller font and takes up no logical time in a measure.
2426 @lilypond[quote,relative=2,verbatim,fragment]
2428 \grace { c16[ d16] } c2 c4
2432 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2433 @code{\grace} command does not start a slur.
2435 Internally, timing for grace notes is done using a second, `grace'
2436 time. Every point in time consists of two rational numbers: one
2437 denotes the logical time, one denotes the grace timing. The above
2438 example is shown here with timing tuples
2440 @lilypond[quote,raggedright]
2443 c4 \grace c16 c4 \grace {
2446 \new Lyrics \lyrics {
2447 \override LyricText #'font-family = #'typewriter
2451 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2452 \markup { (\fraction 1 4 , 0 ) } 4
2454 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2455 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2457 \markup { ( \fraction 2 4 , 0 ) }
2463 The placement of grace notes is synchronized between different staves.
2464 In the following example, there are two sixteenth graces notes for
2465 every eighth grace note
2467 @lilypond[quote,relative=2,verbatim,fragment]
2468 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2469 \new Staff { c4 \grace { g8[ b] } c4 } >>
2474 If you want to end a note with a grace, the standard trick is to put
2475 the grace notes after a ``space note''
2477 @lilypond[quote,fragment,verbatim,relative=2]
2480 { s2 \grace { c16[ d] } } >>
2486 By adjusting the duration of the skip note (here it is a half-note),
2487 the space between the main-note and the grace is adjusted.
2490 A @code{\grace} section will introduce special typesetting settings,
2491 for example, to produce smaller type, and set directions. Hence, when
2492 introducing layout tweaks, they should be inside the grace section,
2494 @lilypond[quote,fragment,verbatim,relative=2]
2497 \override Stem #'direction = #-1
2499 \revert Stem #'direction
2506 The overrides should also be reverted inside the grace section.
2508 The layout of grace sections can be changed throughout the music using
2509 the function @code{add-grace-property}. The following example
2510 undefines the Stem direction for this grace, so stems do not always
2515 #(add-grace-property 'Voice 'Stem 'direction '())
2521 Another option is to change the variables @code{startGraceMusic},
2522 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2523 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2524 @code{stopAppoggiaturaMusic}. More information is in the file
2525 @file{ly/grace-init.ly}.
2530 Program reference: @internalsref{GraceMusic}.
2534 A score that starts with a @code{\grace} section needs an explicit
2535 @code{\context Voice} declaration, otherwise the main note and grace
2536 note end up on different staves.
2538 Grace note synchronization can also lead to surprises. Staff notation,
2539 such as key signatures, bar lines, etc. are also synchronized. Take
2540 care when you mix staves with grace notes and staves without, for example,
2542 @lilypond[quote,relative=2,verbatim,fragment]
2543 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2544 \new Staff { c4 \bar "|:" d4 } >>
2548 This can be remedied by inserting grace skips, for the above example
2551 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2554 Grace sections should only be used within sequential music
2555 expressions. Nesting or juxtaposing grace sections is not supported,
2556 and might produce crashes or other errors.
2560 @subsection Glissando
2563 @cindex @code{\glissando}
2565 A glissando is a smooth change in pitch. It is denoted by a line or a
2566 wavy line between two notes. It is requested by attaching
2567 @code{\glissando} to a note
2569 @lilypond[quote,fragment,relative=1,verbatim]
2575 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2577 Example files: @file{input/regression,glissando.ly}
2583 Printing text over the line (such as @emph{gliss.}) is not supported.
2587 @subsection Dynamics
2600 @cindex @code{\ffff}
2610 Absolute dynamic marks are specified using a command after a note
2611 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2612 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2613 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2614 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2616 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2617 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2627 A crescendo mark is started with @code{\<} and terminated with
2628 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2629 with @code{\!}. Because these marks are bound to notes, if you must
2630 use spacer notes if multiple marks are needed during one note
2632 @lilypond[quote,fragment,verbatim]
2633 c''\< c''\! d''\> e''\!
2634 << f''1 { s4 s4\< s4\! \> s4\! } >>
2636 This may give rise to very short hairpins. Use @code{minimum-length}
2637 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2641 \override Staff.Hairpin #'minimum-length = #5
2644 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2645 is an example how to do it
2647 @lilypond[quote,fragment,relative=2,verbatim]
2657 You can also supply your own texts
2658 @lilypond[quote,fragment,relative=1,verbatim]
2660 \set crescendoText = \markup { \italic "cresc. poco" }
2661 \set crescendoSpanner = #'dashed-line
2671 @cindex @code{\dynamicUp}
2673 @cindex @code{\dynamicDown}
2674 @code{\dynamicDown},
2675 @cindex @code{\dynamicBoth}
2676 @code{\dynamicBoth}.
2678 @cindex direction, of dynamics
2682 Program reference: @internalsref{CrescendoEvent},
2683 @internalsref{DecrescendoEvent}, and
2684 @internalsref{AbsoluteDynamicEvent}.
2686 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2687 objects. Vertical positioning of these symbols is handled by the
2688 @internalsref{DynamicLineSpanner} object.
2696 @cindex @code{\repeat}
2699 Repetition is a central concept in music, and multiple notations exist
2700 for repetitions. In LilyPond, most of these notations can be captured
2701 in a uniform syntax. One of the advantages is that repeats entered in
2702 this way can be rendered in MIDI accurately.
2704 The following types of repetition are supported
2708 Repeated music is fully written (played) out. Useful for MIDI
2709 output, and entering repetitive music.
2712 Repeats are not written out, but alternative endings (volte) are
2713 printed, left to right with brackets. This is the standard notation
2714 for repeats with alternatives.
2718 Alternative endings are written stacked. This has limited use but may be
2719 used to typeset two lines of lyrics in songs with repeats, see
2720 @inputfileref{input,star-spangled-banner.ly}.
2728 Make beat or measure repeats. These look like percent signs.
2734 * Repeats and MIDI::
2735 * Manual repeat commands::
2737 * Tremolo subdivisions::
2742 @subsection Repeat syntax
2745 LilyPond has one syntactic construct for specifying different types of
2746 repeats. The syntax is
2749 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2752 If you have alternative endings, you may add
2753 @cindex @code{\alternative}
2755 \alternative @code{@{} @var{alternative1}
2757 @var{alternative3} @dots{} @code{@}}
2759 where each @var{alternative} is a music expression. If you do not
2760 give enough alternatives for all of the repeats, the first alternative
2761 is assumed to be played more than once.
2763 Standard repeats are used like this
2764 @lilypond[quote,fragment,verbatim,relative=2]
2766 \repeat volta 2 { c4 d e f }
2767 \repeat volta 2 { f e d c }
2770 With alternative endings
2771 @lilypond[quote,fragment,verbatim,relative=2]
2773 \repeat volta 2 {c4 d e f}
2774 \alternative { {d2 d} {f f,} }
2778 @lilypond[quote,fragment,verbatim,relative=2]
2781 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2782 \alternative { { g4 g g } { a | a a a a | b2. } }
2786 It is possible to shorten volta brackets
2787 by setting @code{voltaSpannerDuration}. In the next example, the
2788 bracket only lasts one measure, which is a duration of 3/4.
2792 @lilypond[verbatim,raggedright]
2796 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2797 \repeat "volta" 5 { d d d }
2798 \alternative { { e e e f f f }
2808 Brackets for the repeat are normally only printed over the topmost
2809 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2810 property @inputfileref{input/regression,volta-multi-staff.ly},
2811 @inputfileref{input/regression,volta-chord-names.ly}
2816 A nested repeat like
2825 is ambiguous, since it is is not clear to which @code{\repeat} the
2826 @code{\alternative} belongs. This ambiguity is resolved by always
2827 having the @code{\alternative} belong to the inner @code{\repeat}.
2828 For clarity, it is advisable to use braces in such situations.
2833 Timing information is not remembered at the start of an alternative,
2834 so after a repeat timing information must be reset by hand, for
2835 example by setting @code{Score.measurePosition} or entering
2836 @code{\partial}. Similarly, slurs or ties are also not repeated.
2841 @node Repeats and MIDI
2842 @subsection Repeats and MIDI
2844 @cindex expanding repeats
2846 An advantage of the unified syntax for repeats, is that all repeats
2847 may be played out for the MIDI output. This is achieved by
2848 applying the @code{\unfoldrepeats} music function.
2850 @lilypond[verbatim,raggedright]
2853 \repeat tremolo 8 {c'32 e' }
2854 \repeat percent 2 { c''8 d'' }
2855 \repeat volta 2 {c'4 d' e' f'}
2864 When creating a score file using @code{\unfoldrepeats} for midi, then
2865 it is necessary to make two @code{\score} blocks. One for MIDI, with
2866 unfolded repeats, and one for notation, eg.
2874 \unfoldrepeats @var{..music..}
2879 @node Manual repeat commands
2880 @subsection Manual repeat commands
2882 @cindex @code{repeatCommands}
2884 The property @code{repeatCommands} can be used to control the layout of
2885 repeats. Its value is a Scheme list of repeat commands, where each repeat
2889 @item @code{start-repeat},
2890 which prints a @code{|:} bar line;
2891 @item @code{end-repeat},
2892 which prints a @code{:|} bar line;
2893 @item @code{(volta @var{text})},
2894 which prints a volta bracket saying @var{text}: The text can be specified as
2895 a text string or as a markup text, see @ref{Text markup}. Do not
2896 forget to change the font, as the default number font does not contain
2897 alphabetic characters;
2898 @item @code{(volta #f)}, which
2899 stops a running volta bracket.
2902 @lilypond[quote,verbatim,fragment,relative=2]
2904 \set Score.repeatCommands = #'((volta "93") end-repeat)
2906 \set Score.repeatCommands = #'((volta #f))
2914 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2915 @internalsref{VoltaRepeatedMusic},
2916 @internalsref{UnfoldedRepeatedMusic}, and
2917 @internalsref{FoldedRepeatedMusic}.
2919 @node Tremolo repeats
2920 @subsection Tremolo repeats
2921 @cindex tremolo beams
2923 To place tremolo marks between notes, use @code{\repeat} with tremolo
2925 @lilypond[quote,verbatim,raggedright]
2926 \context Voice \relative c' {
2927 \repeat "tremolo" 8 { c16 d16 }
2928 \repeat "tremolo" 4 { c16 d16 }
2929 \repeat "tremolo" 2 { c16 d16 }
2933 Tremolo marks can also be put on a single note. In this case, the
2934 note should not be surrounded by braces.
2935 @lilypond[quote,verbatim,raggedright]
2936 \repeat "tremolo" 4 c'16
2939 Similar output is obtained using the tremolo subdivision, described in
2940 @ref{Tremolo subdivisions}.
2944 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2946 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2947 tremolos are @internalsref{StemTremolo} objects. The music expression is
2948 @internalsref{TremoloEvent}.
2950 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2951 @inputfileref{input/regression,stem-tremolo.ly}.
2953 @node Tremolo subdivisions
2954 @subsection Tremolo subdivisions
2955 @cindex tremolo marks
2956 @cindex @code{tremoloFlags}
2958 Tremolo marks can be printed on a single note by adding
2959 `@code{:}[@var{number}]' after the note. The number indicates the
2960 duration of the subdivision, and it must be at least 8. A
2961 @var{length} value of 8 gives one line across the note stem. If the
2962 length is omitted, the last value (stored in @code{tremoloFlags}) is
2965 @lilypond[quote,verbatim,fragment]
2966 c'2:8 c':32 | c': c': |
2969 @c [TODO : stok is te kort bij 32en]
2973 Tremolos entered in this way do not carry over into the MIDI output.
2977 In this manual: @ref{Tremolo repeats}.
2979 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2981 @node Measure repeats
2982 @subsection Measure repeats
2984 @cindex percent repeats
2985 @cindex measure repeats
2987 In the @code{percent} style, a note pattern can be repeated. It is
2988 printed once, and then the pattern is replaced with a special sign.
2989 Patterns of one and two measures are replaced by percent-like signs,
2990 patterns that divide the measure length are replaced by slashes
2992 @lilypond[quote,verbatim,raggedright]
2994 \repeat "percent" 4 { c'4 }
2995 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
3001 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3002 @internalsref{PercentRepeatedMusic}, and
3003 @internalsref{DoublePercentRepeat}.
3007 @node Rhythmic music
3008 @section Rhythmic music
3012 * Showing melody rhythms::
3013 * Entering percussion::
3014 * Percussion staves::
3018 @node Showing melody rhythms
3019 @subsection Showing melody rhythms
3021 Sometimes you might want to show only the rhythm of a melody. This
3022 can be done with the rhythmic staff. All pitches of notes on such a
3023 staff are squashed, and the staff itself has a single line
3025 @lilypond[quote,fragment,relative=1,verbatim]
3026 \context RhythmicStaff {
3028 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3034 Program reference: @internalsref{RhythmicStaff}.
3036 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
3039 @node Entering percussion
3040 @subsection Entering percussion
3046 Percussion notes may be entered in @code{\drums} mode, which is
3047 similar to the standard mode for entering notes. Each piece of
3048 percussion has a full name and an abbreviated name, and both can be used
3051 @lilypond[quote,raggedright,verbatim]
3052 \new DrumStaff \drums {
3053 hihat hh bassdrum bd
3057 The complete list of drum names is in the init file
3058 @file{ly/drumpitch-init.ly}.
3059 @c TODO: properly document this.
3063 Program reference: @internalsref{DrumNoteEvent}.
3065 @node Percussion staves
3066 @subsection Percussion staves
3070 A percussion part for more than one instrument typically uses a
3071 multi line staff where each position in the staff refers to one piece
3075 To typeset the music, the notes must be interpreted in a
3076 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3079 @lilypond[quote,raggedright,verbatim]
3080 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3081 down = \drums { bassdrum4 snare8 bd r bd sn4 }
3083 \new DrumVoice { \voiceOne \up }
3084 \new DrumVoice { \voiceTwo \down }
3088 The above example shows verbose polyphonic notation. The short
3089 polyphonic notation, described in @ref{Polyphony}, can also be used if
3090 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3092 @lilypond[quote,fragment,verbatim]
3094 \context DrumVoice = "1" { s1 *2 }
3095 \context DrumVoice = "2" { s1 *2 }
3099 { \repeat unfold 16 hh16 }
3108 There are also other layout possibilities. To use these, set the
3109 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3110 The following variables have been predefined
3114 This is the default. It typesets a typical drum kit on a five-line staff
3116 @lilypond[quote,noindent]
3117 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
3118 bd sn ss tomh tommh tomml toml tomfh tomfl }
3119 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
3120 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3122 << \new DrumStaff\with {
3123 \remove Bar_engraver
3124 \remove Time_signature_engraver
3125 \override Stem #'transparent = ##t
3126 \override Stem #'Y-extent-callback = ##f
3127 minimumVerticalExtent = #'(-4.0 . 5.0)
3129 \context Lyrics \nam
3132 %% need to do this, because of indented @itemize
3135 \override LyricText #'font-family = #'typewriter
3136 \override BarNumber #'transparent =##T
3140 The drum scheme supports six different toms. When there fewer toms, simply
3141 select the toms that produce the desired result, i.e. to get toms on
3142 the three middle lines you use @code{tommh}, @code{tomml} and
3145 @item timbales-style
3146 This typesets timbales on a two line staff
3148 @lilypond[quote,raggedright]
3149 nam = \lyrics { timh ssh timl ssl cb }
3150 mus = \drums { timh ssh timl ssl cb s16 }
3153 \context DrumStaff \with {
3154 \remove Bar_engraver
3155 \remove Time_signature_engraver
3156 \override Stem #'transparent = ##t
3157 \override Stem #'Y-extent-callback = ##f
3158 \override StaffSymbol #'line-count = #2
3159 \override StaffSymbol #'staff-space = #2
3160 minimumVerticalExtent = #'(-3.0 . 4.0)
3161 drumStyleTable = #timbales-style
3164 \override LyricText #'font-family = #'typewriter
3170 This typesets congas on a two line staff
3172 @lilypond[quote,raggedright]
3173 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
3174 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3176 \context DrumStaff\with {
3177 \remove Bar_engraver
3178 \remove Time_signature_engraver
3179 drumStyleTable = #congas-style
3180 \override StaffSymbol #'line-count = #2
3182 %% this sucks; it will lengthen stems.
3183 \override StaffSymbol #'staff-space = #2
3184 \override Stem #'transparent = ##t
3185 \override Stem #'Y-extent-callback = ##f
3188 \override LyricText #'font-family = #'typewriter
3193 This typesets bongos on a two line staff
3195 @lilypond[quote,raggedright]
3196 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
3197 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
3199 \context DrumStaff\with {
3200 \remove Bar_engraver
3201 \remove Time_signature_engraver
3202 \override StaffSymbol #'line-count = #2
3203 drumStyleTable = #bongos-style
3205 %% this sucks; it will lengthen stems.
3206 \override StaffSymbol #'staff-space = #2
3207 \override Stem #'transparent = ##t
3208 \override Stem #'Y-extent-callback = ##f
3211 \override LyricText #'font-family = #'typewriter
3216 @item percussion-style
3217 to typeset all kinds of simple percussion on one line staves
3218 @lilypond[quote,raggedright]
3219 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
3220 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3222 \context DrumStaff\with{
3223 \remove Bar_engraver
3224 drumStyleTable = #percussion-style
3225 \override StaffSymbol #'line-count = #1
3226 \remove Time_signature_engraver
3227 \override Stem #'transparent = ##t
3228 \override Stem #'Y-extent-callback = ##f
3231 \override LyricText #'font-family = #'typewriter
3238 If you do not like any of the predefined lists you can define your own
3239 list at the top of your file
3241 @lilypond[quote,raggedright,verbatim]
3243 (bassdrum default #f -1)
3244 (snare default #f 0)
3246 (pedalhihat xcircle "stopped" 2)
3247 (lowtom diamond #f 3)))
3248 up = \drums { hh8 hh hh hh hhp4 hhp }
3249 down = \drums { bd4 sn bd toml8 toml }
3252 \set DrumStaff.drumStyleTable
3253 = #(alist->hash-table mydrums)
3254 \new DrumVoice { \voiceOne \up }
3255 \new DrumVoice { \voiceTwo \down }
3262 Init files: @file{ly/drumpitch-init.ly}.
3264 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3268 Because general MIDI does not contain rim shots, the sidestick is used
3269 for this purpose instead.
3272 @section Piano music
3274 Piano staves are two normal staves coupled with a brace. The staves
3275 are largely independent, but sometimes voices can cross between the
3276 two staves. The same notation is also used for harps and other key
3277 instruments. The @internalsref{PianoStaff} is especially built to
3278 handle this cross-staffing behavior. In this section we discuss the
3279 @internalsref{PianoStaff} and some other pianistic peculiarities.
3283 * Automatic staff changes::
3284 * Manual staff switches::
3287 * Staff switch lines::
3288 * Cross staff stems::
3293 Dynamics are not centered, but workarounds do exist. See
3294 @inputfileref{input/template,piano-dynamics.ly}.
3296 @cindex cross staff stem
3297 @cindex stem, cross staff
3298 @cindex distance between staves in piano music
3300 The distance between the two staves is the same for all systems in the
3301 score. It is possible to override this per system, but it does require
3302 an arcane command incantation. See
3303 @inputfileref{input/test,piano-staff-distance.ly}.
3306 @node Automatic staff changes
3307 @subsection Automatic staff changes
3308 @cindex Automatic staff changes
3310 Voices can be made to switch automatically between the top and the bottom
3311 staff. The syntax for this is
3315 \autochange \context Voice @dots{}@var{music}@dots{}
3320 The two staves of the piano staff must be named @code{up} and
3323 A @code{\relative} section that is outside of @code{\autochange} has
3324 no effect on the pitches of @var{music}, so, if necessary, put
3325 @code{\relative} inside @code{\autochange} like
3329 \autochange \relative @dots{} \new Voice @dots{}
3334 The autochanger switches on basis of pitch (middle C is the turning
3335 point), and it looks ahead skipping over rests to switch in
3336 advance. Here is a practical example
3338 @lilypond[quote,verbatim,raggedright]
3339 \context PianoStaff <<
3340 \context Staff = "up" {
3341 \autochange \new Voice \relative c' {
3342 g4 a b c d r4 a g } }
3343 \context Staff = "down" {
3350 In this example, spacer rests are used to prevent empty staves from
3351 being terminated too soon.
3356 In this manual: @ref{Manual staff switches}.
3358 Program reference: @internalsref{AutoChangeMusic}.
3364 The staff switches may not end up in optimal places. For high
3365 quality output, staff switches should be specified manually.
3368 @code{\autochange} cannot be inside @code{\times}.
3370 Internally, the @code{\partcombine} interprets both arguments as
3371 @code{Voice}s named @code{one} and @code{two}, and then decides when
3372 the parts can be combined. Consequently, if the arguments switch to
3373 differently named @internalsref{Voice} contexts, the events in those
3377 @node Manual staff switches
3378 @subsection Manual staff switches
3380 @cindex manual staff switches
3381 @cindex staff switch, manual
3383 Voices can be switched between staves manually, using the command
3385 \change Staff = @var{staffname} @var{music}
3389 The string @var{staffname} is the name of the staff. It switches the
3390 current voice from its current staff to the Staff called
3391 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3392 @code{"down"}. The @context{Staff} referred to must already exist, so
3393 usually the setup for a score will start with a setup of the staves,
3397 \context Staff = up @{
3398 \skip 1 * 10 %@emph{ keep staff alive}
3400 \context Staff = down @{
3401 \skip 1 * 10 %@emph{idem}
3407 and the @context{Voice} is inserted afterwards
3410 \context Staff = down
3411 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3419 Pianos have pedals that alter the way sound is produced. Generally, a
3420 piano has three pedals, sustain, una corda, and sostenuto.
3423 Piano pedal instruction can be expressed by attaching
3424 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3425 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3428 @lilypond[quote,fragment,verbatim]
3429 c'4\sustainDown c'4\sustainUp
3432 What is printed can be modified by setting @code{pedal@var{X}Strings},
3433 where @var{X} is one of the pedal types: @code{Sustain},
3434 @code{Sostenuto} or @code{UnaCorda}. Refer to
3435 @internalsref{SustainPedal} in the program reference for more
3438 Pedals can also be indicated by a sequence of brackets, by setting the
3439 @code{pedalSustainStyle} property to bracket objects
3441 @lilypond[quote,fragment,verbatim,relative=2]
3442 \set Staff.pedalSustainStyle = #'bracket
3444 b\sustainUp\sustainDown
3445 b g \sustainUp a \sustainDown \bar "|."
3448 A third style of pedal notation is a mixture of text and brackets,
3449 obtained by setting the @code{pedalSustainStyle} style property to
3452 @lilypond[quote,fragment,verbatim,relative=2]
3453 \set Staff.pedalSustainStyle = #'mixed
3455 b\sustainUp\sustainDown
3456 b g \sustainUp a \sustainDown \bar "|."
3459 The default `*Ped.' style for sustain and damper pedals corresponds to
3460 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3463 @lilypond[quote,fragment,verbatim,relative=2]
3464 c\sostenutoDown d e c, f g a\sostenutoUp
3467 For fine-tuning of the appearance of a pedal bracket, the properties
3468 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3469 @code{PianoPedalBracket} objects (see
3470 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3471 bracket may be extended to the right edge of the note head
3473 @lilypond[quote,fragment,verbatim,relative=2]
3474 \override Staff.PianoPedalBracket
3475 #'shorten-pair = #'(0 . -1.0)
3476 c\sostenutoDown d e c, f g a\sostenutoUp
3480 @subsection Arpeggio
3483 @cindex broken arpeggio
3484 @cindex @code{\arpeggio}
3486 You can specify an arpeggio sign on a chord by attaching an
3487 @code{\arpeggio} to a chord
3490 @lilypond[quote,fragment,relative=1,verbatim]
3494 When an arpeggio crosses staves, you attach an arpeggio to the chords
3495 in both staves, and set
3496 @internalsref{PianoStaff}.@code{connectArpeggios}
3498 @lilypond[quote,fragment,relative=1,verbatim]
3499 \context PianoStaff <<
3500 \set PianoStaff.connectArpeggios = ##t
3501 \new Staff { <c' e g c>\arpeggio }
3502 \new Staff { \clef bass <c,, e g>\arpeggio }
3506 The direction of the arpeggio is sometimes denoted by adding an
3507 arrowhead to the wiggly line
3509 @lilypond[quote,fragment,relative=1,verbatim]
3518 A square bracket on the left indicates that the player should not
3519 arpeggiate the chord
3521 @c todo: ugh, lousy typography. Look for real example. --hwn
3523 @lilypond[quote,fragment,relative=1,verbatim]
3530 @cindex @code{\arpeggio}
3532 @cindex @code{\arpeggioUp}
3534 @cindex @code{\arpeggioDown}
3535 @code{\arpeggioDown},
3536 @cindex @code{\arpeggioBoth}
3537 @code{\arpeggioBoth},
3538 @cindex @code{\arpeggioBracket}
3539 @code{\arpeggioBracket}.
3543 Program reference: @internalsref{ArpeggioEvent},
3544 @internalsref{Arpeggio}.
3548 It is not possible to mix connected arpeggios and unconnected
3549 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3551 @node Staff switch lines
3552 @subsection Staff switch lines
3555 @cindex follow voice
3556 @cindex staff switching
3559 @cindex @code{followVoice}
3561 Whenever a voice switches to another staff a line connecting the notes
3562 can be printed automatically. This is switched on by setting
3563 @code{PianoStaff.followVoice} to true
3565 @lilypond[quote,fragment,relative=1,verbatim]
3566 \context PianoStaff <<
3567 \set PianoStaff.followVoice = ##t
3568 \context Staff \context Voice {
3573 \context Staff=two { \clef bass \skip 1*2 }
3579 Program reference: @internalsref{VoiceFollower}.
3583 @cindex @code{\showStaffSwitch}
3584 @code{\showStaffSwitch},
3585 @cindex @code{\hideStaffSwitch}
3586 @code{\hideStaffSwitch}.
3589 @node Cross staff stems
3590 @subsection Cross staff stems
3592 The chords which cross staves may be produced by increasing the length
3593 of the stem in the lower stave, so it reaches the stem in the upper
3594 stave, or vice versa.
3596 @lilypond[raggedright,verbatim]
3597 stemExtend = \once \override Stem #'length = #22
3598 noFlag = \once \override Stem #'flag-style = #'no-flag
3599 \context PianoStaff <<
3601 \stemDown \stemExtend
3615 @section Vocal music
3617 There are three different issues when printing vocal music
3621 Song texts must be entered as texts, not notes. For example, for
3622 lyrics, the input @code{a} should be interpreted as
3623 a one letter text, and not the note A.
3625 Song texts must be printed as text, and not as notes.
3627 Song texts must be aligned with the notes of their melody
3630 The simplest solution to printing music uses the @code{\addlyrics}
3631 function to deal with these three problems in one go. However, these
3632 three functions can be controlled separately, which is necessary
3633 for complex vocal music.
3637 * Setting simple songs::
3639 * Hyphens and extenders::
3640 * The Lyrics context::
3641 * Flexibility in alignment::
3646 @node Setting simple songs
3647 @subsection Setting simple songs
3649 The easiest way to add lyrics to a melody is to append
3652 \addlyrics @{ @var{the lyrics} @}
3656 to a melody. Here is an example,
3658 @lilypond[raggedright,verbatim]
3661 \relative { c2 e4 g2. }
3662 \addlyrics { play the game }
3666 More stanzas can be added by adding more
3667 @code{\addlyrics} sections
3669 @lilypond[raggedright,verbatim]
3672 \relative { c2 e4 g2. }
3673 \addlyrics { play the game }
3674 \addlyrics { speel het spel }
3675 \addlyrics { joue le jeu }
3679 @node Entering lyrics
3680 @subsection Entering lyrics
3684 @cindex @code{\lyrics}
3687 Lyrics are entered in a special input mode. This mode is is introduced
3688 by the keyword @code{\lyrics}. In this mode you can enter lyrics,
3689 with punctuation and accents, and the input @code{a} is not parsed as
3690 a pitch, but rather as a one letter syllable. Syllables are entered
3691 like notes, but with pitches replaced by text. For example,
3693 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3697 A word lyrics mode begins with an alphabetic character, and ends with
3698 any space or digit. The following characters can be any character
3699 that is not a digit or white space. One important consequence of this
3700 is that a word can end with @code{@}}. The following example is
3701 usually a bug. The syllable includes a @code{@}}, so the
3702 opening brace is not balanced
3704 \lyrics @{ twinkle@}
3707 @cindex @code{\property}, in @code{\lyrics}
3709 Similarly, a period following an alphabetic sequence, is included in
3710 the resulting string. As a consequence, spaces must be inserted around
3713 \override Score . LyricText #'font-shape = #'italic
3717 @cindex spaces, in lyrics
3718 @cindex quotes, in lyrics
3720 Any @code{_} character which appears in an unquoted word is converted
3721 to a space. This provides a mechanism for introducing spaces into words
3722 without using quotes. Quoted words can also be used in Lyrics mode to
3723 specify words that cannot be written with the above rules. The
3724 following example incorporates double quotes
3727 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3730 This example is slightly academic, since it gives better looking
3731 results to use single quotes, @code{``} and @code{''}
3733 \lyrics @{ He said: ``Let my peo ple go'' @}
3737 The full definition of a word start in Lyrics mode is somewhat more
3740 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3741 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3742 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3743 any 8-bit character with ASCII code over 127, or a two-character
3744 combination of a backslash followed by one of @code{`}, @code{'},
3745 @code{"}, or @code{^}.
3751 Program reference: events @internalsref{LyricEvent}, and
3752 @internalsref{LyricText}.
3756 The definition of lyrics mode is too complex.
3758 @node Hyphens and extenders
3759 @subsection Hyphens and extenders
3763 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3764 The hyphen will have variable length depending on the space between
3765 the syllables and it will be centered between the syllables.
3770 When a lyric is sung over many notes (this is called a melisma), this is
3771 indicated with a horizontal line centered between a syllable and the
3772 next one. Such a line is called an extender line, and it is entered as
3778 Program reference: @internalsref{HyphenEvent},
3779 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3780 @internalsref{LyricExtender}
3782 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3786 @node The Lyrics context
3787 @subsection The Lyrics context
3790 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3792 \context Lyrics \lyrics @dots{}
3795 @cindex automatic syllable durations
3796 @cindex @code{\lyricsto}
3797 @cindex lyrics and melodies
3799 This will place the lyrics according to the durations that were
3800 entered. The lyrics can also be aligned under a given melody
3801 automatically. In this case, it is no longer necessary to enter the
3802 correct duration for each syllable. This is achieved by combining the
3803 melody and the lyrics with the @code{\lyricsto} expression
3805 \lyricsto @var{name} \new Lyrics @dots{}
3808 This aligns the lyrics to the
3810 notes of the @internalsref{Voice} context called @var{name}, which has
3811 to exist. Therefore, normally the @code{Voice} is specified first, and
3812 then the lyrics are specified with @code{\lyricsto}. The command
3813 @code{\lyricsto} switches to @code{\lyrics} mode automatically, so the
3814 @code{\lyrics} keyword may be omitted.
3816 For different or more complex orderings, the best way is to setup the
3817 hierarchy of staves and lyrics first, e.g.
3819 \context ChoirStaff <<
3820 \context Lyrics = sopranoLyrics @{ s1 @}
3821 \context Voice = soprano @{ @emph{music} @}
3822 \context Lyrics = tenorLyrics @{ s1 @}
3823 \context Voice = tenor @{ @emph{music} @}
3826 and then combine the appropriate melodies and lyric lines
3828 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3833 The final input would resemble
3836 << \context ChoirStaff << @emph{setup the music} >>
3837 \lyricsto "soprano" @emph{etc}
3838 \lyricsto "alto" @emph{etc}
3844 The @code{\lyricsto} command detects melismata: it only puts one
3845 syllable under a tied or slurred group of notes. If you want to force
3846 an unslurred group of notes to be a melisma, insert @code{\melisma}
3847 after the first note of the group, and @code{\melismaEnd} after the
3850 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3852 \context Voice = "lala" {
3860 \lyricsto "lala" \new Lyrics {
3866 In addition, notes are considered a melisma if they are manually
3867 beamed, and automatic beaming (see @ref{Setting automatic beam
3868 behavior}) is switched off.
3874 The criteria for deciding melismata can
3875 be tuned with the property @code{melismaBusyProperties}. See
3876 @internalsref{Melisma_translator} in the program reference for more
3881 Lyrics can also be entered without @code{\lyricsto}. In this case the
3882 durations of each syllable must be entered explicitly, for example,
3889 The alignment to a melody can be specified with the
3890 @code{associatedVoice} property,
3893 \set associatedVoice = #"lala"
3897 The value of the property (here: @code{"lala"}) should be the name of
3898 a @internalsref{Voice} context. Without this setting, extender lines
3899 will not be formatted properly.
3901 Here is an example demonstrating manual lyric durations,
3903 @lilypond[relative=1,verbatim,fragment]
3904 << \context Voice = melody {
3908 \new Lyrics \lyrics {
3909 \set associatedVoice = #"melody"
3915 @cindex choral score
3917 A complete example of a SATB score setup is in the file
3918 @inputfileref{input/template,satb.ly}.
3923 @code{\melisma}, @code{\melismaEnd}
3924 @cindex @code{\melismaEnd}
3925 @cindex @code{\melisma}
3929 Program reference: @internalsref{LyricCombineMusic},
3930 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3932 Examples: @inputfileref{input/template,satb.ly},
3933 @inputfileref{input/regression,lyric-combine-new.ly},
3934 @c TODO: make separate section for melismata
3935 @inputfileref{input/test,lyrics-melisma-variants.ly}.
3936 @inputfileref{input/test,lyrics-melisma-faster.ly}.
3940 Melismata are not detected automatically, and extender lines must be
3944 @c TODO: document \new Staff << Voice \lyricsto >> bug
3946 @node Flexibility in alignment
3947 @subsection Flexibility in alignment
3950 Often, different stanzas of one song are put to one melody in slightly
3951 differing ways. Such variations can still be captured with
3954 One possibility is that the text has a melisma in one stanza, but
3955 multiple syllables in another one. One solution is to make the faster
3956 voice ignore the melisma. This is done by setting
3957 @code{ignoreMelismata} in the Lyrics context.
3959 There has one tricky aspect. The setting for @code{ignoreMelismata}
3960 must be set one syllable @emph{before} the non-melismatic syllable
3961 in the text, as shown here,
3963 @lilypond[verbatim,raggedright]
3965 \relative \context Voice = "lahlah" {
3966 \set Staff.autoBeaming = ##f
3972 \new Lyrics \lyricsto "lahlah" {
3975 \new Lyrics \lyricsto "lahlah" {
3976 \set ignoreMelismata = ##t % applies to "fas"
3978 \unset ignoreMelismata
3985 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
3986 should bev entered before ``go''.
3988 The reverse is also possible: making a lyric line slower than the
3989 standard. This can be achieved by insert @code{\skip}s into the
3990 lyrics. For every @code{\skip}, the text will be delayed another note.
3993 @lilypond[verbatim,raggedright]
3994 \relative { c c g' }
4001 More complex variations in text underlay are possible. It is possible
4002 to switch the melody for a line of lyrics during the text. This is
4003 done by setting the @code{associatedVoice} property. In the example
4005 @lilypond[raggedright]
4007 \relative \context Voice = "lahlah" {
4008 \set Staff.autoBeaming = ##f
4011 \context Voice = alternative {
4015 % show associations clearly.
4016 \override NoteColumn #'force-hshift = #-3
4028 \new Lyrics \lyricsto "lahlah" {
4029 Ju -- ras -- sic Park
4031 \new Lyrics \lyricsto "lahlah" {
4033 % Tricky: need to set associatedVoice
4034 % one syllable too soon!
4035 \set associatedVoice = alternative % applies to "ran"
4039 \set associatedVoice = lahlah % applies to "rus"
4045 the text for the first stanza is set to a melody called ``lahlah'',
4048 \new Lyrics \lyricsto "lahlah" {
4049 Ju -- ras -- sic Park
4054 The second stanza initially is set to the @code{lahlah} context, but
4055 for the syllable ``ran'', it switches to a different melody.
4056 This is achieved with
4058 \set associatedVoice = alternative
4062 Here, @code{alternative} is the name of the @code{Voice} context
4063 containing the triplet.
4065 Again, the command must be one syllable too early, before ``Ty'' in
4069 \new Lyrics \lyricsto "lahlah" {
4070 \set associatedVoice = alternative % applies to "ran"
4074 \set associatedVoice = lahlah % applies to "rus"
4080 The underlay is switched back to the starting situation by assigning
4081 @code{lahlah} to @code{associatedVoice}.
4087 @subsection More stanzas
4089 @cindex phrasing, in lyrics
4092 @cindex stanza number
4093 @cindex singer's names
4094 @cindex name of singer
4096 Stanza numbers can be added by setting @code{stanza}, e.g.
4098 @lilypond[quote,verbatim,relative=2,fragment]
4100 \time 3/4 g2 e4 a2 f4 g2.
4103 Hi, my name is Bert.
4106 Oh, che -- ri, je t'aime
4110 These numbers are put just before the start of first syllable.
4112 Names of singers can also be added. They are printed at the start of
4113 the line, just like instrument names. They are created by setting
4114 @code{vocalName}. A short version may be entered as @code{vocNam}.
4117 @lilypond[fragment,quote,verbatim,relative=2]
4119 \time 3/4 g2 e4 a2 f4 g2.
4121 \set vocalName = "Bert "
4122 Hi, my name is Bert.
4124 \set vocalName = "Ernie "
4125 Oh, che -- ri, je t'aime
4131 Program reference: Layout objects @internalsref{LyricText} and
4132 @internalsref{VocalName}. Music expressions
4133 @internalsref{LyricEvent}.
4141 The term @emph{ambitus} denotes a range of pitches for a given voice
4142 in a part of music. It also may denote the pitch range that a musical
4143 instrument is capable of playing. Ambits are printed on vocal parts,
4144 so performers can easily determine it meets their capabilities.
4146 It denoted at the beginning of a piece near the initial clef. The
4147 range is graphically specified by two note heads, that represent the
4148 minimum and maximum pitch. To print such ambits, add the
4149 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4156 \consists Ambitus_engraver
4161 This results in the following output
4163 @lilypond[quote,raggedright]
4167 \consists Ambitus_engraver
4171 \relative \new Staff {
4176 If you have multiple voices in a single staff, and you want a single
4177 ambitus per staff rather than per each voice, add the
4178 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4179 rather than to the @internalsref{Voice} context. Here is an example,
4181 @lilypond[verbatim,raggedright]
4184 \consists "Ambitus_engraver"
4186 \override Ambitus #'X-offset-callbacks
4187 = #(list (lambda (grob axis) -1.0))
4192 \consists "Ambitus_engraver"
4201 This example uses one advanced feature,
4204 \override Ambitus #'X-offset-callbacks
4205 = #(list (lambda (grob axis) -1.0))
4209 This code moves the ambitus to the left. The same effect could have
4210 been achieved with @code{extra-offset}, but then the formatting system
4211 would not reserve space for the moved object.
4215 Program reference: @internalsref{Ambitus},
4216 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4217 @internalsref{AmbitusAccidental}.
4219 Examples: @inputfileref{input/regression,ambitus.ly}.
4223 There is no collision handling in the case of multiple per-voice
4226 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4227 @section Other instrument specific notation
4233 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4234 @subsection Harmonic notes
4236 @cindex artificial harmonics
4239 Artificial harmonics are notated with a different notehead style. They
4241 marking the harmonic pitch with @code{\harmonic}.
4243 @lilypond[raggedright,verbatim]
4250 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4254 @cindex guitar tablature
4256 Tablature notation is used for notating music for plucked string
4257 instruments. Pitches are not denoted with note heads, but by
4258 indicating on which string and fret a note must be played. LilyPond
4259 offers limited support for tablature.
4262 * Tablatures basic::
4263 * Non-guitar tablatures::
4266 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4267 @subsection Tablatures basic
4268 @cindex Tablatures basic
4270 The string number associated to a note is given as a backslash
4271 followed by a number, e.g. @code{c4\3} for a C quarter on the third
4272 string. By default, string 1 is the highest one, and the tuning
4273 defaults to the standard guitar tuning (with 6 strings). The notes
4274 are printed as tablature, by using @internalsref{TabStaff} and
4275 @internalsref{TabVoice} contexts
4277 @lilypond[quote,fragment,verbatim]
4284 @cindex @code{minimumFret}
4287 When no string is specified, the first string that does not give a
4288 fret number less than @code{minimumFret} is selected. The default
4289 value for @code{minimumFret} is 0
4294 \set TabStaff.minimumFret = #8
4297 @lilypond[quote,noindent,raggedright]
4301 \set TabStaff.minimumFret = #8
4304 \context StaffGroup <<
4305 \context Staff { \clef "G_8" \frag }
4306 \context TabStaff { \frag }
4312 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4313 @internalsref{StringNumberEvent}.
4317 Chords are not handled in a special way, and hence the automatic
4318 string selector may easily select the same string to two notes in a
4322 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4323 @subsection Non-guitar tablatures
4324 @cindex Non-guitar tablatures
4326 You can change the number of strings, by setting the number of lines
4327 in the @internalsref{TabStaff}.
4329 You can change the tuning of the strings. A string tuning is given as
4330 a Scheme list with one integer number for each string, the number
4331 being the pitch (measured in semitones relative to middle C) of an
4332 open string. The numbers specified for @code{stringTuning} are the
4333 numbers of semitones to subtract or add, starting the specified pitch
4334 by default middle C, in string order. In the next example,
4335 @code{stringTunings} is set for the pitches e, a, d, and g
4337 @lilypond[quote,fragment,verbatim]
4338 \context TabStaff <<
4339 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4342 a,4 c' a e' e c' a e'
4349 No guitar special effects have been implemented.
4353 Program reference: @internalsref{Tab_note_heads_engraver}.
4356 @node Popular music, Orchestral music, Tablatures, Notation manual
4357 @section Popular music
4364 * Printing chord names::
4368 @node Chord names, Chords mode, Popular music, Popular music
4369 @subsection Chord names
4372 LilyPond has support for both printing chord names. Chords may be
4373 entered in musical chord notation, i.e. @code{< .. >}, but they can
4374 also be entered by name. Internally, the chords are represented as a
4375 set of pitches, so they can be transposed
4378 @lilypond[quote,verbatim,raggedright]
4379 twoWays = \transpose c c' {
4388 << \context ChordNames \twoWays
4389 \context Voice \twoWays >>
4392 This example also shows that the chord printing routines do not try to
4393 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4399 * Printing chord names::
4404 @subsection Chords mode
4407 In chord mode sets of pitches (chords) are entered with common names.
4408 A chord is entered by the root, which is entered like a common pitch
4410 @lilypond[quote,fragment,verbatim,relative=2]
4411 \chords { es4. d8 c2 }
4415 The mode is introduced by the keyword @code{\chords}.
4420 Other chords may be entered by suffixing a colon, and introducing a
4421 modifier, and optionally, a number
4423 @lilypond[quote,fragment,verbatim]
4424 \chords { e1:m e1:7 e1:m7 }
4426 The first number following the root is taken to be the `type' of the
4427 chord, thirds are added to the root until it reaches the specified
4429 @lilypond[quote,fragment,verbatim]
4430 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4433 @cindex root of chord
4434 @cindex additions, in chords
4435 @cindex removals, in chords
4437 More complex chords may also be constructed adding separate steps
4438 to a chord. Additions are added after the number following
4439 the colon, and are separated by dots
4441 @lilypond[quote,verbatim,fragment]
4442 \chords { c:5.6 c:3.7.8 c:3.6.13 }
4444 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4446 @lilypond[quote,verbatim,fragment]
4447 \chords { c:7+ c:5+.3- c:3-.5-.7- }
4449 Removals are specified similarly, and are introduced by a caret. They
4450 must come after the additions
4451 @lilypond[quote,verbatim,fragment]
4452 \chords { c^3 c:7^5 c:9^3.5 }
4455 Modifiers can be used to change pitches. The following modifiers are
4459 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4461 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
4464 is the augmented chord. This modifier raises the 5th step.
4466 is the major 7th chord. This modifier raises the 7th step if present.
4468 is the suspended 4th or 2nd. This modifier removes the 3rd
4469 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4472 Modifiers can be mixed with additions
4473 @lilypond[quote,verbatim,fragment]
4474 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
4477 @cindex modifiers, in chords.
4484 Since an unaltered 11 does not sound good when combined with an
4485 unaltered 3, the 11 is removed in this case (unless it is added
4488 @lilypond[quote,fragment,verbatim]
4489 \chords { c:13 c:13.11 c:m13 }
4494 An inversion (putting one pitch of the chord on the bottom), as well
4495 as bass notes, can be specified by appending
4496 @code{/}@var{pitch} to the chord
4497 @lilypond[quote,fragment,verbatim]
4498 \chords { c1 c/g c/f }
4502 A bass note can be added instead of transposed out of the chord,
4503 by using @code{/+}@var{pitch}.
4505 @lilypond[quote,fragment,verbatim]
4506 \chords { c1 c/+g c/+f }
4509 Chords is a mode similar to @code{\lyrics} etc. Most
4510 of the commands continue to work, for example, @code{r} and
4511 @code{\skip} can be used to insert rests and spaces, and property
4512 commands may be used to change various settings.
4518 Each step can only be present in a chord once. The following
4519 simply produces the augmented chord, since @code{5+} is interpreted
4522 @lilypond[quote,verbatim,fragment]
4523 \chords { c:5.5-.5+ }
4527 @node Printing chord names
4528 @subsection Printing chord names
4530 @cindex printing chord names
4534 For displaying printed chord names, use the @internalsref{ChordNames} context.
4535 The chords may be entered either using the notation
4536 described above, or directly using @code{<} and @code{>}
4538 @lilypond[quote,verbatim,raggedright]
4540 \chords {a1 b c} <d' f' a'> <e' g' b'>
4544 \context ChordNames \scheme
4545 \context Staff \scheme
4549 You can make the chord changes stand out by setting
4550 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4551 display chord names when there is a change in the chords scheme and at
4552 the start of a new line
4554 @lilypond[quote,verbatim,linewidth=9\cm]
4556 c1:m c:m \break c:m c:m d
4559 \context ChordNames {
4560 \set chordChanges = ##t
4562 \context Staff \transpose c c' \scheme
4566 The previous examples all show chords over a staff. This is not
4567 necessary. Chords may also be printed separately. It may be necessary
4568 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4569 for showing repeats.
4571 @lilypond[raggedright,verbatim]
4572 \new ChordNames \with {
4573 \override BarLine #'bar-size = #4
4574 voltaOnThisStaff = ##t
4575 \consists Bar_engraver
4576 \consists "Volta_engraver"
4578 \repeat volta 2 \chords {
4587 The default chord name layout is a system for Jazz music, proposed by
4588 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4589 following properties
4592 @cindex @code{chordNameExceptions}
4593 @item chordNameExceptions
4594 This is a list that contains the chords that have special formatting.
4595 For an example of tuning this property, see
4596 @inputfileref{input/regression,chord-name-exceptions.ly}.
4597 @cindex exceptions, chord names.
4600 @cindex @code{majorSevenSymbol}
4601 @item majorSevenSymbol
4602 This property contains the markup object used for the 7th step, when
4603 it is major. Predefined options are @code{whiteTriangleMarkup} and
4604 @code{blackTriangleMarkup}. See
4605 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4607 @cindex @code{chordNameSeparator}
4608 @item chordNameSeparator
4609 Different parts of a chord name are normally separated by a
4610 slash. By setting @code{chordNameSeparator}, you can specify other
4612 @lilypond[quote,fragment,verbatim]
4613 \context ChordNames \chords {
4615 \set chordNameSeparator
4616 = \markup { \typewriter "|" }
4621 @cindex @code{chordRootNamer}
4622 @item chordRootNamer
4623 The root of a chord is usually printed as a letter with an optional
4624 alteration. The transformation from pitch to letter is done by this
4625 function. Special note names (for example, the German ``H'' for a
4626 B-chord) can be produced by storing a new function in this property.
4628 @cindex @code{chordNoteNamer}
4629 @item chordNoteNamer
4630 The default is to print single pitch, e.g. the bass note, using the
4631 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4632 to a specialized function to change this behavior. For example, the
4633 base can be printed in lower case.
4637 The predefined variables @code{\germanChords},
4638 @code{\semiGermanChords} set these variables. The effect is
4641 @lilypondfile[notexidoc]{chord-names-german.ly}
4643 There are also two other chord name schemes implemented: an alternate
4644 Jazz chord notation, and a systematic scheme called Banter chords. The
4645 alternate jazz notation is also shown on the chart in @ref{Chord name
4646 chart}. Turning on these styles is described in the input file
4647 @inputfileref{input/test,chord-names-jazz.ly}.
4651 @cindex chords, jazz
4656 @cindex @code{\germanChords}
4657 @code{\germanChords},
4658 @cindex @code{\semiGermanChords}
4659 @code{\semiGermanChords}.
4666 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4667 @inputfileref{input/regression,chord-name-exceptions.ly},
4668 @inputfileref{input/test,chord-names-jazz.ly},
4669 @inputfileref{input/test,chords-without-melody.ly}.
4672 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4677 Chord names are determined solely from the list of pitches. Chord
4678 inversions are not identified, and neither are added bass notes. This
4679 may result in strange chord names when chords are entered with the
4680 @code{< .. >} syntax.
4684 @subsection Improvisation
4686 Improvisation is sometimes denoted with slashed note heads. Such note
4687 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4688 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4692 \set squashedPosition = #0
4693 \override NoteHead #'style = #'slash
4697 switches on the slashes.
4699 There are shortcuts @code{\improvisationOn} (and an accompanying
4700 @code{\improvisationOff}) for this command sequence. They are used in
4701 the following example
4703 @lilypond[verbatim,raggedright]
4705 \consists Pitch_squash_engraver
4707 e8 e g a a16(bes)(a8) g \improvisationOn
4710 ~fis2 \improvisationOff a16(bes) a8 g e
4716 @node Orchestral music
4717 @section Orchestral music
4719 @cindex Writing parts
4721 Orchestral music involves some special notation, both in the full
4722 score and the individual parts. This section explains how to tackle
4723 some common problems in orchestral music.
4728 * System start delimiters::
4729 * Aligning to cadenzas::
4732 * Instrument names::
4734 * Instrument transpositions::
4735 * Multi measure rests::
4736 * Automatic part combining::
4738 * Different editions from one source::
4739 * Quoting other voices::
4742 @node System start delimiters
4743 @subsection System start delimiters
4745 Polyphonic scores consist of many staves. These staves can be
4746 constructed in three different ways
4748 @item The group is started with a brace at the left, and bar lines are
4749 connected. This is done with the @internalsref{GrandStaff} context.
4760 @item The group is started with a bracket, and bar lines are connected. This is done with the
4761 @internalsref{StaffGroup} context
4772 @item The group is started with a vertical line. Bar lines are not
4773 connected. This is the default for the score.
4784 @cindex Staff, multiple
4785 @cindex bracket, vertical
4786 @cindex brace, vertical
4793 The bar lines at the start of each system are
4794 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
4795 @internalsref{SystemStartBracket}. Only one of these types is created
4796 in every context, and that type is determined by the property
4797 @code{systemStartDelimiter}.
4799 @node Aligning to cadenzas
4800 @subsection Aligning to cadenzas
4803 In an orchestral context, cadenzas present a special problem:
4804 when constructing a score that includes a cadenza, all other
4805 instruments should skip just as many notes as the length of the
4806 cadenza, otherwise they will start too soon or too late.
4808 A solution to this problem are the functions @code{mmrest-of-length}
4809 and @code{skip-of-length}. These Scheme functions take a piece music
4810 as argument, and generate a @code{\skip} or multi rest, exactly as
4811 long as the piece. The use of @code{mmrest-of-length} is demonstrated
4812 in the following example.
4814 @lilypond[verbatim,raggedright]
4815 cadenza = \relative c' {
4816 c4 d8 << { e f g } \\ { d4. } >>
4821 \new Staff { \cadenza c'4 }
4823 #(ly:export (mmrest-of-length cadenza))
4833 @node Rehearsal marks
4834 @subsection Rehearsal marks
4835 @cindex Rehearsal marks
4837 @cindex @code{\mark}
4839 To print a rehearsal mark, use the @code{\mark} command
4841 @lilypond[quote,fragment,verbatim,relative=1]
4852 (The letter I is skipped in accordance with engraving traditions.)
4854 @c FIXME - should make that tunable.
4856 The mark is incremented automatically if you use @code{\mark
4857 \default}, but you can also use an integer argument to set the mark
4858 manually. The value to use is stored in the property
4859 @code{rehearsalMark}.
4861 The style is defined by the property @code{markFormatter}. It is a
4862 function taking the current mark (an integer) and the current context
4863 as argument. It should return a markup object. In the following
4864 example, @code{markFormatter} is set to a canned procedure. After a
4865 few measures, it is set to function that produces a boxed number.
4867 @lilypond[quote,verbatim,fragment,relative=2]
4868 \set Score.markFormatter = #format-mark-numbers
4871 \set Score.markFormatter
4872 = #(lambda (mark context)
4874 (make-box-markup (number->string mark))))
4879 The file @file{scm/translation-functions.scm} contains the definitions
4880 of @code{format-mark-numbers} (the default format) and
4881 @code{format-mark-letters}. These can be used as inspiration for other
4882 formatting functions.
4885 @cindex coda on bar line
4886 @cindex segno on bar line
4887 @cindex fermata on bar line
4888 @cindex bar lines, symbols on
4890 The @code{\mark} command can also be used to put signs like coda,
4891 segno and fermatas on a bar line. Use @code{\markup} to
4892 to access the appropriate symbol
4894 @lilypond[quote,fragment,verbatim,relative=2]
4895 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4899 In the case of a line break, marks must also be printed at the end of
4900 the line, and not at the beginning. Use the following to force that
4903 \override Score.RehearsalMark
4904 #'break-visibility = #begin-of-line-invisible
4910 @cindex bar lines, putting symbols on
4914 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4916 Init files: @file{scm/translation-functions.scm} contains the
4917 definition of @code{format-mark-numbers} and
4918 @code{format-mark-letters}. They can be used as inspiration for other
4919 formatting functions.
4921 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4923 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4927 @subsection Bar numbers
4931 @cindex measure numbers
4932 @cindex @code{currentBarNumber}
4934 Bar numbers are printed by default at the start of the line. The
4935 number itself is stored in the @code{currentBarNumber} property, which
4936 is normally updated automatically for every measure.
4938 Bar numbers can be typeset at regular intervals instead of at the
4939 beginning of each line. This is illustrated in the following example,
4940 whose source is available as
4941 @inputfileref{input/test,bar-number-regular-interval.ly}
4943 @lilypondfile[quote]{bar-number-regular-interval.ly}
4947 Program reference: @internalsref{BarNumber}.
4949 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4950 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4954 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4955 there is one at the top. To solve this, the
4956 @code{padding} property of @internalsref{BarNumber} can be
4957 used to position the number correctly.
4959 @node Instrument names
4960 @subsection Instrument names
4962 In an orchestral score, instrument names are printed left side of the
4965 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4966 and @internalsref{Staff}.@code{instr}. This will print a string before
4967 the start of the staff. For the first start, @code{instrument} is
4968 used, for the next ones @code{instr} is used.
4970 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
4971 \set Staff.instrument = "Ploink "
4972 \set Staff.instr = "Plk "
4978 You can also use markup texts to construct more complicated instrument
4981 @lilypond[quote,fragment,verbatim,raggedright]
4983 \set Staff.instrument = \markup {
4984 \column < "Clarinetti" { "in B"
4985 \smaller \flat } > }
4990 For longer instrument names, it may be useful to increase the
4991 @code{indent} setting in the @code{\paper} block.
4995 Program reference: @internalsref{InstrumentName}.
4999 When you put a name on a grand staff or piano staff the width of the
5000 brace is not taken into account. You must add extra spaces to the end of
5001 the name to avoid a collision.
5004 @subsection Transpose
5006 @cindex transposition of pitches
5007 @cindex @code{\transpose}
5009 A music expression can be transposed with @code{\transpose}. The
5012 \transpose @var{from} @var{to} @var{musicexpr}
5015 This means that @var{musicexpr} is transposed by the interval between
5016 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5017 is changed to @code{to}.
5020 For example, consider a piece written in the key of D major. If
5021 this piece is a little too low for its performer, it can be
5022 transposed up to E major with
5024 \transpose d e @dots{}
5027 Consider a part written for violin (a C instrument). If
5028 this part is to be played on the A clarinet, the following
5029 transposition will produce the appropriate part
5032 \transpose a c @dots{}
5035 @code{\transpose} distinguishes between enharmonic pitches: both
5036 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5037 half a tone. The first version will print sharps and the second
5038 version will print flats
5040 @lilypond[quote,raggedright,verbatim]
5041 mus = { \key d \major cis d fis g }
5045 \transpose c g' \mus
5046 \transpose c f' \mus
5053 Program reference: @internalsref{TransposedMusic}, and
5054 @internalsref{UntransposableMusic}.
5058 If you want to use both @code{\transpose} and @code{\relative},
5059 you must put @code{\transpose} outside of @code{\relative}, since
5060 @code{\relative} will have no effect music that appears inside a
5063 @node Instrument transpositions
5064 @subsection Instrument transpositions
5066 The key of a transposing instrument can also be specified. This
5067 applies to many wind instruments, for example, clarinets (B-flat, A and
5068 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
5071 The transposition is entered after the keyword @code{\transposition}
5074 \transposition bes %% B-flat clarinet
5077 This command sets the property @code{instrumentTransposition}. The value of
5078 this property is used for MIDI output and quotations. It does not
5079 affect how notes are printed in the current staff.
5081 @cindex transposition, MIDI
5082 @cindex transposition, instrument
5085 @node Multi measure rests
5086 @subsection Multi measure rests
5087 @cindex multi measure rests
5088 @cindex Rests, multi measure
5092 Multi measure rests are entered using `@code{R}'. It is specifically
5093 meant for full bar rests and for entering parts: the rest can expand
5094 to fill a score with rests, or it can be printed as a single
5095 multimeasure rest. This expansion is controlled by the property
5096 @code{Score.skipBars}. If this is set to true, empty measures will not
5097 be expanded, and the appropriate number is added automatically
5099 @lilypond[quote,fragment,verbatim]
5100 \time 4/4 r1 | R1 | R1*2
5101 \set Score.skipBars = ##t R1*17 R1*4
5104 The @code{1} in @code{R1} is similar to the duration notation used for
5105 notes. Hence, for time signatures other than 4/4, you must enter other
5106 durations. This can be done with augmentation dots or fractions
5108 @lilypond[quote,fragment,verbatim]
5109 \set Score.skipBars = ##t
5117 An @code{R} spanning a single measure is printed as either a whole rest
5118 or a breve, centered in the measure regardless of the time signature.
5120 @cindex text on multi-measure rest
5121 @cindex script on multi-measure rest
5122 @cindex fermata on multi-measure rest
5124 Texts can be added to multi-measure rests by using the
5125 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
5126 replaced. If you need both texts and the number, you must add the
5127 number by hand. A variable (@code{\fermataMarkup}) is provided for
5131 @lilypond[quote,verbatim,fragment]
5133 R2._\markup { "Ad lib" }
5137 If you want to have a text on the left end of a multi-measure rest,
5138 attach the text to a zero-length skip note, i.e.
5146 @cindex whole rests for a full measure
5150 Program reference: @internalsref{MultiMeasureRestEvent},
5151 @internalsref{MultiMeasureTextEvent},
5152 @internalsref{MultiMeasureRestMusicGroup}, and
5153 @internalsref{MultiMeasureRest}.
5155 The layout object @internalsref{MultiMeasureRestNumber} is for the
5156 default number, and @internalsref{MultiMeasureRestText} for user
5161 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
5162 over multi-measure rests.
5164 @cindex condensing rests
5166 There is no way to automatically condense multiple rests into a single
5167 multimeasure rest. Multi measure rests do not take part in rest
5170 Be careful when entering multimeasure rests followed by whole
5171 notes. The following will enter two notes lasting four measures each
5175 When @code{skipBars} is set, the result will look OK, but the bar
5176 numbering will be off.
5178 @node Automatic part combining
5179 @subsection Automatic part combining
5180 @cindex automatic part combining
5181 @cindex part combiner
5184 Automatic part combining is used to merge two parts of music onto a
5185 staff. It is aimed at typesetting orchestral scores. When the two
5186 parts are identical for a period of time, only one is shown. In
5187 places where the two parts differ, they are typeset as separate
5188 voices, and stem directions are set automatically. Also, solo and
5189 @emph{a due} parts are identified and can be marked.
5191 The syntax for part combining is
5194 \partcombine @var{musicexpr1} @var{musicexpr2}
5199 The following example demonstrates the basic functionality of the part
5200 combiner: putting parts on one staff, and setting stem directions and
5203 @lilypond[quote,verbatim,raggedright,fragment]
5204 \new Staff \partcombine
5205 \relative g' { g g a( b) c c r r }
5206 \relative g' { g g r4 r e e g g }
5209 The first @code{g} appears only once, although it was
5210 specified twice (once in each part). Stem, slur and tie directions are
5211 set automatically, depending whether there is a solo or unisono. The
5212 first part (with context called @code{one}) always gets up stems, and
5213 `solo', while the second (called @code{two}) always gets down stems and
5216 If you just want the merging parts, and not the textual markings, you
5217 may set the property @code{printPartCombineTexts} to false
5219 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5221 \set Staff.printPartCombineTexts = ##f
5223 \relative g' { g a( b) r }
5224 \relative g' { g r4 r f }
5229 Both arguments to @code{\partcombine} will be interpreted as
5230 @internalsref{Voice} contexts. If using relative octaves,
5231 @code{\relative} should be specified for both music expressions, i.e.
5235 \relative @dots{} @var{musicexpr1}
5236 \relative @dots{} @var{musicexpr2}
5240 A @code{\relative} section that is outside of @code{\partcombine} has
5241 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5245 Program reference: @internalsref{PartCombineMusic},
5246 @internalsref{SoloOneEvent}, and
5247 @internalsref{SoloTwoEvent}, and
5248 @internalsref{UnisonoEvent}.
5252 When @code{printPartCombineTexts} is set, when the two voices play the
5253 same notes on and off, the part combiner may typeset @code{a2} more
5254 than once in a measure.
5256 @code{\partcombine} cannot be inside @code{\times}.
5258 @code{\partcombine} cannot be inside @code{\relative}.
5260 Internally, the @code{\partcombine} interprets both arguments as
5261 @code{Voice}s named @code{one} and @code{two}, and then decides when
5262 the parts can be combined. Consequently, if the arguments switch to
5263 differently named @internalsref{Voice} contexts, the events in those
5267 @subsection Hiding staves
5269 @cindex Frenched scores
5270 @cindex Hiding staves
5272 In orchestral scores, staff lines that only have rests are usually
5273 removed. This saves some space. This style is called `French Score'.
5274 For @internalsref{Lyrics},
5275 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5276 switched on by default. When these line of these contexts turn out
5277 empty after the line-breaking process, they are removed.
5279 For normal staves, a specialized @internalsref{Staff} context is
5280 available, which does the same: staves containing nothing (or only
5281 multi measure rests) are removed. The context definition is stored in
5282 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5283 in this example disappears in the second line
5286 @lilypond[quote,verbatim]
5288 \context { \RemoveEmptyStaffContext }
5293 \new Staff { e4 f g a \break c1 }
5294 \new Staff { c4 d e f \break R1 }
5299 The first system shows all staves in full. If empty staves should be
5300 removed from the first system too, set @code{remove-first} to false in
5301 @internalsref{RemoveEmptyVerticalGroup}.
5303 Another application is making ossia sections, i.e. alternative
5304 melodies on a separate piece of staff, with help of a Frenched
5305 staff. See @inputfileref{input/test,ossia.ly} for an example.
5308 @node Different editions from one source
5309 @subsection Different editions from one source
5311 The @code{\tag} command marks music expressions with a name. These
5312 tagged expressions can be filtered out later. With this mechanism it
5313 is possible to make different versions of the same music source.
5315 In the following example, we see two versions of a piece of music, one
5316 for the full score, and one with cue notes for the instrumental part
5332 The same can be applied to articulations, texts, etc.: they are
5335 -\tag #@var{your-tag}
5337 to an articulation, for example,
5342 This defines a note with a conditional fingering indication.
5344 By applying the @code{remove-tag} function, tagged expressions can be
5345 filtered. For example,
5349 \applymusic #(remove-tag 'score) @var{the music}
5350 \applymusic #(remove-tag 'part) @var{the music}
5355 @lilypondfile[quote]{tag-filter.ly}
5357 The argument of the @code{\tag} command should be a symbol, or a list
5358 of symbols, for example,
5360 \tag #'(original-part transposed-part) @dots{}
5365 Examples: @inputfileref{input/regression,tag-filter.ly}.
5368 @node Quoting other voices
5369 @subsection Quoting other voices
5371 With quotations, fragments of other parts can be inserted into a part
5372 directly. Before a part can be quoted, it must be marked especially as
5373 quotable. This is done with code @code{\addquote} command.
5376 \addquote @var{name} @var{music}
5381 Here, @var{name} is an identifying string. The @var{music} is any kind
5382 of music. This is an example of @code{\addquote}
5385 \addquote clarinet \relative c' {
5390 This command must be entered at toplevel, i.e. outside any music
5393 After calling @code{\addquote}, the quotation may then be done with
5397 \quote @var{name} @var{duration}
5400 During a part, a piece of music can be quoted with the @code{\quote}
5407 This would cite three quarter notes (@code{2.} is a dotted half note)
5408 of the previously added @code{clarinet} voice.
5410 More precisely, it takes the current time-step of the part being
5411 printed, and extracts the notes at the corresponding point of the
5412 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5413 should be the entire part of the voice to be quoted, including any
5414 rests at the beginning.
5416 Quotations take into account the transposition of both source and target
5417 instruments, if they are specified using the @code{\transposition} command.
5419 @lilypond[quote,raggedright,verbatim]
5420 \addquote clarinet \relative c' {
5426 e'8 f'8 \quote clarinet 2
5432 Only the contents of the first @internalsref{Voice} occurring in an
5433 @code{\addquote} command will be considered for quotation, so
5434 @var{music} can not contain @code{\new} and @code{\context Voice}
5435 statements that would switch to a different Voice.
5440 In this manual: @ref{Instrument transpositions}.
5442 Examples: @inputfileref{input/regression,quote.ly}
5443 @inputfileref{input/regression,quote-transposition.ly}
5445 Program reference: @internalsref{QuoteMusic}.
5447 @node Formatting cue notes
5448 @section Formatting cue notes
5451 The previous section deals with inserting notes from another
5452 voice. When making a part, these notes need to be specially formatted.
5453 Here is an example of formatted cue notes
5458 \override Stem #'length = #5.5
5459 \override Beam #'thickness = #0.384
5460 \override Beam #'space-function =
5461 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5465 \set Staff.instrument = #"Horn in F"
5466 \set Score.skipBars = ##t
5469 \once \override Staff.MultiMeasureRest #'staff-position = #-6
5476 r8^"Bsn." c'8 f'8[ f'8]
5486 There are a couple of points to take care of:
5490 The multi rest of the original part should be moved up or down during
5493 Cue notes have smaller font sizes.
5495 When cued notes have a clef change relative to the original part, the
5496 clef should be restored after the cue section. This minimizes
5497 confusion for the reader,
5499 When the original part starts, this should be marked with the name of
5500 the instrument, in this case ``Horn.'' Of course, the cue part is
5501 marked with the instrument playing the cue.
5506 @node Ancient notation
5507 @section Ancient notation
5509 @cindex Vaticana, Editio
5510 @cindex Medicaea, Editio
5515 Support for ancient notation includes features for mensural notation
5516 and Gregorian Chant notation. There is also limited support for
5517 figured bass notation.
5519 Many graphical objects provide a @code{style} property, see
5522 @ref{Ancient note heads},
5524 @ref{Ancient accidentals},
5529 @ref{Ancient clefs},
5533 @ref{Ancient time signatures}.
5536 By manipulating such a grob property, the typographical appearance of
5537 the affected graphical objects can be accommodated for a specific
5538 notation flavor without need for introducing any new notational
5541 Other aspects of ancient notation can not that easily be expressed as
5542 in terms of just changing a style property of a graphical object.
5543 Therefore, some notational concepts are introduced specifically for
5558 * Ancient note heads::
5559 * Ancient accidentals::
5563 * Ancient time signatures::
5567 * Vaticana style contexts::
5571 If this all is too much of documentation for you, and you just want to
5572 dive into typesetting without worrying too much about the details on
5573 how to customize a context, you may have a look at the predefined
5574 contexts (see @ref{Vaticana style contexts}). Use them to set up
5575 predefined style-specific voice and staff contexts, and directly go
5576 ahead with the note entry.
5578 @node Ancient note heads
5579 @subsection Ancient note heads
5584 For ancient notation, a note head style other than the @code{default}
5585 style may be chosen. This is accomplished by setting the @code{style}
5586 property of the NoteHead object to @code{baroque}, @code{neomensural}
5587 or @code{mensural}. The @code{baroque} style differs from the
5588 @code{default} style only in using a square shape for @code{\breve}
5589 note heads. The @code{neomensural} style differs from the
5590 @code{baroque} style in that it uses rhomboidal heads for whole notes
5591 and all smaller durations. Stems are centered on the note heads.
5592 This style is in particular useful when transcribing mensural music,
5593 e.g. for the incipit. The @code{mensural} style finally produces note
5594 heads that mimic the look of note heads in historic printings of the
5597 The following example demonstrates the @code{neomensural} style
5599 @lilypond[quote,fragment,raggedright]
5600 \set Score.skipBars = ##T
5601 \override NoteHead #'style = #'neomensural
5602 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5605 When typesetting a piece in Gregorian Chant notation, the
5606 @internalsref{Gregorian_ligature_engraver} will automatically select
5607 the proper note heads, such there is no need to explicitly set the
5608 note head style. Still, the note head style can be set e.g.@: to
5609 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5610 @internalsref{Mensural_ligature_engraver} is used to automatically
5611 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5616 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
5617 overview over all available note head styles.
5620 @node Ancient accidentals
5621 @subsection Ancient accidentals
5626 Use the @code{style} property of grob @internalsref{Accidental} to
5627 select ancient accidentals. Supported styles are
5628 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5630 @lilypond[quote,raggedright,staffsize=26]
5638 { " " \musicglyph #"accidentals-vaticana-1"
5639 " " \musicglyph #"accidentals-vaticana0" }
5643 { " " \musicglyph #"accidentals-medicaea-1" }
5647 { " " \musicglyph #"accidentals-hufnagel-1" }
5651 { " " \musicglyph #"accidentals-mensural-1"
5652 " " \musicglyph #"accidentals-mensural1" }
5661 \remove "Bar_number_engraver"
5665 \remove "Clef_engraver"
5666 \remove "Key_engraver"
5667 \remove "Time_signature_engraver"
5668 \remove "Staff_symbol_engraver"
5669 minimumVerticalExtent = ##f
5675 As shown, not all accidentals are supported by each style. When
5676 trying to access an unsupported accidental, LilyPond will switch to a
5677 different style, as demonstrated in
5678 @inputfileref{input/test,ancient-accidentals.ly}.
5680 Similarly to local accidentals, the style of the key signature can be
5681 controlled by the @code{style} property of the
5682 @internalsref{KeySignature} grob.
5686 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5687 @ref{Accidentals} give a general introduction into the use of
5688 accidentals. @ref{Key signature} gives a general introduction into
5689 the use of key signatures.
5691 Program reference: @internalsref{KeySignature}.
5693 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
5696 @subsection Ancient rests
5701 Use the @code{style} property of grob @internalsref{Rest} to select
5702 ancient accidentals. Supported styles are @code{classical},
5703 @code{neomensural} and @code{mensural}. @code{classical} differs
5704 from the @code{default} style only in that the quarter rest looks like
5705 a horizontally mirrored 8th rest. The @code{neomensural} style suits
5706 well for e.g. the incipit of a transcribed mensural piece of music.
5707 The @code{mensural} style finally mimics the appearance of rests as
5708 in historic prints of the 16th century.
5710 The following example demonstrates the @code{neomensural} style
5712 @lilypond[quote,fragment,raggedright]
5713 \override Rest #'style = #'neomensural
5714 \set Score.skipBars = ##t
5715 r\longa r\breve r1 r2 r4 r8 r16
5718 There are no 32th and 64th rests specifically for the mensural or
5719 neo-mensural style. Instead, the rests from the default style will be
5720 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5723 There are no rests in Gregorian Chant notation; instead, it uses
5728 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5732 @subsection Ancient clefs
5737 LilyPond supports a variety of clefs, many of them ancient.
5739 The following table shows all ancient clefs that are supported via the
5740 @code{\clef} command. Some of the clefs use the same glyph, but
5741 differ only with respect to the line they are printed on. In such
5742 cases, a trailing number in the name is used to enumerate these clefs.
5743 Still, you can manually force a clef glyph to be typeset on an
5744 arbitrary line, as described in @ref{Clef}. The note printed to the
5745 right side of each clef in the example column denotes the @code{c'}
5746 with respect to that clef.
5748 @multitable @columnfractions .4 .4 .2
5751 @b{Description} @tab
5752 @b{Supported Clefs} @tab
5756 modern style mensural C clef @tab
5757 @code{neomensural_c1}, @code{neomensural_c2},
5758 @code{neomensural_c3}, @code{neomensural_c4} @tab
5759 @lilypond[fragment,quote,relative=1,notime]
5761 \clef "neomensural_c2" c
5765 petrucci style mensural C clefs, for use on different staff lines
5766 (the examples shows the 2nd staff line C clef).
5776 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5778 \clef "petrucci_c2" c
5782 petrucci style mensural F clef @tab
5783 @code{petrucci_f} @tab
5784 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5786 \clef "petrucci_f" c
5790 petrucci style mensural G clef @tab
5791 @code{petrucci_g} @tab
5792 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5794 \clef "petrucci_g" c
5798 historic style mensural C clef @tab
5799 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5800 @code{mensural_c4} @tab
5801 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5803 \clef "mensural_c2" c
5807 historic style mensural F clef @tab
5808 @code{mensural_f} @tab
5809 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5811 \clef "mensural_f" c
5815 historic style mensural G clef @tab
5816 @code{mensural_g} @tab
5817 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5819 \clef "mensural_g" c
5823 Editio Vaticana style do clef @tab
5824 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5825 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5826 \override Staff.StaffSymbol #'line-count = #4
5828 \clef "vaticana_do2" c
5832 Editio Vaticana style fa clef @tab
5833 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5834 @lilypond[quote,relative=1,notime,indent=0.0\mm,fragment]
5835 \override Staff.StaffSymbol #'line-count = #4
5837 \clef "vaticana_fa2" c
5841 Editio Medicaea style do clef @tab
5842 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5843 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5844 \override Staff.StaffSymbol #'line-count = #4
5846 \clef "medicaea_do2" c
5850 Editio Medicaea style fa clef @tab
5851 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5852 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5853 \override Staff.StaffSymbol #'line-count = #4
5855 \clef "medicaea_fa2" c
5859 historic style hufnagel do clef @tab
5860 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5861 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5862 \override Staff.StaffSymbol #'line-count = #4
5864 \clef "hufnagel_do2" c
5868 historic style hufnagel fa clef @tab
5869 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5870 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5871 \override Staff.StaffSymbol #'line-count = #4
5873 \clef "hufnagel_fa2" c
5877 historic style hufnagel combined do/fa clef @tab
5878 @code{hufnagel_do_fa} @tab
5879 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5880 \clef "hufnagel_do_fa" c
5887 @emph{Modern style} means ``as is typeset in contemporary editions of
5888 transcribed mensural music''.
5890 @emph{Petrucci style} means ``inspired by printings published by the
5891 famous engraver Petrucci (1466-1539)''.
5893 @emph{Historic style} means ``as was typeset or written in historic
5894 editions (other than those of Petrucci)''.
5896 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5898 Petrucci used C clefs with differently balanced left-side vertical
5899 beams, depending on which staff line it is printed.
5903 In this manual: see @ref{Clef}.
5907 The mensural g clef is mapped to the Petrucci g clef.
5912 @subsection Ancient flags
5917 Use the @code{flag-style} property of grob @internalsref{Stem} to
5918 select ancient flags. Besides the @code{default} flag style,
5919 only @code{mensural} style is supported
5921 @lilypond[quote,fragment,raggedright,verbatim]
5922 \override Stem #'flag-style = #'mensural
5923 \override Stem #'thickness = #1.0
5924 \override NoteHead #'style = #'mensural
5926 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
5927 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5930 Note that the innermost flare of each mensural flag always is
5931 vertically aligned with a staff line. If you do not like this
5932 behavior, you can set the @code{adjust-if-on-staffline} property of
5933 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5934 of the end of each flare is different between notes on staff lines and
5935 notes between staff lines
5937 @lilypond[quote,fragment,raggedright]
5938 \override Stem #'flag-style = #'mensural
5939 \override Stem #'thickness = #1.0
5940 \override Stem #'adjust-if-on-staffline = ##f
5941 \override NoteHead #'style = #'mensural
5943 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
5944 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5947 There is no particular flag style for neo-mensural notation. Hence,
5948 when typesetting the incipit of a transcribed piece of mensural
5949 music, the default flag style should be used. There are no flags in
5950 Gregorian Chant notation.
5953 @node Ancient time signatures
5954 @subsection Ancient time signatures
5956 @cindex time signatures
5959 There is limited support for mensural time signatures. The
5960 glyphs are hard-wired to particular time fractions. In other words,
5961 to get a particular mensural signature glyph with the @code{\time n/m}
5962 command, @code{n} and @code{m} have to be chosen according to the
5971 \remove Staff_symbol_engraver
5972 \remove Clef_engraver
5973 \remove Time_signature_engraver
5976 \set Score.timing = ##f
5977 \set Score.barAlways = ##t
5978 s_\markup { "$\\backslash$time 4/4" }
5979 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
5981 s_\markup { "$\\backslash$time 2/2" }
5982 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
5984 s_\markup { "$\\backslash$time 6/4" }
5985 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
5987 s_\markup { "$\\backslash$time 6/8" }
5988 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
5990 s_\markup { "$\\backslash$time 3/2" }
5991 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
5993 s_\markup { "$\\backslash$time 3/4" }
5994 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
5996 s_\markup { "$\\backslash$time 9/4" }
5997 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
5999 s_\markup { "$\\backslash$time 9/8" }
6000 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6002 s_\markup { "$\\backslash$time 4/8" }
6003 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6005 s_\markup { "$\\backslash$time 2/4" }
6006 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6011 Use the @code{style} property of grob @internalsref{TimeSignature} to
6012 select ancient time signatures. Supported styles are
6013 @code{neomensural} and @code{mensural}. The above table uses the
6014 @code{neomensural} style. This style is appropriate for the
6015 incipit of transcriptions of mensural pieces. The @code{mensural}
6016 style mimics the look of historical printings of the 16th century.
6018 The following examples shows the differences in style,
6019 @lilypond[raggedright]
6022 c1^\markup { \hspace #-2.0 \typewriter default }
6024 \override Staff.TimeSignature #'style = #'numbered
6026 c1^\markup { \hspace #-2.0 \typewriter numbered }
6028 \override Staff.TimeSignature #'style = #'mensural
6030 c1^\markup { \hspace #-2.0 \typewriter mensural }
6032 \override Staff.TimeSignature #'style = #'neomensural
6034 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6035 \override Staff.TimeSignature #'style = #'single-digit
6037 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6043 This manual: @ref{Time signature} gives a general introduction into
6044 the use of time signatures.
6048 Ratios of note durations do not change with the time signature. For
6049 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6050 be made by hand, by setting
6053 breveTP = #(ly:make-duration -1 0 3 2)
6059 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6061 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6062 addressable with @code{\time}. Use a @code{\markup} instead
6065 @subsection Custodes
6070 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6071 symbol that appears at the end of a staff. It anticipates the pitch
6072 of the first note(s) of the following line thus helping the performer
6073 to manage line breaks during performance.
6075 Custodes were frequently used in music notation until the 17th
6076 century. Nowadays, they have survived only in a few particular forms
6077 of musical notation such as contemporary editions of Gregorian chant
6078 like the @emph{editio vaticana}. There are different custos glyphs
6079 used in different flavors of notational style.
6081 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6082 @internalsref{Staff} context when declaring the @code{\paper} block,
6083 as shown in the following example
6089 \consists Custos_engraver
6090 Custos \override #'style = #'mensural
6095 The result looks like this
6097 @lilypond[quote,raggedright]
6101 \override Staff.Custos #'style = #'mensural
6108 \consists Custos_engraver
6114 The custos glyph is selected by the @code{style} property. The styles
6115 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
6116 @code{mensural}. They are demonstrated in the following fragment
6120 \new Lyrics \lyrics {
6123 \typewriter "vaticana"
6124 { " " \musicglyph #"custodes-vaticana-u0" }
6127 \typewriter "medicaea"
6128 { " " \musicglyph #"custodes-medicaea-u0" }
6132 \typewriter "hufnagel"
6133 { " " \musicglyph #"custodes-hufnagel-u0" }
6137 \typewriter "mensural"
6138 { " " \musicglyph #"custodes-mensural-u0" }
6150 Program reference: @internalsref{Custos}.
6152 Examples: @inputfileref{input/regression,custos.ly}.
6156 @subsection Divisiones
6162 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6163 `division') is a staff context symbol that is used to structure
6164 Gregorian music into phrases and sections. The musical meaning of
6165 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
6166 can be characterized as short, medium and long pause, somewhat like
6167 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6168 only marks the end of a chant, but is also frequently used within a
6169 single antiphonal/responsorial chant to mark the end of each section.
6172 To use divisiones, include the file @code{gregorian-init.ly}. It
6173 contains definitions that you can apply by just inserting
6174 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6175 and @code{\finalis} at proper places in the input. Some editions use
6176 @emph{virgula} or @emph{caesura} instead of divisio minima.
6177 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
6180 @lilypondfile[quote,raggedright]{divisiones.ly}
6184 @cindex @code{\virgula}
6186 @cindex @code{\caesura}
6188 @cindex @code{\divisioMinima}
6189 @code{\divisioMinima},
6190 @cindex @code{\divisioMaior}
6191 @code{\divisioMaior},
6192 @cindex @code{\divisioMaxima}
6193 @code{\divisioMaxima},
6194 @cindex @code{\finalis}
6199 In this manual: @ref{Breath marks}.
6201 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6203 Examples: @inputfileref{input/test,divisiones.ly}.
6206 @subsection Ligatures
6210 @c TODO: Should double check if I recalled things correctly when I wrote
6211 @c down the following paragraph by heart.
6213 A ligature is a graphical symbol that represents at least two distinct
6214 notes. Ligatures originally appeared in the manuscripts of Gregorian
6215 chant notation to denote ascending or descending sequences of notes.
6217 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6218 Some ligature styles may need additional input syntax specific for
6219 this particular type of ligature. By default, the
6220 @internalsref{LigatureBracket} engraver just puts a square bracket
6223 @lilypond[quote,raggedright,verbatim]
6231 To select a specific style of ligatures, a proper ligature engraver
6232 has to be added to the @internalsref{Voice} context, as explained in
6233 the following subsections. Only white mensural ligatures
6234 are supported with certain limitations.
6240 Ligatures need special spacing that has not yet been implemented. As
6241 a result, there is too much space between ligatures most of the time,
6242 and line breaking often is unsatisfactory. Also, lyrics do not
6243 correctly align with ligatures.
6245 Accidentals must not be printed within a ligature, but instead need to
6246 be collected and printed in front of it.
6248 Augmentum dots within ligatures are not handled correctly.
6252 * White mensural ligatures::
6253 * Gregorian square neumes ligatures::
6256 @node White mensural ligatures
6257 @subsubsection White mensural ligatures
6259 @cindex Mensural ligatures
6260 @cindex White mensural ligatures
6262 There is limited support for white mensural ligatures.
6264 To engrave white mensural ligatures, in the paper block the
6265 @internalsref{Mensural_ligature_engraver} has to be put into the
6266 @internalsref{Voice} context, and remove the
6267 @internalsref{Ligature_bracket_engraver}
6273 \remove Ligature_bracket_engraver
6274 \consists Mensural_ligature_engraver
6279 There is no additional input language to describe the shape of a
6280 white mensural ligature. The shape is rather determined solely from
6281 the pitch and duration of the enclosed notes. While this approach may
6282 take a new user a while to get accustomed, it has the great advantage
6283 that the full musical information of the ligature is known internally.
6284 This is not only required for correct MIDI output, but also allows for
6285 automatic transcription of the ligatures.
6290 \set Score.timing = ##f
6291 \set Score.defaultBarType = "empty"
6292 \override NoteHead #'style = #'neomensural
6293 \override Staff.TimeSignature #'style = #'neomensural
6295 \[ g\longa c\breve a\breve f\breve d'\longa \]
6297 \[ e1 f1 a\breve g\longa \]
6299 @lilypond[quote,raggedright]
6302 \set Score.timing = ##f
6303 \set Score.defaultBarType = "empty"
6304 \override NoteHead #'style = #'neomensural
6305 \override Staff.TimeSignature #'style = #'neomensural
6307 \[ g\longa c\breve a\breve f\breve d'\longa \]
6309 \[ e1 f1 a\breve g\longa \]
6314 \remove Ligature_bracket_engraver
6315 \consists Mensural_ligature_engraver
6321 Without replacing @internalsref{Ligature_bracket_engraver} with
6322 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6325 @lilypond[quote,raggedright]
6327 \set Score.timing = ##f
6328 \set Score.defaultBarType = "empty"
6329 \override NoteHead #'style = #'neomensural
6330 \override Staff.TimeSignature #'style = #'neomensural
6332 \[ g\longa c\breve a\breve f\breve d'\longa \]
6334 \[ e1 f1 a\breve g\longa \]
6340 The implementation is experimental. It may output strange warnings,
6341 incorrect results, and might even crash on more complex ligatures.
6343 @node Gregorian square neumes ligatures
6344 @subsubsection Gregorian square neumes ligatures
6346 @cindex Square neumes ligatures
6347 @cindex Gregorian square neumes ligatures
6349 There is limited support for Gregorian square neumes notation
6350 (following the style of the Editio Vaticana). Core ligatures can
6351 already be typeset, but essential issues for serious typesetting are
6352 still lacking, such as (among others) horizontal alignment of multiple
6353 ligatures, lyrics alignment and proper accidentals handling.
6356 The following table contains the extended neumes table of the 2nd
6357 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6358 1983 by the monks of Solesmes.
6360 @multitable @columnfractions .4 .2 .2 .2
6363 @b{Neuma aut@*Neumarum Elementa} @tab
6364 @b{Figurae@*Rectae} @tab
6365 @b{Figurae@*Liquescentes Auctae} @tab
6366 @b{Figurae@*Liquescentes Deminutae}
6368 @c TODO: \paper block is identical in all of the below examples.
6369 @c Therefore, it should somehow be included rather than duplicated all
6372 @c why not make identifiers in ly/engraver-init.ly? --hwn
6374 @c Because it's just used to typeset plain notes without
6375 @c a staff for demonstration purposes rather than something
6376 @c special of Gregorian chant notation. --jr
6381 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
6382 \include "gregorian-init.ly"
6387 \noBreak s^\markup {"a"} \noBreak
6389 % Punctum Inclinatum
6391 \noBreak s^\markup {"b"}
6393 \paper { \neumeDemoPaper }}
6396 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
6397 \include "gregorian-init.ly"
6400 % Punctum Auctum Ascendens
6401 \[ \auctum \ascendens b \]
6402 \noBreak s^\markup {"c"} \noBreak
6404 % Punctum Auctum Descendens
6405 \[ \auctum \descendens b \]
6406 \noBreak s^\markup {"d"} \noBreak
6408 % Punctum Inclinatum Auctum
6409 \[ \inclinatum \auctum b \]
6410 \noBreak s^\markup {"e"}
6412 \paper { \neumeDemoPaper }}
6415 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6416 \include "gregorian-init.ly"
6419 % Punctum Inclinatum Parvum
6420 \[ \inclinatum \deminutum b \]
6421 \noBreak s^\markup {"f"}
6423 \paper { \neumeDemoPaper }}
6429 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6430 \include "gregorian-init.ly"
6435 \noBreak s^\markup {"g"}
6437 \paper { \neumeDemoPaper }}
6443 @code{3. Apostropha vel Stropha}
6445 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6446 \include "gregorian-init.ly"
6451 \noBreak s^\markup {"h"}
6453 \paper { \neumeDemoPaper }}
6456 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6457 \include "gregorian-init.ly"
6461 \[ \stropha \auctum b \]
6462 \noBreak s^\markup {"i"}
6464 \paper { \neumeDemoPaper }}
6471 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6472 \include "gregorian-init.ly"
6477 \noBreak s^\markup {"j"}
6479 \paper { \neumeDemoPaper }}
6485 @code{5. Clivis vel Flexa}
6487 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6488 \include "gregorian-init.ly"
6495 \paper { \neumeDemoPaper }}
6498 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6499 \include "gregorian-init.ly"
6502 % Clivis Aucta Descendens
6503 \[ b \flexa \auctum \descendens g \]
6504 \noBreak s^\markup {"l"} \noBreak
6506 % Clivis Aucta Ascendens
6507 \[ b \flexa \auctum \ascendens g \]
6508 \noBreak s^\markup {"m"}
6510 \paper { \neumeDemoPaper }}
6513 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6514 \include "gregorian-init.ly"
6518 \[ b \flexa \deminutum g \]
6521 \paper { \neumeDemoPaper }}
6525 @code{6. Podatus vel Pes}
6527 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6528 \include "gregorian-init.ly"
6535 \paper { \neumeDemoPaper }}
6538 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6539 \include "gregorian-init.ly"
6542 % Pes Auctus Descendens
6543 \[ g \pes \auctum \descendens b \]
6544 \noBreak s^\markup {"p"} \noBreak
6546 % Pes Auctus Ascendens
6547 \[ g \pes \auctum \ascendens b \]
6548 \noBreak s^\markup {"q"}
6550 \paper { \neumeDemoPaper }}
6553 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6554 \include "gregorian-init.ly"
6558 \[ g \pes \deminutum b \]
6561 \paper { \neumeDemoPaper }}
6565 @code{7. Pes Quassus}
6567 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6568 \include "gregorian-init.ly"
6572 \[ \oriscus g \pes \virga b \]
6575 \paper { \neumeDemoPaper }}
6578 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6579 \include "gregorian-init.ly"
6582 % Pes Quassus Auctus Descendens
6583 \[ \oriscus g \pes \auctum \descendens b \]
6586 \paper { \neumeDemoPaper }}
6591 @code{8. Quilisma Pes}
6593 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6594 \include "gregorian-init.ly"
6598 \[ \quilisma g \pes b \]
6601 \paper { \neumeDemoPaper }}
6604 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6605 \include "gregorian-init.ly"
6608 % Quilisma Pes Auctus Descendens
6609 \[ \quilisma g \pes \auctum \descendens b \]
6612 \paper { \neumeDemoPaper }}
6617 @code{9. Podatus Initio Debilis}
6619 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6620 \include "gregorian-init.ly"
6623 % Pes Initio Debilis
6624 \[ \deminutum g \pes b \]
6627 \paper { \neumeDemoPaper }}
6630 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6631 \include "gregorian-init.ly"
6634 % Pes Auctus Descendens Initio Debilis
6635 \[ \deminutum g \pes \auctum \descendens b \]
6638 \paper { \neumeDemoPaper }}
6645 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6646 \include "gregorian-init.ly"
6650 \[ a \pes b \flexa g \]
6653 \paper { \neumeDemoPaper }}
6656 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6657 \include "gregorian-init.ly"
6660 % Torculus Auctus Descendens
6661 \[ a \pes b \flexa \auctum \descendens g \]
6664 \paper { \neumeDemoPaper }}
6667 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6668 \include "gregorian-init.ly"
6671 % Torculus Deminutus
6672 \[ a \pes b \flexa \deminutum g \]
6675 \paper { \neumeDemoPaper }}
6679 @code{11. Torculus Initio Debilis}
6681 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6682 \include "gregorian-init.ly"
6685 % Torculus Initio Debilis
6686 \[ \deminutum a \pes b \flexa g \]
6689 \paper { \neumeDemoPaper }}
6692 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6693 \include "gregorian-init.ly"
6696 % Torculus Auctus Descendens Initio Debilis
6697 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6700 \paper { \neumeDemoPaper }}
6703 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6704 \include "gregorian-init.ly"
6707 % Torculus Deminutus Initio Debilis
6708 \[ \deminutum a \pes b \flexa \deminutum g \]
6711 \paper { \neumeDemoPaper }}
6715 @code{12. Porrectus}
6717 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6718 \include "gregorian-init.ly"
6722 \[ a \flexa g \pes b \]
6725 \paper { \neumeDemoPaper }}
6728 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6729 \include "gregorian-init.ly"
6732 % Porrectus Auctus Descendens
6733 \[ a \flexa g \pes \auctum \descendens b \]
6736 \paper { \neumeDemoPaper }}
6739 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6740 \include "gregorian-init.ly"
6743 % Porrectus Deminutus
6744 \[ a \flexa g \pes \deminutum b \]
6747 \paper { \neumeDemoPaper }}
6753 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6754 \include "gregorian-init.ly"
6758 \[ \virga b \inclinatum a \inclinatum g \]
6761 \paper { \neumeDemoPaper }
6765 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6766 \include "gregorian-init.ly"
6770 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6773 \paper { \neumeDemoPaper }}
6776 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6777 \include "gregorian-init.ly"
6780 % Climacus Deminutus
6781 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6784 \paper { \neumeDemoPaper }}
6788 @code{14. Scandicus}
6790 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6791 \include "gregorian-init.ly"
6795 \[ g \pes a \virga b \]
6798 \paper { \neumeDemoPaper }}
6801 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6802 \include "gregorian-init.ly"
6805 % Scandicus Auctus Descendens
6806 \[ g \pes a \pes \auctum \descendens b \]
6809 \paper { \neumeDemoPaper }}
6812 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6813 \include "gregorian-init.ly"
6816 % Scandicus Deminutus
6817 \[ g \pes a \pes \deminutum b \]
6820 \paper { \neumeDemoPaper }}
6826 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6827 \include "gregorian-init.ly"
6831 \[ g \oriscus a \pes \virga b \]
6834 \paper { \neumeDemoPaper }}
6837 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6838 \include "gregorian-init.ly"
6841 % Salicus Auctus Descendens
6842 \[ g \oriscus a \pes \auctum \descendens b \]
6845 \paper { \neumeDemoPaper }}
6852 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6853 \include "gregorian-init.ly"
6857 \[ \stropha b \stropha b \stropha a \]
6860 \paper { \neumeDemoPaper }
6869 Unlike most other neumes notation systems, the input language for
6870 neumes does not reflect the typographical appearance, but is designed
6871 to focus on musical meaning. For example, @code{\[ a \pes b
6872 \flexa g \]} produces a Torculus consisting of three Punctum heads,
6873 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
6874 curved flexa shape and only a single Punctum head. There is no
6875 command to explicitly typeset the curved flexa shape; the decision of
6876 when to typeset a curved flexa shape is based on the musical
6877 input. The idea of this approach is to separate the musical aspects
6878 of the input from the notation style of the output. This way, the
6879 same input can be reused to typeset the same music in a different
6880 style of Gregorian chant notation.
6882 The following table shows the code fragments that produce the
6883 ligatures in the above neumes table. The letter in the first column
6884 in each line of the below table indicates to which ligature in the
6885 above table it refers. The second column gives the name of the
6886 ligature. The third column shows the code fragment that produces this
6887 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6889 @multitable @columnfractions .1 .4 .5
6903 Punctum Inclinatum @tab
6904 @code{\[ \inclinatum b \]}
6908 Punctum Auctum Ascendens @tab
6909 @code{\[ \auctum \ascendens b \]}
6913 Punctum Auctum Descendens @tab
6914 @code{\[ \auctum \descendens b \]}
6918 Punctum Inclinatum Auctum @tab
6919 @code{\[ \inclinatum \auctum b \]}
6923 Punctum Inclinatum Parvum @tab
6924 @code{\[ \inclinatum \deminutum b \]}
6929 @code{\[ \virga b \]}
6934 @code{\[ \stropha b \]}
6939 @code{\[ \stropha \auctum b \]}
6944 @code{\[ \oriscus b \]}
6948 Clivis vel Flexa @tab
6949 @code{\[ b \flexa g \]}
6953 Clivis Aucta Descendens @tab
6954 @code{\[ b \flexa \auctum \descendens g \]}
6958 Clivis Aucta Ascendens @tab
6959 @code{\[ b \flexa \auctum \ascendens g \]}
6964 @code{\[ b \flexa \deminutum g \]}
6968 Podatus vel Pes @tab
6969 @code{\[ g \pes b \]}
6973 Pes Auctus Descendens @tab
6974 @code{\[ g \pes \auctum \descendens b \]}
6978 Pes Auctus Ascendens @tab
6979 @code{\[ g \pes \auctum \ascendens b \]}
6984 @code{\[ g \pes \deminutum b \]}
6989 @code{\[ \oriscus g \pes \virga b \]}
6993 Pes Quassus Auctus Descendens @tab
6994 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6999 @code{\[ \quilisma g \pes b \]}
7003 Quilisma Pes Auctus Descendens @tab
7004 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7008 Pes Initio Debilis @tab
7009 @code{\[ \deminutum g \pes b \]}
7013 Pes Auctus Descendens Initio Debilis @tab
7014 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7019 @code{\[ a \pes b \flexa g \]}
7023 Torculus Auctus Descendens @tab
7024 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7028 Torculus Deminutus @tab
7029 @code{\[ a \pes b \flexa \deminutum g \]}
7033 Torculus Initio Debilis @tab
7034 @code{\[ \deminutum a \pes b \flexa g \]}
7038 Torculus Auctus Descendens Initio Debilis @tab
7039 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7043 Torculus Deminutus Initio Debilis @tab
7044 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7049 @code{\[ a \flexa g \pes b \]}
7053 Porrectus Auctus Descendens @tab
7054 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7058 Porrectus Deminutus @tab
7059 @code{\[ a \flexa g \pes \deminutum b \]}
7064 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7068 Climacus Auctus @tab
7069 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7073 Climacus Deminutus @tab
7074 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7079 @code{\[ g \pes a \virga b \]}
7083 Scandicus Auctus Descendens @tab
7084 @code{\[ g \pes a \pes \auctum \descendens b \]}
7088 Scandicus Deminutus @tab
7089 @code{\[ g \pes a \pes \deminutum b \]}
7094 @code{\[ g \oriscus a \pes \virga b \]}
7098 Salicus Auctus Descendens @tab
7099 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7104 @code{\[ \stropha b \stropha b \stropha a \]}
7110 The following head prefixes are supported
7112 @cindex @code{\virga}
7114 @cindex @code{\stropha}
7116 @cindex @code{\inclinatum}
7118 @cindex @code{\auctum}
7120 @cindex @code{\descendens}
7122 @cindex @code{\ascendens}
7124 @cindex @code{\oriscus}
7126 @cindex @code{\quilisma}
7128 @cindex @code{\deminutum}
7131 Head prefixes can be accumulated, though restrictions apply. For
7132 example, either @code{\descendens} or @code{\ascendens} can be applied
7133 to a head, but not both to the same head.
7136 @cindex @code{\flexa}
7137 Two adjacent heads can be tied together with the @code{\pes} and
7138 @code{\flexa} infix commands for a rising and falling line of melody,
7143 @node Vaticana style contexts
7144 @subsection Vaticana style contexts
7146 @cindex VaticanaVoiceContext
7147 @cindex VaticanaStaffContext
7149 The predefined @code{VaticanaVoiceContext} and
7150 @code{VaticanaStaffContext} can be used to engrave a piece of
7151 Gregorian Chant in the style of the Editio Vaticana. These contexts
7152 initialize all relevant context properties and grob properties to
7153 proper values, so you can immediately go ahead entering the chant, as
7154 the following excerpt demonstrates
7156 @lilypond[quote,raggedright,verbatim,noindent]
7157 \include "gregorian-init.ly"
7160 \context VaticanaVoice = "cantus" {
7161 \override Score.BarNumber #'transparent = ##t
7163 \[ c'\melisma c' \flexa a \]
7164 \[ a \flexa \deminutum g\melismaEnd \]
7166 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7167 c' \divisioMinima \break
7168 \[ c'\melisma c' \flexa a \]
7169 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7172 \lyricsto "cantus" \new Lyrics {
7173 San- ctus, San- ctus, San- ctus
7180 @subsection Figured bass
7182 @cindex Basso continuo
7184 @c TODO: musicological blurb about FB
7187 LilyPond has limited support for figured bass
7189 @lilypond[quote,verbatim,fragment]
7191 \context Voice { \clef bass dis4 c d ais }
7192 \context FiguredBass \figures {
7193 < 6 >4 < 7 >8 < 6+ [_!] >
7199 The support for figured bass consists of two parts: there is an input
7200 mode, introduced by @code{\figures}, where you can enter bass figures
7201 as numbers, and there is a context called @internalsref{FiguredBass} that
7202 takes care of making @internalsref{BassFigure} objects.
7204 In figures input mode, a group of bass figures is delimited by
7205 @code{<} and @code{>}. The duration is entered after the @code{>>}
7209 @lilypond[quote,fragment]
7210 \context FiguredBass
7214 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7220 @lilypond[quote,fragment]
7221 \context FiguredBass
7222 \figures { <4- 6+ 7!> }
7225 Spaces or dashes may be inserted by using @code{_}. Brackets are
7226 introduced with @code{[} and @code{]}
7231 @lilypond[quote,fragment]
7232 \context FiguredBass
7233 \figures { < [4 6] 8 [_! 12]> }
7236 Although the support for figured bass may superficially resemble chord
7237 support, it works much simpler. The @code{\figures} mode simply
7238 stores the numbers , and @internalsref{FiguredBass} context prints
7239 them as entered. There is no conversion to pitches, and no
7240 realizations of the bass are played in the MIDI file.
7242 Internally, the code produces markup texts. You can use any of the
7243 markup text properties to override formatting. For example, the
7244 vertical spacing of the figures may be set with @code{baseline-skip}.
7248 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7249 and @internalsref{FiguredBass} context.
7253 Slash notation for alterations is not supported.
7255 @node Contemporary notation
7256 @section Contemporary notation
7258 In the 20th century, composers have greatly expanded the musical
7259 vocabulary. With this expansion, many innovations in musical notation
7260 have been tried. The book by Stone (1980) gives a comprehensive
7261 overview (see @ref{Literature list}). In general, the use of new,
7262 innovative notation makes a piece harder to understand and perform and
7263 its use should therefore be avoided if possible. For this reason,
7264 support for contemporary notation in LilyPond is limited.
7268 * Polymetric notation::
7270 * Special fermatas::
7274 @node Polymetric notation
7275 @subsection Polymetric notation
7277 Double time signatures are not supported explicitly, but they can be
7278 faked. In the next example, the markup for the time signature is
7279 created with a markup text. This markup text is inserted in the
7280 @internalsref{TimeSignature} grob.
7282 @lilypond[verbatim,raggedright]
7288 \musicglyph #"scripts-stopped"
7289 \bracket \column < "5" "8" >
7294 \override Staff.TimeSignature #'print-function = #Text_item::print
7295 \override Staff.TimeSignature #'text = #tsMarkup
7297 c'2 \bar ":" c'4 c'4.
7301 Each staff can also have its own time signature. This is done by
7302 moving the @internalsref{Timing_engraver} to @internalsref{Staff}
7309 \remove "Timing_engraver"
7313 \consists "Timing_engraver"
7319 Now, each staff has its own time signature.
7333 c4. c8 c c c4. c8 c c
7338 @lilypond[raggedright]
7342 \remove "Timing_engraver"
7346 \consists "Timing_engraver"
7362 c4. c8 c c c4. c8 c c
7368 A different form of polymetric notation is where note lengths have
7369 different values across staves.
7371 This notation can be created by setting a common time signature for
7372 each staff but replacing it manually using
7373 @code{timeSignatureFraction} to the desired fraction. Then the printed
7374 durations in each staff are scaled to the common time signature.
7375 The latter is done with @code{\compressmusic}, which is similar to
7376 @code{\times}, but does not create a tuplet bracket.
7379 In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
7380 used in parallel. In the second staff, shown durations are multiplied by
7381 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7382 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7384 @lilypond[raggedright,verbatim]
7392 \set Staff.timeSignatureFraction = #'(9 . 8)
7393 \compressmusic #'(2 . 3)
7394 \repeat unfold 6 { c8[ c c] }
7398 \set Staff.timeSignatureFraction = #'(10 . 8)
7399 \compressmusic #'(3 . 5)
7400 { \repeat unfold 2 { c8[ c c] }
7401 \repeat unfold 2 { c8[ c] }
7402 | c4. c4. \times 2/3 { c8 c c } c4 }
7412 When using different time signatures in parallel, the spacing is
7413 aligned vertically, but bar lines distort the regular spacing.
7418 @subsection Clusters
7422 A cluster indicates a continuous range of pitches to be played. They
7423 can be denoted as the envelope of a set of notes. They are entered by
7424 applying the function @code{makeClusters} to a sequence of
7427 @lilypond[quote,relative=2,verbatim]
7428 \makeClusters { <c e > <b f'> }
7431 The following example (from
7432 @inputfileref{input/regression,cluster.ly}) shows what the result
7435 @lilypondfile[quote]{cluster.ly}
7437 Ordinary notes and clusters can be put together in the same staff,
7438 even simultaneously. In such a case no attempt is made to
7439 automatically avoid collisions between ordinary notes and clusters.
7443 Program reference: @internalsref{ClusterSpanner},
7444 @internalsref{ClusterSpannerBeacon},
7445 @internalsref{Cluster_spanner_engraver}, and
7446 @internalsref{ClusterNoteEvent}.
7448 Examples: @inputfileref{input/regression,cluster.ly}.
7452 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7453 accurately. Use @code{<g a>8 <e a>8} instead.
7457 @node Special fermatas
7458 @subsection Special Fermatas
7460 @cindex fermatas, special
7462 In contemporary music notation, special fermata symbols denote breaks
7463 of differing lengths. The following fermatas are supported
7465 @lilypond[quote,raggedright]
7487 \context Lyrics \lyrics {
7488 \override LyricText #'font-family = #'typewriter
7489 "shortfermata" "fermata" "longfermata" "verylongfermata"
7494 See @ref{Articulations} for general instructions how to apply scripts
7495 such as fermatas to notes.
7497 @node Feathered beams
7498 @subsection Feathered beams
7500 Feathered beams are not supported natively, but they can be faked by
7501 forcing two beams to overlap. Here is an example,
7503 @lilypond[raggedright]
7504 \relative \new Staff <<
7508 \once \override Voice.Beam #'positions = #'(0 . 0.5)
7513 \once \override Voice.Beam #'positions = #'(0 . -0.5)
7521 @node Educational use
7522 @section Educational use
7526 * Blank music paper::
7527 * Notation for excercises::
7528 * Easy Notation note heads::
7532 @subsection Balloon help
7534 Elements of notation can be marked and named with the help of a square
7535 balloon. The primary purpose of this feature is to explain notation.
7537 The following example demonstrates its use.
7539 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7542 #(add-balloon-text 'NoteHead "heads, or tails?"
7548 The function @code{add-balloon-text} takes the name of a grob, the
7549 label to print, and the position where to put the label relative to
7550 the object. In the above example, the text ``heads or tails?'' ends
7551 3 spaces below and 1 space to the right of the marked head.
7554 @cindex notation, explaining
7558 Program reference: @internalsref{text-balloon-interface}.
7560 Examples: @inputfileref{input/regression,balloon.ly}.
7565 @node Blank music paper
7566 @subsection Blank music paper
7568 A blank music paper can be produced also by using invisible notes, and
7569 removing @code{Bar_number_engraver}.
7574 \repeat unfold 2 % Change this for more lines.
7579 \override TimeSignature #'transparent = ##t
7580 defaultBarType = #""
7581 \remove Bar_number_engraver
7583 \context Staff \emptymusic
7584 \context TabStaff \emptymusic
7589 @node Notation for excercises
7590 @subsection Notation for excercises
7594 Invisible (or transparent) notes can be useful, when weird tricks are
7595 needed; especially, a slur cannot be attach to a rest or spacer rest.
7599 blanknotes = { \override NoteHead #'transparent = ##t
7600 \override Stem #'transparent = ##t }
7601 unblanknotes = { \revert NoteHead #'transparent
7602 \revert Stem #'transparent }
7607 \blanknotes e4 f4 \unblanknotes
7613 @node Easy Notation note heads
7614 @subsection Easy Notation note heads
7616 @cindex easy notation
7619 The `easy play' note head includes a note name inside the head. It is
7620 used in music for beginners
7622 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
7627 The command @code{\setEasyHeads} overrides settings for the
7628 @internalsref{NoteHead} object. To make the letters readable, it has
7629 to be printed in a large font size. To print with a larger font, see
7630 @ref{Setting global staff size}.
7634 @cindex @code{\setEasyHeads}
7635 @code{\setEasyHeads}