2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration:
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C:
90 @lilypond[fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches:
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[verbatim,relative=2]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are:
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave:
153 @lilypond[fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands:
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch:
186 @lilypond[fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
220 Rests are entered like notes, with the note name @code{r}:
222 @lilypond[raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone:
236 @lilypond[raggedright,verbatim]
242 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}:
255 @lilypond[raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command:
262 @lilypond[raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables:
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
348 In the following example, the first three notes take up exactly two
350 @lilypond[fragment,relative=2,verbatim]
352 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
377 Whenever a note is found, a @internalsref{Stem} object is created
378 automatically. For whole notes and rests, they are also created but
383 @cindex @code{\stemUp}
385 @cindex @code{\stemDown}
387 @cindex @code{\stemBoth}
398 A tie connects two adjacent note heads of the same pitch. The tie in
399 effect extends the length of a note. Ties should not be confused with
400 slurs, which indicate articulation, or phrasing slurs, which indicate
401 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
403 @lilypond[fragment,verbatim]
404 e' ~ e' <c' e' g'> ~ <c' e' g'>
407 When a tie is applied to a chord, all note heads whose pitches match
408 are connected. When no note heads match, no ties will be created.
410 In its meaning a tie is just a way of extending a note duration, similar
411 to the augmentation dot; in the following example there are two ways of
412 notating exactly the same concept:
414 @lilypond[fragment,raggedright]
415 \time 3/4 c'2. c'2 ~ c'4
417 If you need to tie a lot of notes over bars, it may be easier to use automatic
418 note splitting (see @ref{Automatic note splitting}).
423 @cindex @code{\tieUp}
425 @cindex @code{\tieDown}
427 @cindex @code{\tieBoth}
429 @cindex @code{\tieDotted}
431 @cindex @code{\tieSolid}
436 In this manual: @ref{Automatic note splitting}.
438 Internals: @internalsref{TieEvent}, @internalsref{Tie}.
440 For tying only a subset of the note heads of a pair of chords, see
441 @inputfileref{input/regression,tie-chord-partial.ly}.
446 Switching staves when a tie is active will not produce a slanted tie.
448 Formatting of ties is a difficult subject. The results are often not
458 @cindex @code{\times}
460 Tuplets are made out of a music expression by multiplying all durations
463 @cindex @code{\times}
465 \times @var{fraction} @var{musicexpr}
469 The duration of @var{musicexpr} will be multiplied by the fraction.
470 The fraction's denominator will be printed over the notes, optionally
471 with a bracket. The most common tuplet is the triplet in which 3
472 notes have the length of 2, so the notes are 2/3 of their written
475 @lilypond[fragment,verbatim]
476 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
479 The property @code{tupletSpannerDuration} specifies how long each
480 bracket should last. With this, you can make lots of tuplets while
481 typing @code{\times} only once, saving lots of typing. In the next
482 example, there are two triplets shown, while @code{\times} was only
485 @lilypond[fragment,relative,raggedright,verbatim]
486 \set tupletSpannerDuration = #(ly:make-moment 1 4)
487 \times 2/3 { c'8 c c c c c }
490 The format of the number is determined by the property
491 @code{tupletNumberFormatFunction}. The default prints only the
492 denominator, but if it is set to the Scheme function
493 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
497 @cindex @code{tupletNumberFormatFunction}
498 @cindex tuplet formatting
503 @cindex @code{\tupletUp}
505 @cindex @code{\tupletDown}
507 @cindex @code{\tupletBoth}
512 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
514 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
518 Nested tuplets are not formatted automatically. In this case, outer
519 tuplet brackets should be moved manually, which is demonstrated in
520 @inputfileref{input/regression,tuplet-nest.ly}.
524 @node Easier music entry
525 @section Easier music entry
528 When entering music it is easy to introduce errors. This section deals
529 with tricks and features of the input language that were added solely
530 to help entering music, and find and correct mistakes.
532 It is also possible to use external programs, for example GUI
533 interfaces, or MIDI transcription programs, to enter or edit
534 music. Refer to the website for more information. Finally, there are
535 tools make debugging easier, by linking the input file and the output
536 shown on screen. See @ref{Point and click} for more information.
543 * Skipping corrected music::
544 * Automatic note splitting::
550 @node Relative octaves
551 @subsection Relative octaves
553 @cindex relative octave specification
555 Octaves are specified by adding @code{'} and @code{,} to pitch names.
556 When you copy existing music, it is easy to accidentally put a pitch
557 in the wrong octave and hard to find such an error. The relative
558 octave mode prevents these errors: a single error puts the rest of the
559 piece off by one octave:
561 @cindex @code{\relative}
563 \relative @var{startpitch} @var{musicexpr}
566 The octave of notes that appear in @var{musicexpr} are calculated as
567 follows: If no octave changing marks are used, the basic interval
568 between this and the last note is always taken to be a fourth or less
569 (; this distance is determined without regarding alterations: a
570 @code{fisis} following a @code{ceses} will be put above the
573 The octave changing marks @code{'} and @code{,} can be added to raise
574 or lower the pitch by an extra octave. Upon entering relative mode,
575 an absolute starting pitch must be specified that will act as the
576 predecessor of the first note of @var{musicexpr}.
578 Here is the relative mode shown in action:
579 @lilypond[fragment,raggedright,verbatim]
585 Octave changing marks are used for intervals greater than a fourth:
586 @lilypond[fragment,verbatim]
591 If the preceding item is a chord, the first note of the chord is used
592 to determine the first note of the next chord:
594 @lilypond[fragment,verbatim]
601 @cindex @code{\notes}
603 The pitch after the @code{\relative} contains a note name. To parse
604 the pitch as a note name, you have to be in note mode, so there must
605 be a surrounding @code{\notes} keyword (which is not
608 The relative conversion will not affect @code{\transpose},
609 @code{\chords} or @code{\relative} sections in its argument. If you
610 want to use relative within transposed music, you must place an
611 additional @code{\relative} inside the @code{\transpose}.
614 @subsection Octave check
617 Octave checks make octave errors easier to correct: a note may be
618 followed by @code{=}@var{quotes} which indicates what its absolute
619 octave should be. In the following example,
621 \relative c'' @{ c='' b=' d,='' @}
625 @c take care with @code, adds confusing quotes.
626 the d will generate a warning, because a d'' is expected, but a d' is
627 found. In the output, the octave is corrected this and the following
632 There is also a syntax that is separate from the notes.
637 This checks that @var{pitch} (without octave) yields @var{pitch} (with
638 octave) in \relative mode. If not, a warning is printed, and the
639 octave is corrected, for example, the first check is passed
640 successfully. The second check fails with an error message. The
641 octave is adjusted so the following notes are in the correct octave
652 The octave of a note following an octave check is determined with
653 respect to the note preceding it. In the next fragment, the last note
654 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
655 be deleted without changing the meaning of the piece.
657 @lilypond[verbatim,fragment]
666 @subsection Bar check
670 @cindex @code{barCheckSynchronize}
673 Bar checks help detect errors in the durations. A bar check is
674 entered using the bar symbol, `@code{|}'. Whenever it is encountered
675 during interpretation, it should fall on a measure boundary. If it
676 does not, a warning is printed. Depending on the value of
677 @code{barCheckSynchronize}, the beginning of the measure will be
680 In the next example, the second bar check will signal an error:
682 \time 3/4 c2 e4 | g2 |
685 Bar checks can also be used in lyrics, for example
690 Twin -- kle | Twin -- kle
695 @cindex skipTypesetting
697 Failed bar checks are caused by entering incorrect
698 durations. Incorrect durations often completely garble up the score,
699 especially if it is polyphonic, so you should start correcting the
700 score by scanning for failed bar checks and incorrect durations. To
701 speed up this process, you can use @code{skipTypesetting}, described
704 @node Skipping corrected music
705 @subsection Skipping corrected music
707 The property @code{Score.skipTypesetting} can be used to switch on and
708 off typesetting completely during the interpretation phase. When
709 typesetting is switched off, the music is processed much more quickly.
710 This can be used to skip over the parts of a score that have already
711 been checked for errors:
713 @lilypond[fragment,raggedright,verbatim]
715 \set Score.skipTypesetting = ##t
717 \set Score.skipTypesetting = ##f
721 @node Automatic note splitting
722 @subsection Automatic note splitting
724 Long notes can be converted automatically to tied notes. This is done
725 by replacing the @internalsref{Note_heads_engraver} by the
726 @internalsref{Completion_heads_engraver}.
727 In the following examples, notes crossing the bar line are split and tied.
730 @lilypond[noindent,verbatim,relative=1]
732 \remove "Note_heads_engraver"
733 \consists "Completion_heads_engraver"
735 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
739 This engraver splits all running notes at the bar line, and inserts
740 ties. One of its uses is to debug complex scores: if the measures are
741 not entirely filled, then the ties exactly show how much each measure
746 Not all durations (especially those containing tuplets) can be
747 represented exactly; the engraver will not insert tuplets.
751 Examples: @inputfileref{input/regression,completion-heads.ly}.
753 Internals: @internalsref{Completion_heads_engraver}.
757 @section Staff notation
759 This section describes music notation that occurs on staff level,
760 such as keys, clefs and time signatures.
762 @cindex Staff notation
776 @subsection Staff symbol
778 @cindex adjusting staff symbol
780 Notes, dynamic signs, etc. are grouped
781 with a set of horizontal lines, into a staff (plural `staves'). In our
782 system, these lines are drawn using a separate layout object called
786 @cindex staff lines, setting number of
787 @cindex staff lines, setting thickness of
788 @cindex thickness of staff lines, setting
789 @cindex number of staff lines, setting
793 Internals: @internalsref{StaffSymbol}.
795 Examples: @inputfileref{input/test,staff-lines.ly},
796 @inputfileref{input/test,staff-size.ly}.
800 If a staff is ended halfway a piece, the staff symbol may not end
801 exactly on the bar line.
805 @subsection Key signature
806 @cindex Key signature
810 The key signature indicates the scale in which a piece is played. It
811 is denoted by a set of alterations (flats or sharps) at the start of
815 Setting or changing the key signature is done with the @code{\key}
818 @code{\key} @var{pitch} @var{type}
821 @cindex @code{\minor}
822 @cindex @code{\major}
823 @cindex @code{\minor}
824 @cindex @code{\ionian}
825 @cindex @code{\locrian}
826 @cindex @code{\aeolian}
827 @cindex @code{\mixolydian}
828 @cindex @code{\lydian}
829 @cindex @code{\phrygian}
830 @cindex @code{\dorian}
832 Here, @var{type} should be @code{\major} or @code{\minor} to get
833 @var{pitch}-major or @var{pitch}-minor, respectively.
834 The standard mode names @code{\ionian},
835 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
836 @code{\phrygian}, and @code{\dorian} are also defined.
838 This command sets the context property
839 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
840 can be specified by setting this property directly.
842 Accidentals and key signatures often confuse new users, because
843 unaltered notes get natural signs depending on the key signature. The
844 tutorial explains why this is so in @ref{More about pitches}.
848 The ordering of a key cancellation is wrong when it is combined with
849 repeat bar lines. The cancellation is also printed after a line break.
853 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
855 @cindex @code{keySignature}
862 The clef indicates which lines of the staff correspond to which
866 The clef can be set or changed with the @code{\clef} command:
867 @lilypond[fragment,verbatim]
868 \key f\major c''2 \clef alto g'2
871 Supported clef-names include:
872 @c Moved standard clefs to the top /MB
876 @item treble, violin, G, G2
889 G clef on 1st line, so-called French violin clef
894 @cindex mezzosoprano clef
897 @cindex baritone clef
900 @cindex varbaritone clef
909 By adding @code{_8} or @code{^8} to the clef name, the clef is
910 transposed one octave down or up, respectively, and @code{_15} and
911 @code{^15} transposes by two octaves. The argument @var{clefname}
912 must be enclosed in quotes when it contains underscores or digits. For
916 @cindex choral tenor clef
917 @lilypond[verbatim,fragment,relative]
921 This command is equivalent to setting @code{clefGlyph},
922 @code{clefPosition} (which controls the Y position of the clef),
923 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
924 when any of these properties are changed.
928 Internals: the object for this symbol is @internalsref{Clef}.
932 @node Ottava brackets
933 @subsection Ottava brackets
935 ``Ottava'' brackets introduce an extra transposition of an octave for
936 the staff. They are created by invoking the function
937 @code{set-octavation}:
943 @lilypond[verbatim,fragment]
952 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
953 (for 15ma) as arguments. Internally the function sets the properties
954 @code{ottavation} (e.g. to @code{"8va"}) and
955 @code{centralCPosition}. For overriding the text of the bracket, set
956 @code{ottavation} after invoking @code{set-octavation}, i.e.,
960 \set Staff.ottavation = #"8"
965 Internals: @internalsref{OttavaBracket}.
967 Examples: @inputfileref{input/regression,ottava.ly},
968 @inputfileref{input/regression,ottava-broken.ly}.
972 @code{set-octavation} will get confused when clef changes happen
973 during an octavation bracket.
976 @subsection Time signature
977 @cindex Time signature
981 Time signature indicates the metrum of a piece: a regular pattern of
982 strong and weak beats. It is denoted by a fraction at the start of the
986 The time signature is set or changed by the @code{\time}
988 @lilypond[fragment,verbatim]
989 \time 2/4 c'2 \time 3/4 c'2.
992 The symbol that is printed can be customized with the @code{style}
993 property. Setting it to @code{#'()} uses fraction style for 4/4 and
994 2/2 time. There are many more options for its layout. See
995 @inputfileref{input/test,time.ly} for more examples.
998 This command sets the property @code{timeSignatureFraction},
999 @code{beatLength} and @code{measureLength} in the @code{Timing}
1000 context, which is normally aliased to @internalsref{Score}. The
1001 property @code{measureLength} determines where bar lines should be
1002 inserted, and how automatic beams should be generated. Changing the
1003 value of @code{timeSignatureFraction} also causes the symbol to be
1006 More options are available through the Scheme function
1007 @code{set-time-signature}. In combination with the
1008 @internalsref{Measure_grouping_engraver}, it will create
1009 @internalsref{MeasureGrouping} signs. Such signs ease reading
1010 rhythmically complex modern music. In the following example, the 9/8
1011 measure is subdivided in 2, 2, 2 and 3. This is passed to
1012 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1015 \score { \notes \relative c'' {
1016 #(set-time-signature 9 8 '(2 2 2 3))
1017 g8[ g] d[ d] g[ g] a8[( bes g]) |
1018 #(set-time-signature 5 8 '(3 2))
1023 \context { \StaffContext
1024 \consists "Measure_grouping_engraver"
1030 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1035 Automatic beaming does not use measure grouping specified with
1036 @code{set-time-signature}.
1038 @node Partial measures
1039 @subsection Partial measures
1042 @cindex partial measure
1043 @cindex measure, partial
1044 @cindex shorten measures
1045 @cindex @code{\partial}
1047 Partial measures, for example in upsteps, are entered using the
1048 @code{\partial} command:
1049 @lilypond[fragment,verbatim,relative=1]
1050 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1053 The syntax for this command is
1055 \partial @var{duration}
1057 This is internally translated into
1059 \set Timing.measurePosition = -@var{length of duration}
1062 The property @code{measurePosition} contains a rational number
1063 indicating how much of the measure has passed at this point.
1065 @node Unmetered music
1066 @subsection Unmetered music
1068 Bar lines and bar numbers are calculated automatically. For unmetered
1069 music (e.g. cadenzas), this is not desirable. By setting
1070 @code{Score.timing} to false, this automatic timing can be switched
1076 @cindex @code{\cadenzaOn}
1078 @cindex @code{\cadenzaOff}
1082 @subsection Bar lines
1086 @cindex measure lines
1090 Bar lines delimit measures, but are also used to indicate repeats.
1091 Normally, they are inserted automatically. Line breaks may only
1092 happen on bar lines.
1096 of bar lines can be forced with the @code{\bar} command:
1098 @lilypond[relative=1,fragment,verbatim]
1102 The following bar types are available:
1103 @lilypond[fragment,relative,raggedright,verbatim]
1116 For allowing line breaks, there is a special command,
1120 This will insert an invisible bar line, and allow line breaks at this
1123 In scores with many staves, a @code{\bar} command in one staff is
1124 automatically applied to all staves. The resulting bar lines are
1125 connected between different staves of a @internalsref{StaffGroup}:
1127 @lilypond[fragment,verbatim]
1128 << \context StaffGroup <<
1132 \new Staff { \clef bass c4 g e g } >>
1133 \new Staff { \clef bass c2 c2 } >>
1137 The command @code{\bar @var{bartype}} is a short cut for doing
1138 @code{\set Score.whichBar = @var{bartype}} Whenever
1139 @code{whichBar} is set to a string, a bar line of that type is
1140 created. At the start of a measure it is set to
1141 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1142 to override default measure bars.
1144 Property @code{whichBar} can also be set directly, using @code{\set}
1145 or @code{\bar}. These settings take precedence over the automatic
1146 @code{whichBar} settings.
1149 @cindex repeatCommands
1150 @cindex defaultBarType
1152 You are encouraged to use @code{\repeat} for repetitions. See
1159 In this manual: @ref{Repeats}.
1162 Internals: the bar line objects that are created at
1163 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1164 lines that span staves are @internalsref{SpanBar}s.
1166 @cindex bar lines at start of system
1167 @cindex start of system
1169 The bar lines at the start of each system are
1170 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1171 @internalsref{SystemStartBracket}. Only one of these types is created
1172 in every context, and that type is determined by the property
1173 @code{systemStartDelimiter}.
1175 Examples: @inputfileref{input/test,bar-lines.ly},
1181 The easiest way to enter fragments with more than one voice on a staff
1182 is to split chords using the separator @code{\\}. You can use it for
1183 small, short-lived voices or for single chords:
1185 @lilypond[verbatim,fragment]
1186 \context Staff \relative c'' {
1187 c4 << { f d e } \\ { b c2 } >>
1188 c4 << g' \\ b, \\ f' \\ d >>
1192 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1193 voices are sometimes called "layers" other notation packages}
1195 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1196 each of these contexts, vertical direction of slurs, stems, etc. is set
1199 @cindex @code{\voiceOne}
1200 @cindex @code{\voiceFour}
1202 This can also be done by instantiating @internalsref{Voice} contexts
1203 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1204 a stem directions and horizontal shift for each part:
1207 @lilypond[raggedright,verbatim]
1209 \context Staff << \new Voice { \voiceOne cis2 b }
1210 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1211 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1215 The command @code{\oneVoice} will revert back to the normal setting.
1216 @cindex @code{\oneVoice}
1219 Normally, note heads with a different number of dots are not merged, but
1220 when the object property @code{merge-differently-dotted} is set in
1221 the @internalsref{NoteCollision} object, they are merged:
1222 @lilypond[verbatim,fragment,raggedright]
1223 \relative c'' \context Voice << {
1225 \override Staff.NoteCollision
1226 #'merge-differently-dotted = ##t
1228 } \\ { g8.[ f16] g8.[ f16] }
1232 Similarly, you can merge half note heads with eighth notes, by setting
1233 @code{merge-differently-headed}:
1234 @lilypond[fragment,relative=2,verbatim]
1237 \override Staff.NoteCollision
1238 #'merge-differently-headed = ##t
1239 c8 c4. } \\ { c2 c2 } >>
1242 LilyPond also vertically shifts rests that are opposite of a stem:
1245 @lilypond[raggedright,fragment,verbatim]
1246 \context Voice << c''4 \\ r4 >>
1254 @cindex @code{\oneVoice}
1256 @cindex @code{\voiceOne}
1258 @cindex @code{\voiceTwo}
1260 @cindex @code{\voiceThree}
1262 @cindex @code{\voiceFour}
1266 The following commands specify in what chords of the current voice
1267 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1268 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1271 @cindex @code{\shiftOn}
1273 @cindex @code{\shiftOnn}
1275 @cindex @code{\shiftOnnn}
1277 @cindex @code{\shiftOff}
1284 Internals: the objects responsible for resolving collisions are
1285 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1287 Examples: See also example files
1288 @inputfileref{input/regression,collision-dots.ly},
1289 @inputfileref{input/regression,collision-head-chords.ly},
1290 @inputfileref{input/regression,collision-heads.ly},
1291 @inputfileref{input/regression,collision-mesh.ly}, and
1292 @inputfileref{input/regression,collisions.ly}.
1297 Resolving collisions is a intricate subject, and only a few situations
1298 are handled. When LilyPond cannot cope, the @code{force-hshift}
1299 property of the @internalsref{NoteColumn} object and pitched rests can
1300 be used to override typesetting decisions.
1302 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1303 note, and a downstem half note, the 8th note gets the wrong offset.
1305 There is no support for clusters where the same note occurs with
1306 different accidentals in the same chord. In this case, it is
1307 recommended to use enharmonic transcription, or to use special cluster
1308 notation (see @ref{Clusters}).
1313 Beams are used to group short notes into chunks that are aligned with
1314 the metrum. They are inserted automatically in most cases:
1316 @lilypond[fragment,verbatim,relative=2]
1317 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1320 When these automatic decisions are not good enough, beaming can be
1321 entered explicitly. It is also possible to define beaming patterns
1322 that differ from the defaults.
1324 Individual notes may be marked with @code{\noBeam}, to prevent them
1327 @lilypond[fragment,verbatim,relative=2]
1328 \time 2/4 c8 c\noBeam c c
1334 Internals: @internalsref{Beam}.
1337 @cindex Automatic beams
1340 * Setting automatic beam behavior::
1344 @subsection Manual beams
1345 @cindex beams, manual
1349 In some cases it may be necessary to override the automatic beaming
1350 algorithm. For example, the autobeamer will not put beams over rests
1351 or bar lines. Such beams are specified by manually: the begin and end
1352 point are marked with @code{[} and @code{]}:
1354 @lilypond[fragment,relative,verbatim]
1356 r4 r8[ g' a r8] r8 g[ | a] r8
1360 @cindex @code{stemLeftBeamCount}
1362 Normally, beaming patterns within a beam are determined automatically.
1363 When this mechanism fouls up, the properties
1364 @code{stemLeftBeamCount} and @code{stemRightBeamCount} can
1365 be used to control the beam subdivision on a stem. If either property
1366 is set, its value will be used only once, and then it is erased:
1368 @lilypond[fragment,relative,verbatim]
1371 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1374 @cindex @code{stemRightBeamCount}
1377 The property @code{subdivideBeams} can be set in order to subdivide
1378 all 16th or shorter beams at beat positions, as defined by the
1379 @code{beatLength} property. This accomplishes the same effect as
1380 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1381 but it take less typing:
1384 @lilypond[relative=1,verbatim,noindent]
1386 \set subdivideBeams = ##t
1388 \set Score.beatLength = #(ly:make-moment 1 8)
1391 @cindex subdivideBeams
1393 Kneed beams are inserted automatically, when a large gap is detected
1394 between the note heads. This behavior can be tuned through the object
1395 property @code{auto-knee-gap}.
1397 Normally, line breaks are forbidden when beams cross bar lines. This
1398 behavior can be changed by setting @code{allowBeamBreak}.
1400 @cindex @code{allowBeamBreak}
1401 @cindex beams and line breaks
1403 @cindex beams, kneed
1405 @cindex auto-knee-gap
1411 @cindex Frenched staves
1413 Automatically kneed beams cannot be used together with hidden staves.
1418 @node Setting automatic beam behavior
1419 @subsection Setting automatic beam behavior
1421 @cindex @code{autoBeamSettings}
1422 @cindex @code{(end * * * *)}
1423 @cindex @code{(begin * * * *)}
1424 @cindex automatic beams, tuning
1425 @cindex tuning automatic beaming
1427 @c [TODO: use \applycontext]
1429 In normal time signatures, automatic beams can start on any note but can
1430 only end in a few positions within the measure: beams can end on a beat,
1431 or at durations specified by the properties in
1432 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1433 are defined in @file{scm/auto-beam.scm}.
1435 The value of @code{autoBeamSettings} is changed with two functions:
1437 #(override-auto-beam-setting
1438 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1440 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1442 Here, @var{be} is the symbol @code{begin} or @code{end}. It determines
1443 whether the rule applies to begin or end-points. The quantity
1444 @var{p}/@var{q} refers to the length of the beamed notes (and `@code{*
1445 *}' designates notes of any length), @var{n}/@var{M} refers to a time
1446 signature (wildcards `@code{* *}' may be entered to designate all time
1447 signatures), @var{a}/@var{b} is a duration. By default, this command
1448 changes settings for the current voice. It is also possible to adjust
1449 settings at higher contexts, by adding a @var{context} argument.
1451 For example, if automatic beams should end on every quarter note, use
1454 #(override-auto-beam-setting '(end * * * *) 1 4)
1456 Since the duration of a quarter note is 1/4 of a whole note, it is
1457 entered as @code{(ly:make-moment 1 4)}.
1459 The same syntax can be used to specify beam starting points. In this
1460 example, automatic beams can only end on a dotted quarter note:
1462 #(override-auto-beam-setting '(end * * * *) 3 8)
1464 In 4/4 time signature, this means that automatic beams could end only on
1465 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1466 3/8, has passed within the measure).
1468 Rules can also be restricted to specific time signatures. A rule that
1469 should only be applied in @var{N}/@var{M} time signature is formed by
1470 replacing the second asterisks by @var{N} and @var{M}. For example, a
1471 rule for 6/8 time exclusively looks like
1473 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1476 If a rule should be to applied only to certain types of beams, use the
1477 first pair of asterisks. Beams are classified according to the
1478 shortest note they contain. For a beam ending rule that only applies
1479 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1482 If a score ends while an automatic beam has not been ended and is still
1483 accepting notes, this last beam will not be typeset at all.
1485 @cindex automatic beam generation
1487 @cindex @code{autoBeaming}
1490 For melodies that have lyrics, you may want to switch off
1491 automatic beaming. This is done by setting @code{autoBeaming} to
1496 @cindex @code{\autoBeamOff}
1497 @code{\autoBeamOff},
1498 @cindex @code{\autoBeamOn}
1504 The rules for ending a beam depend on the shortest note in a beam.
1505 So, while it is possible to have different ending rules for eight
1506 beams and sixteenth beams, a beam that contains both eight and
1507 sixteenth notes will use the rules for the sixteenth beam.
1509 In the example below, the autobeamer makes eight beams and sixteenth
1510 end at 3 eights; the third beam can only be corrected by specifying
1513 @lilypond[raggedright,fragment,relative]
1514 #(override-auto-beam-setting '(end * * * *) 3 8)
1515 % rather show case where it goes wrong
1516 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1517 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1519 It is not possible to specify beaming parameters that act differently in
1520 different parts of a measure. This means that it is not possible to use
1521 automatic beaming in irregular meters such as @code{5/8}.
1524 @section Accidentals
1527 This section describes how to change the way that accidentals are
1528 inserted automatically before the running notes.
1532 * Using the predefined accidental variables::
1533 * Customized accidental rules::
1536 @node Using the predefined accidental variables
1537 @subsection Using the predefined accidental variables
1540 Common rules for typesetting macros have been canned in a
1541 function. This function is called as follows:
1543 @cindex @code{set-accidental-style}
1545 #(set-accidental-style 'modern 'Voice)
1548 The function takes two arguments: a symbol that denotes the style (in
1549 the example, @code{modern}), and another symbol that denotes the
1550 context name (in this example, @code{Staff}). If no context name is
1551 supplied, @code{Staff} is the default.
1553 The following styles are supported:
1556 This is the default typesetting behavior. It should correspond
1557 to 18th century common practice: Accidentals are
1558 remembered to the end of the measure in which they occur and
1559 only on their own octave.
1563 The normal behavior is to remember the accidentals on
1564 Staff-level. This variable, however, typesets accidentals
1565 individually for each voice. Apart from that, the rule is similar to
1568 This leads to some weird and often unwanted results
1569 because accidentals from one voice do not get canceled in other
1571 @lilypond[raggedright,relative,fragment,verbatim]
1573 #(set-accidental-style 'voice)
1579 Hence you should only use @code{voice} if the voices
1580 are to be read solely by individual musicians. If the staff is to be
1581 used by one musician (e.g. a conductor) then you use
1582 @code{modern} or @code{modern-cautionary}
1586 @cindex @code{modern} style accidentals
1587 This rule corresponds to the common practice in the 20th
1589 This rule prints the same accidentals as @code{default}, but temporary
1590 accidentals also are canceled in other octaves. Furthermore,
1591 in the same octave, they also get canceled in the following
1594 @lilypond[raggedright,fragment,verbatim]
1595 #(set-accidental-style 'modern)
1596 cis' c'' cis'2 | c'' c'
1599 @item @code{modern-cautionary}
1600 @cindex @code{modern-cautionary}
1601 This rule is similar to @code{modern}, but the
1602 ``extra'' accidentals (the ones not typeset by
1603 @code{default}) are typeset as cautionary accidentals.
1604 They are printed in reduced size or with parentheses:
1605 @lilypond[raggedright,fragment,verbatim]
1606 #(set-accidental-style 'modern-cautionary)
1607 cis' c'' cis'2 | c'' c'
1610 @cindex @code{modern-voice}
1612 is used for multivoice accidentals to be read both by musicians
1613 playing one voice and musicians playing all voices. Accidentals are
1614 typeset for each voice, but they @emph{are} canceled across voices in
1615 the same @internalsref{Staff}.
1617 @cindex @code{modern-voice-cautionary}
1618 @item modern-voice-cautionary
1619 is the same as @code{modern-voice}, but with the extra
1620 accidentals (the ones not typeset by @code{voice}) typeset
1621 as cautionaries. Even though all accidentals typeset by
1622 @code{default} @emph{are} typeset by this variable then
1623 some of them are typeset as cautionaries.
1626 @cindex @code{piano} accidentals
1627 20th century practice for piano notation. Very similar to
1628 @code{modern} but accidentals also get canceled
1629 across the staves in the same @internalsref{GrandStaff} or
1630 @internalsref{PianoStaff}.
1632 @item piano-cautionary
1633 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1634 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1635 typeset as cautionaries.
1638 @cindex @code{no-reset} accidental style
1639 Same as @code{default} but with accidentals lasting
1640 ``forever'' and not only until the next measure:
1641 @lilypond[raggedright,fragment,verbatim,relative]
1642 #(set-accidental-style 'no-reset)
1647 This is sort of the opposite of @code{no-reset}: Accidentals
1648 are not remembered at all---and hence all accidentals are
1649 typeset relative to the key signature, regardless of what was
1650 before in the music:
1652 @lilypond[raggedright,fragment,verbatim,relative]
1653 #(set-accidental-style 'forget)
1654 \key d\major c4 c cis cis d d dis dis
1658 @node Customized accidental rules
1659 @subsection Customized accidental rules
1661 For determining when to print an accidental, several different rules
1662 are tried. The rule that gives the highest number of accidentals is
1663 used. Each rule consists of
1666 In which context is the rule applied. For example, if
1667 @var{context} is @internalsref{Score} then all staves share
1668 accidentals, and if @var{context} is @internalsref{Staff} then all
1669 voices in the same staff share accidentals, but staves do not.
1672 Whether the accidental changes all octaves or only the current
1673 octave. Valid choices are
1677 This is the default algorithm. Accidentals are typeset if the note changes
1678 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1679 and then as many measures as specified in the value. I.e. 1 means to the end
1680 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1682 Accidentals are typeset if the note is different from
1683 the previous note on the same pitch in any octave. The value has same meaning as in
1689 Over how many bar lines the accidental lasts.
1690 If @var{laziness} is @code{-1} then the accidental is forget
1691 immediately, and if @var{laziness} is @code{#t} then the accidental
1698 Internals: @internalsref{Accidental_engraver},
1699 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1704 Currently the simultaneous notes are considered to be entered in
1705 sequential mode. This means that in a chord the accidentals are
1706 typeset as if the notes in the chord happened once at a time - in the
1707 order in which they appear in the input file.
1709 This is only a problem when there are simultaneous notes whose
1710 accidentals depend on each other. The problem only occurs when using
1711 non-default accidentals. In the default scheme, accidentals only
1712 depend on other accidentals with the same pitch on the same staff, so
1713 no conflicts possible.
1715 This example shows two examples of the same music giving different
1716 accidentals depending on the order in which the notes occur in the
1719 @lilypond[raggedright,fragment,verbatim]
1720 \set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1721 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1722 | <cis' c''> r | <c'' cis'> r |
1725 This problem can be solved by manually inserting @code{!} and @code{?}
1726 for the problematic notes.
1728 @node Expressive marks
1729 @section Expressive marks
1732 @c todo: should change ordering
1733 @c where to put text spanners, metronome marks,
1742 * Analysis brackets::
1744 * Fingering instructions::
1755 A slur indicates that notes are to be played bound or @emph{legato}.
1758 They are entered using parentheses:
1759 @lilypond[relative=1,fragment,verbatim]
1760 f( g)( a) a8 b( a4 g2 f4)
1765 @c TODO: should explain that ^( and _( set directions
1766 @c should set attachments with ^ and _ ?
1768 Slurs avoid crossing stems, and are generally attached to note heads.
1769 However, in some situations with beams, slurs may be attached to stem
1770 ends. If you want to override this layout you can do this through the
1771 object property @code{attachment} of @internalsref{Slur} in
1772 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1773 the attachment type of the left and right end points:
1775 @lilypond[fragment,relative,verbatim]
1777 \override Stem #'length = #5.5
1779 \override Slur #'attachment = #'(stem . stem)
1783 If a slur would strike through a stem or beam, the slur will be moved
1784 away upward or downward. If this happens, attaching the slur to the
1785 stems might look better:
1787 @lilypond[fragment,relative,verbatim]
1790 \override Slur #'attachment = #'(stem . stem)
1797 @cindex @code{\slurUp}
1799 @cindex @code{\slurDown}
1801 @cindex @code{\slurBoth}
1803 @cindex @code{\slurDotted}
1805 @cindex @code{\slurSolid}
1810 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1815 Producing nice slurs is a difficult problem, and LilyPond currently
1816 uses a simple, empiric method to produce slurs. In some cases, its
1820 @cindex Adjusting slurs
1822 @node Phrasing slurs
1823 @subsection Phrasing slurs
1825 @cindex phrasing slurs
1826 @cindex phrasing marks
1828 A phrasing slur (or phrasing mark) connects chords and is used to
1829 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1832 @lilypond[fragment,verbatim,relative]
1833 \time 6/4 c'\( d( e) f( e) d\)
1836 Typographically, the phrasing slur behaves almost exactly like a
1837 normal slur. However, they are treated as different objects. A
1838 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1839 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1840 @code{\phrasingSlurBoth}.
1842 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1843 will only affect normal slurs and not phrasing slurs.
1847 @cindex @code{\phrasingSlurUp}
1848 @code{\phrasingSlurUp},
1849 @cindex @code{\phrasingSlurDown}
1850 @code{\phrasingSlurDown},
1851 @cindex @code{\phrasingSlurBoth}
1852 @code{\phrasingSlurBoth}.
1856 Internals: see also @internalsref{PhrasingSlur}, and
1857 @internalsref{PhrasingSlurEvent}.
1861 Phrasing slurs have the same limitations in their formatting as normal
1862 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1865 @subsection Breath marks
1867 Breath marks are entered using @code{\breathe}:
1870 @lilypond[fragment,relative,verbatim]
1874 The glyph of the breath mark can be tweaked by overriding the
1875 @code{text} property of the @code{BreathingSign} layout object with
1876 any markup text. For example,
1877 @lilypond[fragment,verbatim,relative]
1879 \override BreathingSign #'text
1880 = #(make-musicglyph-markup "scripts-rvarcomma")
1887 Internals: @internalsref{BreathingSign},
1888 @internalsref{BreathingSignEvent}.
1890 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1893 @node Metronome marks
1894 @subsection Metronome marks
1897 @cindex beats per minute
1898 @cindex metronome marking
1900 Metronome settings can be entered as follows:
1902 \tempo @var{duration} = @var{per-minute}
1905 In the MIDI output, they are interpreted as a tempo change, and in the
1906 paper output, a metronome marking is printed:
1907 @cindex @code{\tempo}
1908 @lilypond[fragment,verbatim]
1914 Internals: @internalsref{MetronomeChangeEvent}.
1919 @subsection Text spanners
1920 @cindex Text spanners
1922 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1923 are written as texts, and extended over many measures with dotted
1924 lines. You can create such texts using text spanners: attach
1925 @code{\startTextSpan} and @code{\stopTextSpan} to the
1926 start and ending note of the spanner.
1928 The string to be printed, as well as the style, is set through object
1931 @lilypond[fragment,relative,verbatim]
1933 \override TextSpanner #'direction = #-1
1934 \override TextSpanner #'edge-text = #'("rall " . "")
1935 c2\startTextSpan b c\stopTextSpan a }
1941 Internals @internalsref{TextSpanEvent},
1942 @internalsref{TextSpanner}.
1944 Examples: @inputfileref{input/regression,text-spanner.ly}.
1947 @node Analysis brackets
1948 @subsection Analysis brackets
1950 @cindex phrasing brackets
1951 @cindex musicological analysis
1952 @cindex note grouping bracket
1954 Brackets are used in musical analysis to indicate structure in musical
1955 pieces. LilyPond supports a simple form of nested horizontal brackets.
1956 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1957 @internalsref{Staff} context. A bracket is started with
1958 @code{\startGroup} and closed with @code{\stopGroup}:
1960 @lilypond[raggedright,verbatim]
1961 \score { \notes \relative c'' {
1962 c4\startGroup\startGroup
1965 c4\stopGroup\stopGroup
1968 \StaffContext \consists "Horizontal_bracket_engraver"
1974 Internals: @internalsref{HorizontalBracket},
1975 @internalsref{NoteGroupingEvent}.
1977 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1981 @subsection Articulations
1982 @cindex Articulations
1984 @cindex articulations
1988 A variety of symbols can appear above and below notes to indicate
1989 different characteristics of the performance. They are added to a note
1990 by adding a dash and the character signifying the
1991 articulation. They are demonstrated here:
1993 @lilypondfile[]{script-abbreviations.ly}
1995 The meanings of these shorthands can be changed: see
1996 @file{ly/script-init.ly} for examples.
1999 The script is automatically placed, but if you need to force
2000 directions, you can use @code{_} to force them down, or @code{^} to
2002 @lilypond[fragment,verbatim]
2006 Other symbols can be added using the syntax
2007 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2008 can be forced up or down using @code{^} and @code{_},
2011 @lilypond[verbatim,fragment,relative=2]
2012 c\fermata c^\fermata c_\fermata
2019 @cindex staccatissimo
2028 @cindex organ pedal marks
2037 @cindex prallmordent
2041 @cindex thumb marking
2046 @lilypondfile[]{script-chart.ly}
2051 @cindex @code{\scriptUp}
2053 @cindex @code{\scriptDown}
2055 @cindex @code{\scriptBoth}
2060 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2064 These note ornaments appear in the printed output but have no
2065 effect on the MIDI rendering of the music.
2068 @node Fingering instructions
2069 @subsection Fingering instructions
2073 Fingering instructions can be entered using
2075 @var{note}-@var{digit}
2077 For finger changes, use markup texts:
2079 @lilypond[verbatim,raggedright,fragment]
2080 c'4-1 c'4-2 c'4-3 c'4-4
2081 c'^\markup { \fontsize #-3 \number "2-3" }
2084 @cindex finger change
2089 You can use the thumb-script to indicate that a note should be
2090 played with the thumb (e.g. in cello music):
2092 @lilypond[verbatim,raggedright,fragment]
2093 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2094 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2097 Fingerings for chords can also be added to individual notes
2098 of the chord by adding them after the pitches:
2099 @lilypond[verbatim,raggedright,fragment,relative=1]
2100 < c-1 e-2 g-3 b-5 > 4
2104 In this case, setting @code{fingeringOrientations} will put fingerings next
2107 @lilypond[verbatim,raggedright,fragment,relative=1]
2108 \set fingeringOrientations = #'(left down)
2109 <c-1 es-2 g-4 bes-5 > 4
2110 \set fingeringOrientations = #'(up right down)
2111 <c-1 es-2 g-4 bes-5 > 4
2114 By using single note chords, fingering instructions can be put close
2115 to note heads in monophonic music.
2119 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2121 Examples: @inputfileref{input/regression,finger-chords.ly}.
2124 @subsection Text scripts
2125 @cindex Text scripts
2127 @cindex text items, non-empty
2128 @cindex non-empty texts
2130 It is possible to place arbitrary strings of text or markup text (see
2131 @ref{Text markup}) above or below notes by using a string:
2132 @code{c^"text"}. By default, these indications do not influence the
2133 note spacing, but by using the command @code{\fatText}, the widths
2134 will be taken into account:
2136 @lilypond[fragment,raggedright,verbatim] \relative c' {
2137 c4^"longtext" \fatText c4_"longlongtext" c4 }
2140 It is possible to use @TeX{} commands in the strings, but this should
2141 be avoided because the exact dimensions of the string can then no
2146 @cindex @code{\fatText}
2148 @cindex @code{\emptyText}
2153 In this manual: @ref{Text markup}.
2155 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2161 @subsection Grace notes
2164 @c should have blurb about accaciatura / appogiatura
2166 @cindex @code{\grace}
2170 Grace notes are ornaments that are written out. The most common ones
2171 are acciaccatura, which should be played as very short. It is denoted
2172 by a slurred small note with a slashed stem. The appoggiatura is a
2173 grace note that takes a fixed fraction of the main note, is and
2174 denoted as a slurred note in small print without a slash.
2175 They are entered with the commands @code{\acciaccatura} and
2176 @code{\appoggiatura}, as demonstrated in the following example:
2179 @cindex appoggiatura
2180 @cindex acciaccatura
2182 @lilypond[relative=2,verbatim,fragment]
2183 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2184 \acciaccatura { g16[ f] } e4
2187 Both are special forms of the @code{\grace} command. By prefixing this
2188 keyword to a music expression, a new one is formed, which will be
2189 printed in a smaller font and takes up no logical time in a measure.
2190 @lilypond[relative=2,verbatim,fragment]
2192 \grace { c16[ d16] } c2 c4
2196 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2197 @code{\grace} command does not start a slur.
2199 Internally, timing for grace notes is done using a second, `grace'
2200 time. Every point in time consists of two rational numbers: one
2201 denotes the logical time, one denotes the grace timing. The above
2202 example is shown here with timing tuples:
2204 @lilypond[raggedright]
2207 c4 \grace c16 c4 \grace {
2210 \new Lyrics \lyrics {
2213 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2214 \markup { (\fraction 1 4 , 0 ) } 4
2216 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2217 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2219 \markup { ( \fraction 2 4 , 0 ) }
2224 The placement of grace notes is synchronized between different staves.
2225 In the following example, there are two sixteenth graces notes for
2226 every eighth grace note:
2228 @lilypond[relative=2,verbatim,fragment]
2229 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2230 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2235 If you want to end a note with a grace, then the standard trick
2236 is to put the grace notes after a ``space note'', e.g.
2237 @lilypond[fragment,verbatim,relative=2]
2240 { s2 \grace { c16[ d] } } >>
2246 By adjusting the duration of the skip note (here it is a half-note),
2247 the space between the main-note and the grace is adjusted.
2250 A @code{\grace} section will introduce special typesetting settings,
2251 for example, to produce smaller type, and set directions. Hence, when
2252 introducing layout tweaks, they should be inside the grace section,
2254 @lilypond[fragment,verbatim,relative=1]
2257 \override Stem #'direction = #-1
2259 \revert Stem #'direction
2266 The overrides should also be reverted inside the grace section.
2268 If the layout of grace sections must be changed throughout the music,
2269 then this can be accomplished through the function
2270 @code{add-grace-property}. The following example
2271 undefines the Stem direction grace section, so stems do not always
2276 #(add-grace-property "Voice" Stem direction '())
2282 Another option is to change the variables @code{startGraceMusic},
2283 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2284 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2285 @code{stopAppoggiaturaMusic}. More information is in the file
2286 @file{ly/grace-init.ly}.
2291 Internals: @internalsref{GraceMusic}.
2295 A score that starts with an @code{\grace} section needs an explicit
2296 @code{\context Voice} declaration, otherwise the main note and grace
2297 note end up on different staves.
2299 Grace note synchronization can also lead to surprises. Staff notation,
2300 such as key signatures, bar lines, etc. are also synchronized. Take
2301 care when you mix staves with grace notes and staves without, for example,
2303 @lilypond[relative=2,verbatim,fragment]
2304 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2305 \new Staff { c4 \bar "|:" d4 } >>
2308 Grace sections should only be used within sequential music
2309 expressions. Nesting or juxtaposing grace sections is not supported,
2310 and might produce crashes or other errors.
2314 @subsection Glissando
2317 @cindex @code{\glissando}
2319 A glissando is a smooth change in pitch. It is denoted by a line or a
2320 wavy line between two notes.
2323 A glissando line can be requested by attaching a @code{\glissando} to
2326 @lilypond[fragment,relative,verbatim]
2332 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2337 Adding additional texts (such as @emph{gliss.}) is not supported.
2341 @subsection Dynamics
2354 @cindex @code{\ffff}
2364 Absolute dynamic marks are specified using a command after a note:
2365 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2366 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2367 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2368 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2370 @lilypond[verbatim,raggedright,fragment,relative]
2371 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2377 @cindex @code{\decr}
2378 @cindex @code{\rced}
2385 A crescendo mark is started with @code{\<} and terminated with
2386 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2387 with @code{\!}. Because these marks are bound to notes, if you must
2388 use spacer notes if multiple marks during one note are needed:
2390 @lilypond[fragment,verbatim]
2391 c''\< c''\! d''\decr e''\rced
2392 << f''1 { s4 s4\< s4\! \> s4\! } >>
2394 This may give rise to very short hairpins. Use @code{minimum-length}
2395 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2399 \override Staff.Hairpin #'minimum-length = #5
2402 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2403 is an example how to do it:
2405 @lilypond[fragment,relative=2,verbatim]
2406 c4 \cresc c4 c c c \endcresc c4
2412 You can also supply your own texts:
2413 @lilypond[fragment,relative,verbatim]
2415 \set crescendoText = \markup { \italic "cresc. poco" }
2416 \set crescendoSpanner = #'dashed-line
2426 @cindex @code{\dynamicUp}
2428 @cindex @code{\dynamicDown}
2429 @code{\dynamicDown},
2430 @cindex @code{\dynamicBoth}
2431 @code{\dynamicBoth}.
2433 @cindex direction, of dynamics
2437 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2438 @internalsref{AbsoluteDynamicEvent}.
2440 Dynamics are objects of @internalsref{DynamicText} and
2441 @internalsref{Hairpin}. Vertical positioning of these symbols is
2442 handled by the @internalsref{DynamicLineSpanner} object.
2444 If you want to adjust padding or vertical direction of the dynamics, you
2445 must set properties for the @internalsref{DynamicLineSpanner} object.
2453 @cindex @code{\repeat}
2456 Repetition is a central concept in music, and multiple notations exist
2457 for repetitions. In LilyPond, most of these notations can be captured
2458 in a uniform syntax. One of the advantages is that they can be
2459 rendered in MIDI accurately.
2461 The following types of repetition are supported:
2465 Repeated music is fully written (played) out. Useful for MIDI
2466 output, and entering repetitive music.
2469 This is the normal notation: Repeats are not written out, but
2470 alternative endings (volte) are printed, left to right.
2474 Alternative endings are written stacked. This has limited use but may be
2475 used to typeset two lines of lyrics in songs with repeats, see
2476 @inputfileref{input,star-spangled-banner.ly}.
2484 Make beat or measure repeats. These look like percent signs.
2490 * Repeats and MIDI::
2491 * Manual repeat commands::
2493 * Tremolo subdivisions::
2498 @subsection Repeat syntax
2501 LilyPond has one syntactic construct for specifying different types of
2502 repeats. The syntax is
2505 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2508 If you have alternative endings, you may add
2509 @cindex @code{\alternative}
2511 \alternative @code{@{} @var{alternative1}
2513 @var{alternative3} @dots{} @code{@}}
2515 where each @var{alternative} is a music expression. If you do not
2516 give enough alternatives for all of the repeats, then the first
2517 alternative is assumed to be played more than once.
2519 Normal notation repeats are used like this:
2520 @lilypond[fragment,verbatim,relative=1]
2522 \repeat volta 2 { c4 d e f }
2523 \repeat volta 2 { f e d c }
2526 With alternative endings:
2527 @lilypond[fragment,verbatim,relative=1]
2529 \repeat volta 2 {c4 d e f}
2530 \alternative { {d2 d} {f f,} }
2534 @lilypond[fragment,verbatim,relative=1]
2537 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2538 \alternative { { g4 g g } { a | a a a a | b2. } }
2544 If you do a nested repeat like
2553 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2554 belongs. This ambiguity is resolved by always having the
2555 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2556 it is advisable to use braces in such situations.
2559 @node Repeats and MIDI
2560 @subsection Repeats and MIDI
2562 @cindex expanding repeats
2564 For instructions on how to unfold repeats for MIDI output, see the
2565 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2570 Timing information is not remembered at the start of an alternative,
2571 so after a repeat timing information must be reset by hand, for
2572 example by setting @code{Score.measurePosition} or entering
2573 @code{\partial}. Similarly, slurs or ties are also not repeated.
2576 @node Manual repeat commands
2577 @subsection Manual repeat commands
2579 @cindex @code{repeatCommands}
2581 The property @code{repeatCommands} can be used to control the layout of
2582 repeats. Its value is a Scheme list of repeat commands, where each repeat
2586 @item the symbol @code{start-repeat},
2587 which prints a @code{|:} bar line,
2588 @item the symbol @code{end-repeat},
2589 which prints a @code{:|} bar line,
2590 @item the list @code{(volta @var{text})},
2591 which prints a volta bracket saying @var{text}: The text can be specified as
2592 a text string or as a markup text, see @ref{Text markup}. Do not
2593 forget to change the font, as the default number font does not contain
2594 alphabetic characters. Or,
2595 @item the list @code{(volta #f)}, which
2596 stops a running volta bracket:
2599 @lilypond[verbatim,fragment,relative=2]
2601 \set Score.repeatCommands = #'((volta "93") end-repeat)
2603 \set Score.repeatCommands = #'((volta #f))
2610 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2611 @internalsref{VoltaRepeatedMusic},
2612 @internalsref{UnfoldedRepeatedMusic}, and
2613 @internalsref{FoldedRepeatedMusic}.
2615 @node Tremolo repeats
2616 @subsection Tremolo repeats
2617 @cindex tremolo beams
2619 To place tremolo marks between notes, use @code{\repeat} with tremolo
2621 @lilypond[verbatim,raggedright]
2623 \context Voice \notes\relative c' {
2624 \repeat "tremolo" 8 { c16 d16 }
2625 \repeat "tremolo" 4 { c16 d16 }
2626 \repeat "tremolo" 2 { c16 d16 }
2631 Tremolo marks can also be put on a single note. In this case, the
2632 note should not be surrounded by braces.
2633 @lilypond[verbatim,raggedright]
2634 \repeat "tremolo" 4 c16
2637 A similar mechanism is the tremolo subdivision, described in
2638 @ref{Tremolo subdivisions}.
2642 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2644 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2645 tremolos are @internalsref{StemTremolo} objects. The music expression is
2646 @internalsref{TremoloEvent}.
2648 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2649 @inputfileref{input/regression,stem-tremolo.ly}.
2651 @node Tremolo subdivisions
2652 @subsection Tremolo subdivisions
2653 @cindex tremolo marks
2654 @cindex @code{tremoloFlags}
2656 Tremolo marks can be printed on a single note by adding
2657 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2658 A @var{length} value of 8 gives one line across the note stem. If the
2659 length is omitted, then then the last value (stored in
2660 @code{tremoloFlags}) is used:
2662 @lilypond[verbatim,fragment]
2663 c'2:8 c':32 | c': c': |
2666 @c [TODO : stok is te kort bij 32en]
2670 Tremolos in this style do not carry over into the MIDI output.
2674 In this manual: @ref{Tremolo repeats}.
2676 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2678 @node Measure repeats
2679 @subsection Measure repeats
2681 @cindex percent repeats
2682 @cindex measure repeats
2684 In the @code{percent} style, a note pattern can be repeated. It is
2685 printed once, and then the pattern is replaced with a special sign.
2686 Patterns of a one and two measures are replaced by percent-like signs,
2687 patterns that divide the measure length are replaced by slashes:
2689 @lilypond[verbatim,raggedright]
2690 \context Voice { \repeat "percent" 4 { c'4 }
2691 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2697 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2698 @internalsref{PercentRepeatedMusic}, and
2699 @internalsref{DoublePercentRepeat}.
2703 @node Rhythmic music
2704 @section Rhythmic music
2708 * Showing melody rhythms::
2709 * Entering percussion::
2710 * Percussion staves::
2714 @node Showing melody rhythms
2715 @subsection Showing melody rhythms
2717 Sometimes you might want to show only the rhythm of a melody. This
2718 can be done with the rhythmic staff. All pitches of notes on such a
2719 staff are squashed, and the staff itself has a single line:
2721 @lilypond[fragment,relative,verbatim]
2722 \context RhythmicStaff {
2724 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2730 Internals: @internalsref{RhythmicStaff}.
2732 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2735 @node Entering percussion
2736 @subsection Entering percussion
2742 Percussion notes may be entered in @code{\drums} mode, which is
2743 similar to @code{notes}. Each piece of percussion has a full name and
2744 an abbreviated name, and both be used in input files:
2746 @lilypond[raggedright]
2747 \drums { hihat4 hh4 }
2750 The complete list of drum names is in the init file
2751 @file{ly/drumpitch-init.ly}.
2752 @c TODO: properly document this.
2756 Internals: @internalsref{DrumNoteEvent}.
2758 @node Percussion staves
2759 @subsection Percussion staves
2763 A percussion part for more than one instrument typically uses a
2764 multiline staff where each position in the staff refers to one piece
2768 To typeset the music, the notes must be interpreted in a
2769 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2772 @lilypond[raggedright,verbatim]
2773 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2774 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2777 << \new DrumVoice { \voiceOne \up }
2778 \new DrumVoice { \voiceTwo \down }
2782 The above example shows verbose polyphonic notation. The short
2783 polyphonic notation, described in @ref{Polyphony}, can also be used if
2784 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2787 \drums \new DrumStaff <<
2788 \context DrumVoice = "1" { s1 *2 }
2789 \context DrumVoice = "2" { s1 *2 }
2793 { \repeat unfold 16 hh16 }
2802 There are also other layout possibilities. To use these, set the
2803 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2804 The following variables have been predefined:
2808 is the default. It typesets a typical drum kit on a five-line staff
2811 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2812 bd sn ss tomh tommh tomml toml tomfh tomfl }
2813 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2814 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2816 << \new DrumStaff\with {
2817 \remove Bar_engraver
2818 \remove Time_signature_engraver
2819 \override Stem #'transparent = ##t
2820 \override Stem #'Y-extent-callback = ##f
2821 minimumVerticalExtent = #'(-4.0 . 5.0)
2823 \context Lyrics \nam
2826 %% need to do this, because of indented @itemize
2828 \context { \ScoreContext
2829 \override BarNumber #'transparent =##T
2833 The drum scheme supports six different toms. When there fewer toms, simply
2834 select the toms that produce the desired result, i.e. to get toms on
2835 the three middle lines you use @code{tommh}, @code{tomml} and
2838 @item timbales-style
2839 to typeset timbales on a two line staff:
2841 @lilypond[raggedright]
2842 nam = \lyrics { timh ssh timl ssl cb }
2843 mus = \drums { timh ssh timl ssl cb s16 }
2846 \context DrumStaff \with {
2847 \remove Bar_engraver
2848 \remove Time_signature_engraver
2849 \override Stem #'transparent = ##t
2850 \override Stem #'Y-extent-callback = ##f
2851 \override StaffSymbol #'line-count = #2
2852 \override StaffSymbol #'staff-space = #2
2853 minimumVerticalExtent = #'(-3.0 . 4.0)
2854 drumStyleTable = #timbales-style
2856 \context Lyrics \nam
2861 to typeset congas on a two line staff:
2863 @lilypond[raggedright]
2864 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2865 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2868 \context DrumStaff\with {
2869 \remove Bar_engraver
2870 \remove Time_signature_engraver
2871 drumStyleTable = #congas-style
2872 \override StaffSymbol #'line-count = #2
2874 %% this sucks; it will lengthen stems.
2875 \override StaffSymbol #'staff-space = #2
2876 \override Stem #'transparent = ##t
2877 \override Stem #'Y-extent-callback = ##f
2879 \context Lyrics \nam
2884 to typeset bongos on a two line staff:
2886 @lilypond[raggedright]
2887 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2888 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2891 \context DrumStaff\with {
2892 \remove Bar_engraver
2893 \remove Time_signature_engraver
2894 \override StaffSymbol #'line-count = #2
2895 drumStyleTable = #bongos-style
2897 %% this sucks; it will lengthen stems.
2898 \override StaffSymbol #'staff-space = #2
2899 \override Stem #'transparent = ##t
2900 \override Stem #'Y-extent-callback = ##f
2902 \context Lyrics \nam
2907 @item percussion-style
2908 to typeset all kinds of simple percussion on one line staves:
2909 @lilypond[raggedright]
2910 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2911 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2914 \context DrumStaff\with{
2915 \remove Bar_engraver
2916 drumStyleTable = #percussion-style
2917 \override StaffSymbol #'line-count = #1
2918 \remove Time_signature_engraver
2919 \override Stem #'transparent = ##t
2920 \override Stem #'Y-extent-callback = ##f
2922 \context Lyrics \nam
2928 If you do not like any of the predefined lists you can define your own
2929 list at the top of your file:
2931 @lilypond[raggedright,verbatim]
2933 (bassdrum default #f -1)
2934 (snare default #f 0)
2936 (pedalhihat xcircle "stopped" 2)
2937 (lowtom diamond #f 3)
2939 up = \drums { hh8 hh hh hh hhp4 hhp }
2940 down = \drums { bd4 sn bd toml8 toml }
2943 \set DrumStaff.drumStyleTable
2944 = #(alist->hash-table mydrums)
2945 \new DrumVoice { \voiceOne \up }
2946 \new DrumVoice { \voiceTwo \down }
2954 Init files: @file{ly/drumpitch-init.ly}.
2956 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2960 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2961 work for @internalsref{DrumVoices}.
2963 Because general MIDI does not contain rim shots, the sidestick is used
2964 for this purpose instead.
2967 @section Piano music
2969 Piano staves are two normal staves coupled with a brace. The staves
2970 are largely independent, but sometimes voices can cross between the
2971 two staves. The same notation is also used for harps and other key
2972 instruments. The @internalsref{PianoStaff} is especially built to
2973 handle this cross-staffing behavior. In this section we discuss the
2974 @internalsref{PianoStaff} and some other pianistic peculiarities.
2978 * Automatic staff changes::
2979 * Manual staff switches::
2982 * Staff switch lines::
2987 There is no support for putting chords across staves. You can get
2988 this result by increasing the length of the stem in the lower stave so
2989 it reaches the stem in the upper stave, or vice versa. An example is
2990 included with the distribution as
2991 @inputfileref{input/test,stem-cross-staff.ly}.
2993 Dynamics are not centered, but kludges do exist. See
2994 @inputfileref{input/template,piano-dynamics.ly}.
2996 @cindex cross staff stem
2997 @cindex stem, cross staff
2999 The distance between the two staves is normally fixed across the
3000 entire score. It is possible to tune this per system, but it does
3001 require arcane command incantations. See
3002 @inputfileref{input/test,piano-staff-distance.ly}.
3009 @node Automatic staff changes
3010 @subsection Automatic staff changes
3011 @cindex Automatic staff changes
3013 Voices can switch automatically between the top and the bottom
3014 staff. The syntax for this is
3016 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3018 The two staves of the piano staff must be named @code{up} and
3021 The autochanger switches on basis of pitch (middle C is the turning
3022 point), and it looks ahead skipping over rests to switch in
3023 advance. Here is a practical example:
3025 @lilypond[verbatim,raggedright]
3026 \score { \notes \context PianoStaff <<
3027 \context Staff = "up" {
3028 \autochange \new Voice \relative c' {
3029 g4 a b c d r4 a g } }
3030 \context Staff = "down" {
3037 In this example, spacer rests are used to prevent the bottom staff from
3038 terminating too soon.
3043 In this manual: @ref{Manual staff switches}.
3045 Internals: @internalsref{AutoChangeMusic}.
3051 The staff switches often do not end up in optimal places. For high
3052 quality output, staff switches should be specified manually.
3056 @node Manual staff switches
3057 @subsection Manual staff switches
3059 @cindex manual staff switches
3060 @cindex staff switch, manual
3062 Voices can be switched between staves manually, using the following command:
3064 \change Staff = @var{staffname} @var{music}
3068 The string @var{staffname} is the name of the staff. It switches the
3069 current voice from its current staff to the Staff called
3070 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3079 Pianos have pedals that alter the way sound are produced. Generally, a
3080 piano has three pedals, sustain, una corda, and sostenuto.
3083 Piano pedal instruction can be expressed by attaching
3084 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3085 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3088 @lilypond[fragment,verbatim]
3089 c'4\sustainDown c'4\sustainUp
3092 What is printed can be modified by setting @code{pedal@var{X}Strings},
3093 where @var{X} is one of the pedal types: @code{Sustain},
3094 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3095 documentation of @internalsref{SustainPedal} for more information.
3097 Pedals can also be indicated by a sequence of brackets, by setting the
3098 @code{pedalSustainStyle} property to @code{bracket} objects:
3100 @lilypond[fragment,verbatim]
3101 \set Staff.pedalSustainStyle = #'bracket
3102 c''4\sustainDown d''4 e''4
3103 a'4\sustainUp\sustainDown
3104 f'4 g'4 a'4\sustainUp
3107 A third style of pedal notation is a mixture of text and brackets,
3108 obtained by setting the @code{pedalSustainStyle} style property to
3111 @lilypond[fragment,verbatim]
3112 \set Staff.pedalSustainStyle = #'mixed
3113 c''4\sustainDown d''4 e''4
3114 c'4\sustainUp\sustainDown
3115 f'4 g'4 a'4\sustainUp
3118 The default `*Ped.' style for sustain and damper pedals corresponds to
3119 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3122 @lilypond[fragment,verbatim]
3123 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3126 For fine-tuning of the appearance of a pedal bracket, the properties
3127 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3128 @code{PianoPedalBracket} objects (see
3129 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3130 bracket may be extended to the end of the note head:
3132 @lilypond[fragment,verbatim]
3133 \override Staff.PianoPedalBracket
3134 #'shorten-pair = #'(0 . -1.0)
3135 c''4\sostenutoDown d''4 e''4 c'4
3136 f'4 g'4 a'4\sostenutoUp
3140 @subsection Arpeggio
3143 @cindex broken arpeggio
3144 @cindex @code{\arpeggio}
3146 You can specify an arpeggio sign on a chord by attaching an
3147 @code{\arpeggio} to a chord:
3150 @lilypond[fragment,relative,verbatim]
3154 When an arpeggio crosses staves, you attach an arpeggio to the chords
3155 in both staves, and set
3156 @internalsref{PianoStaff}.@code{connectArpeggios}:
3158 @lilypond[fragment,relative,verbatim]
3159 \context PianoStaff <<
3160 \set PianoStaff.connectArpeggios = ##t
3161 \new Staff { <c' e g c>\arpeggio }
3162 \new Staff { \clef bass <c,, e g>\arpeggio }
3166 The direction of the arpeggio is sometimes denoted by adding an
3167 arrowhead to the wiggly line:
3169 @lilypond[fragment,relative,verbatim]
3178 A square bracket on the left indicates that the player should not
3179 arpeggiate the chord:
3181 @lilypond[fragment,relative,verbatim]
3188 @cindex @code{\arpeggio}
3190 @cindex @code{\arpeggioUp}
3192 @cindex @code{\arpeggioDown}
3194 @cindex @code{\arpeggioBoth}
3195 @code{\arpeggioBoth},
3196 @cindex @code{\arpeggioBracket}
3197 @code{\arpeggioBracket}.
3201 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3202 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3203 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3207 It is not possible to mix connected arpeggios and unconnected
3208 arpeggios in one @internalsref{PianoStaff} at the same time.
3210 @node Staff switch lines
3211 @subsection Staff switch lines
3214 @cindex follow voice
3215 @cindex staff switching
3218 @cindex @code{followVoice}
3220 Whenever a voice switches to another staff a line connecting the notes
3221 can be printed automatically. This is enabled if the property
3222 @code{PianoStaff.followVoice} is set to true:
3224 @lilypond[fragment,relative,verbatim]
3225 \context PianoStaff <<
3226 \set PianoStaff.followVoice = ##t
3227 \context Staff \context Voice {
3232 \context Staff=two { \clef bass \skip 1*2 }
3236 The associated object is @internalsref{VoiceFollower}.
3240 @cindex @code{\showStaffSwitch}
3241 @code{\showStaffSwitch},
3242 @cindex @code{\hideStaffSwitch}
3243 @code{\hideStaffSwitch}.
3247 @section Vocal music
3249 This section discusses how to enter and print lyrics.
3253 * The Lyrics context::
3258 @node Entering lyrics
3259 @subsection Entering lyrics
3263 @cindex @code{\lyrics}
3266 Lyrics are entered in a special input mode. This mode is is introduced
3267 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3268 punctuation and accents without any hassle. Syllables are entered like
3269 notes, but with pitches replaced by text. For example,
3271 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3274 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3275 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3276 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3277 any 8-bit character with ASCII code over 127, or a two-character
3278 combination of a backslash followed by one of @code{`}, @code{'},
3279 @code{"}, or @code{^}.
3281 Subsequent characters of a word can be any character that is not a digit
3282 and not white space. One important consequence of this is that a word
3283 can end with @code{@}}. The following example is usually a bug. The
3284 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3286 \lyrics @{ twinkle@}
3289 @cindex @code{\property}, in @code{\lyrics}
3290 Similarly, a period following a alphabetic sequence, is included in
3291 the resulting string. As a consequence, spaces must be inserted around
3294 \override Score . LyricText #'font-shape = #'italic
3298 @cindex spaces, in lyrics
3299 @cindex quotes, in lyrics
3301 Any @code{_} character which appears in an unquoted word is converted
3302 to a space. This provides a mechanism for introducing spaces into words
3303 without using quotes. Quoted words can also be used in Lyrics mode to
3304 specify words that cannot be written with the above rules:
3307 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3311 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3316 These will be attached to the end of the first syllable.
3318 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3319 as a separate word between syllables. The hyphen will have variable
3320 length depending on the space between the syllables and it will be
3321 centered between the syllables.
3326 When a lyric is sung over many notes (this is called a melisma), this is
3327 indicated with a horizontal line centered between a syllable and the
3328 next one. Such a line is called an extender line, and it is entered as
3333 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3334 @internalsref{ExtenderEvent}.
3336 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3340 The definition of lyrics mode is too complex.
3344 @node The Lyrics context
3345 @subsection The Lyrics context
3347 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3349 \context Lyrics \lyrics @dots{}
3352 @cindex automatic syllable durations
3353 @cindex @code{\lyricsto}
3354 @cindex lyrics and melodies
3356 This will place the lyrics according to the durations that were
3357 entered. The lyrics can also be aligned under a given melody
3358 automatically. In this case, it is no longer necessary to enter the
3359 correct duration for each syllable. This is achieved by combining the
3360 melody and the lyrics with the @code{\lyricsto} expression:
3362 \lyricsto @var{name} \new Lyrics @dots{}
3365 This aligns the lyrics to the
3367 notes of the @internalsref{Voice} context called @var{name}, which has
3368 to exist. Therefore, normally the @code{Voice} is specified first, and
3369 then the lyrics are specified with @code{\lyricsto}.
3371 For different or more complex orderings, the best way is to setup the
3372 hierarchy of staves and lyrics first, e.g.
3374 \context ChoirStaff \notes <<
3375 \context Lyrics = sopranoLyrics @{ s1 @}
3376 \context Voice = soprano @{ @emph{music} @}
3377 \context Lyrics = tenorLyrics @{ s1 @}
3378 \context Voice = tenor @{ @emph{music} @}
3381 and then combine the appropriate melodies and lyric lines:
3383 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3387 The final input would resemble
3390 << \context ChoirStaff \notes << @emph{setup the music} >>
3391 \lyricsto "soprano" @emph{etc}
3392 \lyricsto "alto" @emph{etc}
3398 The @code{\lyricsto} command detects melismata: it only puts one
3399 syllable under a tied or slurred group of notes. If you want to force
3400 an unslurred group of notes to be a melisma, then insert
3401 @code{\melisma} after the first note of the group, and
3402 @code{\melismaEnd} after the last one, e.g.
3404 @lilypond[relative=1,raggedright,fragment,verbatim]
3405 << \context Voice = "lala" { \time 3/4
3411 \lyricsto "lala" \new Lyrics \lyrics {
3416 In addition, notes are considered a melisma if they are manually
3417 beamed, and automatic beaming (see @ref{Setting automatic beam
3418 behavior}) is switched off. The criteria for deciding melismata
3419 can be tuned with the property @code{melismaBusyProperties}. See
3420 @internalsref{Melisma_translator} for more information.
3422 When multiple stanzas are put on the same melody, it can happen that
3423 two stanzas have melismata in different locations. This can be
3424 remedied by switching off melismata for one
3425 @internalsref{Lyrics}. This is achieved by setting
3426 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3427 in @inputfileref{input/regression,lyric-combine-new.ly}.
3430 @cindex choral score
3432 A complete example of a SATB score setup is in the file
3433 @inputfileref{input/template,satb.ly}.
3438 @code{\melisma}, @code{\melismaEnd}
3439 @cindex @code{\melismaEnd}
3440 @cindex @code{\melisma}
3444 Internals: Music expressions: @internalsref{LyricCombineMusic},
3445 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3447 Examples: @inputfileref{input/template,satb.ly},
3448 @inputfileref{input/regression,lyric-combine-new.ly}.
3452 Melismata are not detected automatically, and extender lines must be
3456 For proper processing of extender lines, the
3457 @internalsref{Lyrics} and @internalsref{Voice} should be
3458 linked. This can be achieved either by using @code{\lyricsto} or by
3459 setting corresponding names for both contexts. The latter is explained
3460 in @ref{More stanzas}.
3463 @subsection More stanzas
3465 @cindex phrasing, in lyrics
3468 The lyrics should be aligned with the note heads of the melody. To
3469 achieve this, each line of lyrics should be marked to correspond with
3470 the melodic line. This is done automatically when @code{\lyricsto},
3471 but it can also be done manually.
3473 To this end, give the @internalsref{Voice} context an identity:
3475 \context Voice = duet @{
3480 Then set the @internalsref{Lyrics} contexts to names starting with
3481 that identity followed by a dash. In the preceding example, the
3482 @internalsref{Voice} identity is @code{duet}, so the identities of the
3483 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3485 \context Lyrics = "duet-1" @{
3486 Hi, my name is bert. @}
3487 \context Lyrics = "duet-2" @{
3488 Ooooo, ch\'e -- ri, je t'aime. @}
3491 The complete example is shown here:
3492 @lilypond[raggedright,verbatim]
3494 << \notes \relative c'' \context Voice = duet { \time 3/4
3496 \lyrics << \lyricsto "duet" \new Lyrics {
3498 \set vocNam = "Bert"
3499 Hi, my name is bert. }
3500 \lyricsto "duet" \new Lyrics {
3502 \set vocNam = "Ernie"
3503 Ooooo, ch\'e -- ri, je t'aime.
3509 @cindex stanza number
3510 @cindex singer's names
3511 @cindex name of singer
3513 Stanza numbers can be added by setting @code{stanza}, e.g.
3521 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3522 prevent @code{stanza} being interpreted as a single
3525 This example also demonstrates how names of the singers can be added
3526 using @code{vocalName} analogous to instrument annotations for staves.
3527 A short version may be entered as @code{vocNam}.
3529 To make empty spaces in lyrics, use @code{\skip}.
3534 Internals: Layout objects @internalsref{LyricText} and
3535 @internalsref{VocalName}. Music expressions:
3536 @internalsref{LyricEvent}.
3542 Input for lyrics introduces a syntactical ambiguity:
3549 is interpreted as assigning a string identifier @code{\foo} such that
3550 it contains @code{"bar"}. However, it could also be interpreted as
3551 making or a music identifier @code{\foo} containing the syllable
3552 `bar'. The force the latter interpretation, use
3562 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3563 for a given voice in a part of music. It also may denote the pitch
3564 range that a musical instrument is capable of playing. Most musical
3565 instruments have their ambitus standardized (or at least there is
3566 agreement upon the minimal ambitus of a particular type of
3567 instrument), such that a composer or arranger of a piece of music can
3568 easily meet the ambitus constraints of the targeted instrument.
3569 However, the ambitus of the human voice depends on individual
3570 physiological state, including education and training of the voice.
3571 Therefore, a singer potentially has to check for each piece of music
3572 if the ambitus of that piece meets his individual capabilities. This
3573 is why the ambitus of a piece may be of particular value to vocal
3576 The ambitus is typically notated on a per-voice basis at the very
3577 beginning of a piece, e.g. nearby the initial clef or time signature of
3578 each staff. The range is graphically specified by two note heads, that
3579 represent the minimum and maximum pitch. Some publishers use a textual
3580 notation: they put the range in words in front of the corresponding
3581 staff. LilyPond only supports the graphical ambitus notation.
3583 To apply, add the @internalsref{Ambitus_engraver} to the
3584 @internalsref{Voice} context, i.e.
3590 \consists Ambitus_engraver
3595 This results in the following output:
3597 @lilypond[raggedright]
3598 upper = \notes \relative c {
3601 as'' c e2 bes f cis d4 e f2 g
3603 lower = \notes \relative c {
3606 e'4 b g a c es fis a cis b a g f e d2
3609 \context ChoirStaff {
3611 \new Staff { \upper }
3612 \new Staff { \lower }
3618 \consists Ambitus_engraver
3624 If you have multiple voices in a single staff, and you want a single
3625 ambitus per staff rather than per each voice, then add the
3626 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3627 rather than to the @internalsref{Voice} context.
3629 It is possible to tune individual ambituses for multiple voices on a
3630 single staff, for example by erasing or shifting them horizontally. An
3631 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3635 Internals: @internalsref{Ambitus}.
3637 Examples: @inputfileref{input/regression,ambitus.ly},
3638 @inputfileref{input/test,ambitus-mixed.ly}.
3642 There is no collision handling in the case of multiple per-voice
3648 Tablature notation is used for notating music for plucked string
3649 instruments. It notates pitches not by using note heads, but by
3650 indicating on which string and fret a note must be played. LilyPond
3651 offers limited support for tablature.
3654 * Tablatures basic::
3655 * Non-guitar tablatures::
3658 @node Tablatures basic
3659 @subsection Tablatures basic
3660 @cindex Tablatures basic
3662 The string number associated to a note is given as a backslash
3663 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3664 string. By default, string 1 is the highest one, and the tuning
3665 defaults to the standard guitar tuning (with 6 strings). The notes
3666 are printed as tablature, by using @internalsref{TabStaff} and
3667 @internalsref{TabVoice} contexts:
3669 @lilypond[fragment,verbatim]
3670 \notes \context TabStaff {
3678 When no string is specified, the first string that does not give a
3679 fret number less than @code{minimumFret} is selected. The default
3680 value for @code{minimumFret} is 0:
3684 e8 fis gis a b cis' dis' e'
3685 \set TabStaff.minimumFret = #8
3686 e8 fis gis a b cis' dis' e'
3691 e8 fis gis a b cis' dis' e'
3692 \set TabStaff.minimumFret = #8
3693 e8 fis gis a b cis' dis' e'
3696 \context StaffGroup <<
3697 \context Staff { \clef "G_8" \frag }
3698 \context TabStaff { \frag }
3705 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3706 @internalsref{StringNumberEvent}.
3710 Chords are not handled in a special way, and hence the automatic
3711 string selector may easily select the same string to two notes in a
3715 @node Non-guitar tablatures
3716 @subsection Non-guitar tablatures
3717 @cindex Non-guitar tablatures
3719 You can change the number of strings, by setting the number of lines
3720 in the @internalsref{TabStaff}.
3722 You can change the tuning of the strings. A string tuning is given as
3723 a Scheme list with one integer number for each string, the number
3724 being the pitch (measured in semitones relative to middle C) of an
3725 open string. The numbers specified for @code{stringTuning} are the
3726 numbers of semitones to subtract or add, starting the specified pitch
3727 by default middle C, in string order. Thus, the notes are e, a, d, and
3730 @lilypond[fragment,verbatim]
3731 \context TabStaff <<
3732 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3735 a,4 c' a e' e c' a e'
3740 It is possible to change the Scheme function to format the tablature
3741 note text. The default is @code{fret-number-tablature-format}, which
3742 uses the fret number. For instruments that do not use this notation,
3743 you can create a special tablature formatting function. This function
3744 takes three argument: string number, string tuning and note pitch.
3748 No guitar special effects have been implemented.
3753 @section Chord names
3756 LilyPond has support for both printing chord names. Chords may be
3757 entered in musical chord notation, i.e. @code{< .. >}, but they can
3758 also be entered by name. Internally, the chords are represented as a
3759 set of pitches, so they can be transposed:
3762 @lilypond[verbatim,raggedright]
3763 twoWays = \notes \transpose c c' {
3773 << \context ChordNames \twoWays
3774 \context Voice \twoWays >> }
3777 This example also shows that the chord printing routines do not try to
3778 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3784 * Printing chord names::
3789 @subsection Chords mode
3792 Chord mode is a mode where you can input sets of pitches using common
3793 names. It is introduced by the keyword @code{\chords}.
3794 In chords mode, a chord is entered by the root, which is entered
3795 like a common pitch:
3796 @lilypond[fragment,verbatim,relative=1]
3797 \chords { es4. d8 c2 }
3802 Other chords may be entered by suffixing a colon, and introducing a
3803 modifier, and optionally, a number:
3805 @lilypond[fragment,verbatim]
3806 \chords { e1:m e1:7 e1:m7 }
3808 The first number following the root is taken to be the `type' of the
3809 chord, thirds are added to the root until it reaches the specified
3811 @lilypond[fragment,verbatim]
3812 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3815 @cindex root of chord
3816 @cindex additions, in chords
3817 @cindex removals, in chords
3819 More complex chords may also be constructed adding separate steps
3820 to a chord. Additions are added after the number following
3821 the colon, and are separated by dots:
3823 @lilypond[verbatim,fragment]
3824 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3826 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3828 @lilypond[verbatim,fragment]
3829 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3831 Removals are specified similarly, and are introduced by a caret. They
3832 must come after the additions:
3833 @lilypond[verbatim,fragment]
3834 \chords { c^3 c:7^5 c:9^3.5 }
3837 Modifiers can be used to change pitches. The following modifiers are
3841 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3843 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3846 is the augmented chord. This modifier raises the 5th step.
3848 is the major 7th chord. This modifier raises the 7th step if present.
3850 is the suspended 4th or 2nd. This modifier removes the 3rd
3851 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3854 Modifiers can be mixed with additions:
3855 @lilypond[verbatim,fragment]
3856 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3859 @cindex modifiers, in chords.
3866 Since an unaltered 11 does not sound good when combined with an
3867 unaltered 13, the 11 is removed in this case (unless it is added
3870 @lilypond[fragment,verbatim]
3871 \chords { c:13 c:13.11 c:m13 }
3876 An inversion (putting one pitch of the chord on the bottom), as well
3877 as bass notes, can be specified by appending
3878 @code{/}@var{pitch} to the chord:
3879 @lilypond[fragment,verbatim]
3880 \chords { c1 c/g c/f }
3884 A bass note can be added instead of transposed out of the chord,
3885 by using @code{/+}@var{pitch}.
3887 @lilypond[fragment,verbatim]
3888 \chords { c1 c/+g c/+f }
3891 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3892 of the commands continue to work, for example, @code{r} and
3893 @code{\skip} can be used to insert rests and spaces, and property
3894 commands may be used to change various settings.
3900 Each step can only be present in a chord once. The following
3901 simply produces the augmented chord, since @code{5+} is interpreted
3904 @lilypond[verbatim,fragment]
3905 \chords { c:5.5-.5+ }
3909 @node Printing chord names
3910 @subsection Printing chord names
3912 @cindex printing chord names
3916 For displaying printed chord names, use the @internalsref{ChordNames} context.
3917 The chords may be entered either using the notation
3918 described above, or directly using @code{<} and @code{>}:
3920 @lilypond[verbatim,raggedright]
3922 \chords {a1 b c} <d' f' a'> <e' g' b'>
3926 \context ChordNames \scheme
3927 \context Staff \scheme
3932 You can make the chord changes stand out by setting
3933 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3934 display chord names when there is a change in the chords scheme and at
3935 the start of a new line:
3937 @lilypond[verbatim,linewidth=9\cm]
3939 c1:m c:m \break c:m c:m d
3943 \context ChordNames {
3944 \set chordChanges = ##t
3946 \context Staff \transpose c c' \scheme
3951 The default chord name layout is a system for Jazz music, proposed by
3952 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3953 following properties:
3956 @cindex chordNameExceptions
3957 @item chordNameExceptions
3958 This is a list that contains the chords that have special formatting.
3960 @inputfileref{input/regression,chord-name-exceptions.ly}.
3961 @cindex exceptions, chord names.
3964 @cindex majorSevenSymbol
3965 @item majorSevenSymbol
3966 This property contains the markup object used for the 7th step, when
3967 it is major. Predefined options are @code{whiteTriangleMarkup} and
3968 @code{blackTriangleMarkup}. See
3969 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3971 @cindex chordNameSeparator
3972 @item chordNameSeparator
3973 Different parts of a chord name are normally separated by a
3974 slash. By setting @code{chordNameSeparator}, you can specify other
3976 @lilypond[fragment,verbatim]
3977 \context ChordNames \chords {
3979 \set chordNameSeparator
3980 = \markup { \typewriter "|" }
3984 @cindex chordRootNamer
3985 @item chordRootNamer
3986 The root of a chord is usually printed as a letter with an optional
3987 alteration. The transformation from pitch to letter is done by this
3988 function. Special note names (for example, the German ``H'' for a
3989 B-chord) can be produced by storing a new function in this property.
3991 The predefined variables @code{\germanChords},
3992 @code{\semiGermanChords} set these variables.
3995 @cindex chordNoteNamer
3996 @item chordNoteNamer
3997 The default is to print single pitch, e.g. the bass note, using the
3998 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3999 to a specialized function to change this behavior. For example, the
4000 base can be printed in lower case.
4005 There are also two other chord name schemes implemented: an alternate
4006 Jazz chord notation, and a systematic scheme called Banter chords. The
4007 alternate jazz notation is also shown on the chart in @ref{Chord name
4008 chart}. Turning on these styles is described in the input file
4009 @inputfileref{input/test,chord-names-jazz.ly}.
4013 @cindex chords, jazz
4018 @cindex @code{\germanChords}
4019 @code{\germanChords},
4020 @cindex @code{\semiGermanChords}
4021 @code{\semiGermanChords}.
4028 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4029 @inputfileref{input/regression,chord-name-exceptions.ly},
4030 @inputfileref{input/test,chord-names-jazz.ly},
4031 @inputfileref{input/test,chord-names-german.ly}.
4033 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4038 Chord names are determined solely from the list of pitches. Chord
4039 inversions are not identified, and neither are added bass notes. This
4040 may result in strange chord names when chords are entered with the
4041 @code{< .. >} syntax.
4046 @node Orchestral music
4047 @section Orchestral music
4049 @cindex Writing parts
4051 Orchestral music involves some special notation, both in the full
4052 score and the individual parts. This section explains how to tackle
4053 some common problems in orchestral music.
4058 * Multiple staff contexts::
4061 * Instrument names::
4063 * Instrument transpositions::
4064 * Multi measure rests::
4065 * Automatic part combining::
4067 * Different editions from one source::
4068 * Quoting other voices::
4071 @node Multiple staff contexts
4072 @subsection Multiple staff contexts
4074 Polyphonic scores consist of many staves. These staves can be
4075 constructed in three different ways:
4077 @item The group is started with a brace at the left. This is done with the
4078 @internalsref{GrandStaff} context.
4079 @item The group is started with a bracket. This is done with the
4080 @internalsref{StaffGroup} context
4081 @item The group is started with a vertical line. This is the default
4085 @cindex Staff, multiple
4086 @cindex bracket, vertical
4087 @cindex brace, vertical
4094 @node Rehearsal marks
4095 @subsection Rehearsal marks
4096 @cindex Rehearsal marks
4098 @cindex @code{\mark}
4100 To print a rehearsal mark, use the @code{\mark} command:
4101 @lilypond[fragment,verbatim]
4112 (The letter I is skipped in accordance with engraving traditions.)
4114 The mark is incremented automatically if you use @code{\mark
4115 \default}, but you can also use an integer argument to set the mark
4116 manually. The value to use is stored in the property
4117 @code{rehearsalMark}.
4119 The style is defined by the property @code{markFormatter}. It is a
4120 function taking the current mark (an integer) and the current context
4121 as argument. It should return a markup object. In the following
4122 example, @code{markFormatter} is set to a canned procedure. After a
4123 few measures, it is set to function that produces a boxed number.
4125 @lilypond[verbatim,fragment,relative=1]
4126 \set Score.markFormatter = #format-mark-numbers
4129 \set Score.markFormatter
4130 = #(lambda (mark context)
4131 (make-bold-markup (make-box-markup (number->string mark))))
4136 The file @file{scm/translation-functions.scm} contains the definitions
4137 of @code{format-mark-numbers} (the default format) and
4138 @code{format-mark-letters}. They can be used as inspiration for other
4139 formatting functions.
4142 @cindex coda on bar line
4143 @cindex segno on bar line
4144 @cindex fermata on bar line
4145 @cindex bar lines, symbols on
4147 The @code{\mark} command can also be used to put signs like coda,
4148 segno and fermatas on a bar line. Use @code{\markup} to
4149 to access the appropriate symbol:
4151 @lilypond[fragment,verbatim,relative=1]
4152 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4156 In this case, during line breaks, marks must also be printed at the
4157 end of the line, and not at the beginning. Use the following to force
4160 \override Score.RehearsalMark
4161 #'break-visibility = #begin-of-line-invisible
4167 @cindex bar lines, putting symbols on
4171 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4173 Init files: @file{scm/translation-functions.scm} contains the
4174 definition of @code{format-mark-numbers} and
4175 @code{format-mark-letters}. They can be used as inspiration for other
4176 formatting functions.
4178 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4179 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4183 @subsection Bar numbers
4187 @cindex measure numbers
4188 @cindex currentBarNumber
4190 Bar numbers are printed by default at the start of the line. The
4191 number itself is stored in the
4192 @code{currentBarNumber} property,
4193 which is normally updated automatically for every measure.
4195 Bar numbers can be typeset at regular intervals instead of at the
4196 beginning of each line. This is illustrated in the following example,
4197 whose source is available as
4198 @inputfileref{input/test,bar-number-regular-interval.ly}:
4200 @lilypondfile[]{bar-number-regular-interval.ly}
4205 Internals: @internalsref{BarNumber}.
4207 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4208 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4212 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4213 there is one at the top. To solve this, the
4214 @code{padding} property of @internalsref{BarNumber} can be
4215 used to position the number correctly.
4217 @node Instrument names
4218 @subsection Instrument names
4220 In an orchestral score, instrument names are printed left side of the
4223 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4224 and @internalsref{Staff}.@code{instr}. This will print a string before
4225 the start of the staff. For the first start, @code{instrument} is
4226 used, for the next ones @code{instr} is used:
4229 @lilypond[verbatim,raggedright]
4230 \set Staff.instrument = "ploink " { c''4 }
4234 You can also use markup texts to construct more complicated instrument
4238 @lilypond[fragment,verbatim,raggedright]
4240 \set Staff.instrument = \markup {
4241 \column < "Clarinetti"
4254 Internals: @internalsref{InstrumentName}.
4258 When you put a name on a grand staff or piano staff the width of the
4259 brace is not taken into account. You must add extra spaces to the end of
4260 the name to avoid a collision.
4263 @subsection Transpose
4265 @cindex transposition of pitches
4266 @cindex @code{\transpose}
4268 A music expression can be transposed with @code{\transpose}. The syntax
4271 \transpose @var{from} @var{to} @var{musicexpr}
4274 This means that @var{musicexpr} is transposed by the interval between
4275 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4276 is changed to @code{to}.
4279 For example, consider a piece written in the key of D major. If
4280 this piece is a little too low for its performer, it can be
4281 transposed up to E major with
4283 \transpose d e @dots{}
4286 Consider a part written for violin (a C instrument). If
4287 this part is to be played on the A clarinet, the following
4288 transposition will produce the appropriate part
4291 \transpose a c @dots{}
4294 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4295 inside a @code{\notes} section. @code{\transpose} distinguishes
4296 between enharmonic pitches: both @code{\transpose c cis} or
4297 @code{\transpose c des} will transpose up half a tone. The first
4298 version will print sharps and the second version will print flats:
4300 @lilypond[raggedright,verbatim]
4301 mus =\notes { \key d \major cis d fis g }
4302 \score { \notes \context Staff {
4305 \transpose c g' \mus
4306 \transpose c f' \mus
4313 Internals: @internalsref{TransposedMusic}, and
4314 @internalsref{UntransposableMusic}.
4318 If you want to use both @code{\transpose} and @code{\relative}, then
4319 you must put @code{\transpose} outside of @code{\relative}, since
4320 @code{\relative} will have no effect music that appears inside a
4323 @node Instrument transpositions
4324 @subsection Instrument transpositions
4326 The key of a transposing instrument can also be specified. This
4327 applies to many wind instruments, for example, clarinets (B-flat, A and
4328 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4331 The transposition is entered after the keyword @code{\transposition}:
4334 \transposition bes %% B-flat clarinet
4337 This command sets the property @code{instrumentTuning}. The value of
4338 this property is used for MIDI output and quotations. It does not
4339 affect how notes are printed in the current staff.
4341 @cindex transposition, MIDI
4342 @cindex transposition, instrument
4345 @node Multi measure rests
4346 @subsection Multi measure rests
4347 @cindex multi measure rests
4348 @cindex Rests, multi measure
4352 Multi measure rests are entered using `@code{R}'. It is specifically
4353 meant for full bar rests and for entering parts: the rest can expand
4354 to fill a score with rests, or it can be printed as a single
4355 multimeasure rest. This expansion is controlled by the property
4356 @code{Score.skipBars}. If this is set to true, empty measures will not
4357 be expanded, and the appropriate number is added automatically:
4359 @lilypond[fragment,verbatim]
4360 \time 4/4 r1 | R1 | R1*2
4361 \set Score.skipBars = ##t R1*17 R1*4
4364 The @code{1} in @code{R1} is similar to the duration notation used for
4365 notes. Hence, for time signatures other than 4/4, you must enter other
4366 durations. This can be done with augmentation dots or fractions:
4368 @lilypond[fragment,verbatim]
4369 \set Score.skipBars = ##t
4377 An @code{R} spanning a single measure is printed as either a whole rest
4378 or a breve, centered in the measure regardless of the time signature.
4380 @cindex text on multi-measure rest
4381 @cindex script on multi-measure rest
4382 @cindex fermata on multi-measure rest
4384 Texts can be added to multi-measure rests by using the
4385 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4386 replaced. If you need both texts and the number, you must add the
4387 number by hand. A variable (@code{\fermataMarkup}) is provided for
4391 @lilypond[verbatim,fragment]
4393 R2._\markup { "Ad lib" }
4397 If you want to have a text on the left end of a multi-measure rest,
4398 attach the text to a zero-length skip note, i.e.
4406 @cindex whole rests for a full measure
4410 Internals: @internalsref{MultiMeasureRestEvent},
4411 @internalsref{MultiMeasureTextEvent},
4412 @internalsref{MultiMeasureRestMusicGroup}, and
4413 @internalsref{MultiMeasureRest}.
4415 The layout object @internalsref{MultiMeasureRestNumber} is for the
4416 default number, and @internalsref{MultiMeasureRestText} for user
4421 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4422 over multi-measure rests.
4424 @cindex condensing rests
4426 There is no way to automatically condense multiple rests into a single
4427 multimeasure rest. Multi measure rests do not take part in rest
4430 Be careful when entering multimeasure rests followed by whole
4431 notes. The following will enter two notes lasting four measures each:
4435 When @code{skipBars} is set, then the result will look OK, but the
4436 bar numbering will be off.
4438 @node Automatic part combining
4439 @subsection Automatic part combining
4440 @cindex automatic part combining
4441 @cindex part combiner
4444 Automatic part combining is used to merge two parts of music onto a
4445 staff. It is aimed at typesetting orchestral scores. When the two
4446 parts are identical for a period of time, only one is shown. In
4447 places where the two parts differ, they are typeset as separate
4448 voices, and stem directions are set automatically. Also, solo and
4449 @emph{a due} parts are identified and can be marked.
4452 The syntax for part combining is
4455 \partcombine @var{musicexpr1} @var{musicexpr2}
4458 The music expressions will be interpreted as @internalsref{Voice} contexts.
4460 The following example demonstrates the basic functionality of the part
4461 combiner: putting parts on one staff, and setting stem directions and
4464 @lilypond[verbatim,raggedright,fragment,relative=1]
4465 \new Staff \partcombine
4474 The first @code{g} appears only once, although it was
4475 specified twice (once in each part). Stem, slur and tie directions are
4476 set automatically, depending whether there is a solo or unisono. The
4477 first part (with context called @code{one}) always gets up stems, and
4478 `solo', while the second (called @code{two}) always gets down stems and
4481 If you just want the merging parts, and not the textual markings, you
4482 may set the property @var{soloADue} to false:
4484 @lilypond[verbatim,raggedright,fragment,relative=1]
4486 \set Staff.soloADue = ##f
4498 Internals: @internalsref{PartCombineMusic},
4499 @internalsref{SoloOneEvent}, and
4500 @internalsref{SoloTwoEvent}, and
4501 @internalsref{UnisonoEvent}.
4505 In @code{soloADue} mode, when the two voices play the same notes on and
4506 off, the part combiner may typeset @code{a2} more than once in a
4509 @code{\partcombine} can not be inside @code{\times}.
4511 Internally, the @code{\partcombine} interprets both arguments as
4512 @code{Voice}s named @code{one} and @code{two}, and then decides when
4513 the parts can be combined. Consequently, if the arguments switch to
4514 differently named @internalsref{Voice} contexts, then the events in
4515 those will be ignored.
4518 @subsection Hiding staves
4520 @cindex Frenched scores
4521 @cindex Hiding staves
4523 In orchestral scores, staff lines that only have rests are usually
4524 removed. This saves some space. This style is called `French Score'.
4525 For @internalsref{Lyrics},
4526 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4527 switched on by default. When these line of these contexts turn out
4528 empty after the line-breaking process, they are removed.
4530 For normal staves, a specialized @internalsref{Staff} context is
4531 available, which does the same: staves containing nothing (or only
4532 multi measure rests) are removed. The context definition is stored in
4533 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4534 in this example disappears in the second line:
4539 \notes \relative c' <<
4540 \new Staff { e4 f g a \break c1 }
4541 \new Staff { c4 d e f \break R1 }
4545 \context { \RemoveEmptyStaffContext }
4550 The first page shows all staves in full. If they should be removed
4551 from the first page too, set @code{remove-first} to false
4552 in @internalsref{RemoveEmptyVerticalGroup}.
4554 Another application is making ossia sections, i.e. alternative
4555 melodies on a separate piece of staff, with help of a Frenched
4556 staff. See @inputfileref{input/test,ossia.ly} for an example.
4559 @node Different editions from one source
4560 @subsection Different editions from one source
4562 The @code{\tag} command marks music expressions with a name. These
4563 tagged expressions can be filtered out later. With this mechanism it
4564 is possible to make different versions of the same music source.
4566 In the following example, we see two versions of a piece of music, one
4567 for the full score, and one with cue notes for the instrumental part:
4583 The same can be applied to articulations, texts, etc.: they are
4586 -\tag #@var{your-tag}
4588 to an articulation, for example,
4593 This defines a note with a conditional fingering indication.
4595 By applying the @code{remove-tag} function, tagged expressions can be
4596 filtered. For example,
4600 \apply #(remove-tag 'score) @var{the music}
4601 \apply #(remove-tag 'part) @var{the music}
4606 @lilypondfile[]{tag-filter.ly}
4608 The argument of the @code{\tag} command should be a symbol, or a list
4609 of symbols, for example,
4611 \tag #'(original-part transposed-part) @dots{}
4616 Examples: @inputfileref{input/regression,tag-filter.ly}.
4619 @node Quoting other voices
4620 @subsection Quoting other voices
4622 With quotations, fragments of other parts can be inserted into a part
4623 directly. Before a part can be quoted, it must be marked especially as
4624 quotable. This is done with code @code{\addquote} command. The
4625 quotation may then be done with @code{\quote}
4628 \addquote @var{name} @var{music}
4629 \quote @var{name} @var{duration}
4634 Here, @var{name} is an identifying string. The @var{music} is any kind
4635 of music. This is an example of @code{\addquote}:
4638 \addquote clarinet \notes\relative c' {
4643 During a part, a piece of music can be quoted with the @code{\quote}
4650 This would cite 3 quarter notes (a dotted half note) of the previously
4651 added clarinet voice.
4653 Quotations take into account the transposition both source and target
4654 instruments, if they are specified using the @code{\transposition} command.
4656 @lilypond[verbatim,fragment]
4657 \addquote clarinet \notes\relative c' {
4663 e'8 f'8 \quote clarinet 2
4669 Only the contents of the first @internalsref{Voice} occurring in an
4670 @code{\addquote} command will be considered for quotation, so
4671 @var{music} can not contain @code{\new} and @code{\context Voice}
4672 statements that would switch to a different Voice.
4677 In this manual: @ref{Instrument transpositions}.
4679 Examples: @inputfileref{input/regression,quote.ly}
4680 @inputfileref{input/regression,quote-transposition.ly}
4682 Internals: @internalsref{QuoteMusic}.
4684 @node Ancient notation
4685 @section Ancient notation
4687 @cindex Vaticana, Editio
4688 @cindex Medicaea, Editio
4693 @c [TODO: write more comprehensive introduction on ancient notation]
4695 Support for ancient notation is still under heavy development.
4696 Regardless of all of the current limitations (see the bugs section
4697 below for details), it includes features for mensural
4698 notation and Gregorian Chant notation. There is also limited support
4699 for figured bass notation.
4701 Many graphical objects provide a @code{style} property, see
4702 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4703 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4704 signatures}. By manipulating such a grob property, the typographical
4705 appearance of the affected graphical objects can be accommodated for a
4706 specific notation flavor without need for introducing any new
4710 Other aspects of ancient notation can not that easily be expressed as
4711 in terms of just changing a style property of a graphical object.
4712 Therefore, some notational concepts are introduced specifically for
4713 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4714 @ref{Ligatures}, and @ref{Figured bass}.
4718 * Ancient note heads::
4719 * Ancient accidentals::
4723 * Ancient time signatures::
4728 * Vaticana style contexts::
4731 If this all is way too much of documentation for you, and you just
4732 want to dive into typesetting without worrying too much about the
4733 details on how to customize a context, then you may have a look at the
4734 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4735 set up predefined style-specific voice and staff contexts, and
4736 directly go ahead with the note entry.
4740 Ligatures need special spacing that has not yet been implemented. As
4741 a result, there is too much space between ligatures most of the time,
4742 and line breaking often is unsatisfactory. Also, lyrics do not
4743 correctly align with ligatures.
4745 Accidentals must not be printed within a ligature, but instead need to
4746 be collected and printed in front of it.
4748 Augmentum dots within ligatures are not handled correctly.
4751 @node Ancient note heads
4752 @subsection Ancient note heads
4757 For ancient notation, a note head style other than the @code{default}
4758 style may be chosen. This is accomplished by setting the @code{style}
4759 property of the NoteHead object to the desired value (@code{baroque},
4760 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4761 differs from the @code{default} style only in using a square shape for
4762 @code{\breve} note heads. The @code{neo_mensural} style differs from
4763 the @code{baroque} style in that it uses rhomboidal heads for whole
4764 notes and all smaller durations. Stems are centered on the note
4765 heads. This style is in particular useful when transcribing mensural
4766 music, e.g. for the incipit. The @code{mensural} style finally
4767 produces note heads that mimic the look of note heads in historic
4768 printings of the 16th century.
4770 The following example demonstrates the @code{neo_mensural} style:
4772 @lilypond[fragment,raggedright,verbatim]
4773 \override NoteHead #'style = #'neo_mensural
4774 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4777 When typesetting a piece in Gregorian Chant notation, a Gregorian
4778 ligature engraver will automatically select the proper note heads,
4779 such there is no need to explicitly set the note head style. Still,
4780 the note head style can be set e.g. to @code{vaticana_punctum} to
4781 produce punctum neumes. Similarly, a mensural ligature engraver is
4782 used to automatically assemble mensural ligatures. See
4783 @ref{Ligatures} for how ligature engravers work.
4788 @ref{Percussion staves} use note head styles of their own that are
4789 frequently used in contemporary music notation.
4791 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4792 overview over all available note head styles.
4795 @node Ancient accidentals
4796 @subsection Ancient accidentals
4801 Use the @code{style} property of grob @internalsref{Accidental} to
4802 select ancient accidentals. Supported styles are
4803 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4805 @lilypond[raggedright,staffsize=26]
4813 { " " \musicglyph #"accidentals-vaticana-1"
4814 " " \musicglyph #"accidentals-vaticana0" }
4818 { " " \musicglyph #"accidentals-medicaea-1" }
4822 { " " \musicglyph #"accidentals-hufnagel-1" }
4826 { " " \musicglyph #"accidentals-mensural-1"
4827 " " \musicglyph #"accidentals-mensural1" }
4836 \remove "Bar_number_engraver"
4840 \remove "Clef_engraver"
4841 \remove "Key_engraver"
4842 \remove "Time_signature_engraver"
4843 \remove "Staff_symbol_engraver"
4844 minimumVerticalExtent = ##f
4850 As shown, not all accidentals are supported by each style. When
4851 trying to access an unsupported accidental, LilyPond will switch to a
4852 different style, as demonstrated in
4853 @inputfileref{input/test,ancient-accidentals.ly}.
4855 Similarly to local accidentals, the style of the key signature can be
4856 controlled by the @code{style} property of the
4857 @internalsref{KeySignature} grob.
4861 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4862 @ref{Accidentals} give a general introduction into the use of
4863 accidentals. @ref{Key signature} gives a general introduction into
4864 the use of key signatures.
4866 Internals: @internalsref{KeySignature}.
4868 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4871 @subsection Ancient rests
4876 Use the @code{style} property of grob @internalsref{Rest} to select
4877 ancient accidentals. Supported styles are @code{classical},
4878 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4879 from the @code{default} style only in that the quarter rest looks like
4880 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4881 well for e.g. the incipit of a transcribed mensural piece of music.
4882 The @code{mensural} style finally mimics the appearance of rests as
4883 in historic prints of the 16th century.
4885 The following example demonstrates the @code{neo_mensural} style:
4887 @lilypond[fragment,raggedright,verbatim]
4888 \override Rest #'style = #'neo_mensural
4889 r\longa r\breve r1 r2 r4 r8 r16
4892 There are no 32th and 64th rests specifically for the mensural or
4893 neo-mensural style. Instead, the rests from the default style will be
4894 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4897 There are no rests in Gregorian Chant notation; instead, it uses
4902 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4906 @subsection Ancient clefs
4911 LilyPond supports a variety of clefs, many of them ancient.
4913 The following table shows all ancient clefs that are supported via the
4914 @code{\clef} command. Some of the clefs use the same glyph, but
4915 differ only with respect to the line they are printed on. In such
4916 cases, a trailing number in the name is used to enumerate these clefs.
4917 Still, you can manually force a clef glyph to be typeset on an
4918 arbitrary line, as described in @ref{Clef}. The note printed to the
4919 right side of each clef in the example column denotes the @code{c'}
4920 with respect to that clef.
4922 @multitable @columnfractions .3 .3 .3 .1
4926 @b{Description} @tab
4927 @b{Supported Clefs} @tab
4931 @code{clefs-neo_mensural_c} @tab
4932 modern style mensural C clef @tab
4933 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4934 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4935 @lilypond[relative,notime]
4936 \override Staff.TimeSignature #'transparent = ##t
4937 \clef "neo_mensural_c2" c
4941 @code{clefs-petrucci_c1}
4942 @code{clefs-petrucci_c2}
4943 @code{clefs-petrucci_c3}
4944 @code{clefs-petrucci_c4}
4945 @code{clefs-petrucci_c5}
4948 petrucci style mensural C clefs, for use on different staff lines
4949 (the examples shows the 2nd staff line C clef).
4959 @lilypond[relative,notime]
4960 \override Staff.TimeSignature #'transparent = ##t
4961 \clef "petrucci_c2" c
4965 @code{clefs-petrucci_f} @tab
4966 petrucci style mensural F clef @tab
4967 @code{petrucci_f} @tab
4968 @lilypond[relative,notime]
4969 \override Staff.TimeSignature #'transparent = ##t
4970 \clef "petrucci_f" c
4974 @code{clefs-petrucci_g} @tab
4975 petrucci style mensural G clef @tab
4976 @code{petrucci_g} @tab
4977 @lilypond[relative,notime]
4978 \override Staff.TimeSignature #'transparent = ##t
4979 \clef "petrucci_g" c
4983 @code{clefs-mensural_c} @tab
4984 historic style mensural C clef @tab
4985 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4986 @code{mensural_c4} @tab
4987 @lilypond[relative,notime]
4988 \override Staff.TimeSignature #'transparent = ##t
4989 \clef "mensural_c2" c
4993 @code{clefs-mensural_f} @tab
4994 historic style mensural F clef @tab
4995 @code{mensural_f} @tab
4996 @lilypond[relative,notime]
4997 \override Staff.TimeSignature #'transparent = ##t
4998 \clef "mensural_f" c
5002 @code{clefs-mensural_g} @tab
5003 historic style mensural G clef @tab
5004 @code{mensural_g} @tab
5005 @lilypond[relative,notime]
5006 \override Staff.TimeSignature #'transparent = ##t
5007 \clef "mensural_g" c
5011 @code{clefs-vaticana_do} @tab
5012 Editio Vaticana style do clef @tab
5013 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5014 @lilypond[relative,notime]
5015 \override Staff.StaffSymbol #'line-count = #4
5016 \override Staff.TimeSignature #'transparent = ##t
5017 \clef "vaticana_do2" c
5021 @code{clefs-vaticana_fa} @tab
5022 Editio Vaticana style fa clef @tab
5023 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5024 @lilypond[relative,notime]
5025 \override Staff.StaffSymbol #'line-count = #4
5026 \override Staff.TimeSignature #'transparent = ##t
5027 \clef "vaticana_fa2" c
5031 @code{clefs-medicaea_do} @tab
5032 Editio Medicaea style do clef @tab
5033 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5034 @lilypond[relative,notime]
5035 \override Staff.StaffSymbol #'line-count = #4
5036 \override Staff.TimeSignature #'transparent = ##t
5037 \clef "medicaea_do2" c
5041 @code{clefs-medicaea_fa} @tab
5042 Editio Medicaea style fa clef @tab
5043 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5044 @lilypond[relative,notime]
5045 \override Staff.StaffSymbol #'line-count = #4
5046 \override Staff.TimeSignature #'transparent = ##t
5047 \clef "medicaea_fa2" c
5051 @code{clefs-hufnagel_do} @tab
5052 historic style hufnagel do clef @tab
5053 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5054 @lilypond[relative,notime]
5055 \override Staff.StaffSymbol #'line-count = #4
5056 \override Staff.TimeSignature #'transparent = ##t
5057 \clef "hufnagel_do2" c
5061 @code{clefs-hufnagel_fa} @tab
5062 historic style hufnagel fa clef @tab
5063 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5064 @lilypond[relative,notime]
5065 \override Staff.StaffSymbol #'line-count = #4
5066 \override Staff.TimeSignature #'transparent = ##t
5067 \clef "hufnagel_fa2" c
5071 @code{clefs-hufnagel_do_fa} @tab
5072 historic style hufnagel combined do/fa clef @tab
5073 @code{hufnagel_do_fa} @tab
5074 @lilypond[relative,notime]
5075 \override Staff.TimeSignature #'transparent = ##t
5076 \clef "hufnagel_do_fa" c
5081 @c --- This should go somewhere else: ---
5082 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5085 @c @code{percussion}
5087 @c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
5089 @c @item modern style tab clef (glyph: @code{clefs-tab})
5094 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
5096 @emph{Modern style} means ``as is typeset in contemporary editions of
5097 transcribed mensural music''.
5099 @emph{Petrucci style} means ``inspired by printings published by the
5100 famous engraver Petrucci (1466-1539)''.
5102 @emph{Historic style} means ``as was typeset or written in historic
5103 editions (other than those of Petrucci)''.
5105 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5107 Petrucci used C clefs with differently balanced left-side vertical
5108 beams, depending on which staff line it is printed.
5112 In this manual: for the percussion clef, see @ref{Percussion staves}.
5113 For the @code{TAB} clef, see @ref{Tablatures}.
5115 Internals: for modern clefs, see @ref{Clef}.
5119 The mensural g clef is temporarily mapped to the Petrucci g clef,
5120 until a new mensural g clef will have been implemented.
5125 @subsection Ancient flags
5130 Use the @code{flag-style} property of grob @internalsref{Stem} to
5131 select ancient flags. Besides the @code{default} flag style,
5132 only @code{mensural} style is supported:
5134 @lilypond[fragment,raggedright,verbatim]
5135 \override Stem #'flag-style = #'mensural
5136 \override Stem #'thickness = #1.0
5137 \override NoteHead #'style = #'mensural
5139 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
5140 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5143 Note that the innermost flare of each mensural flag always is
5144 vertically aligned with a staff line. If you do not like this
5145 behavior, you can set the @code{adjust-if-on-staffline} property of
5146 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5147 of the end of each flare is different between notes on staff lines and
5148 notes between staff lines:
5150 @lilypond[fragment,raggedright]
5151 \override Stem #'flag-style = #'mensural
5152 \override Stem #'thickness = #1.0
5153 \override Stem #'adjust-if-on-staffline = ##f
5154 \override NoteHead #'style = #'mensural
5156 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
5157 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5160 There is no particular flag style for neo-mensural notation. Hence,
5161 when typesetting e.g. the incipit of a transcribed piece of mensural
5162 music, the default flag style should be used. There are no flags in
5163 Gregorian Chant notation.
5166 @node Ancient time signatures
5167 @subsection Ancient time signatures
5169 @cindex time signatures
5172 There is limited support for mensural time signatures. The
5173 glyphs are hard-wired to particular time fractions. In other words,
5174 to get a particular mensural signature glyph with the @code{\time n/m}
5175 command, @code{n} and @code{m} have to be chosen according to the
5181 \set Score.timing = ##f
5182 \set Score.barAlways = ##t
5183 s_\markup { "$\\backslash$time 4/4" }
5184 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5186 s_\markup { "$\\backslash$time 2/2" }
5187 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5189 s_\markup { "$\\backslash$time 6/4" }
5190 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5192 s_\markup { "$\\backslash$time 6/8" }
5193 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5195 s_\markup { "$\\backslash$time 3/2" }
5196 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5198 s_\markup { "$\\backslash$time 3/4" }
5199 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5201 s_\markup { "$\\backslash$time 9/4" }
5202 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5204 s_\markup { "$\\backslash$time 9/8" }
5205 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5207 s_\markup { "$\\backslash$time 4/8" }
5208 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5210 s_\markup { "$\\backslash$time 2/4" }
5211 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5219 \remove Staff_symbol_engraver
5220 \remove Clef_engraver
5221 \remove Time_signature_engraver
5227 Use the @code{style} property of grob @internalsref{TimeSignature} to
5228 select ancient time signatures. Supported styles are
5229 @code{neo_mensural} and @code{mensural}. The above table uses the
5230 @code{neo_mensural} style. This style is appropriate e.g. for the
5231 incipit of transcriptions of mensural pieces. The @code{mensural}
5232 style mimics the look of historical printings of the 16th century.
5234 @inputfileref{input/test,time.ly} gives an overview over all available
5235 ancient and modern styles.
5239 Internals: @ref{Time signature} gives a general introduction into the use of time
5244 Mensural signature glyphs are mapped to time fractions in a
5245 hard-wired way. This mapping is sensible, but still arbitrary: given
5246 a mensural time signature, the time fraction represents a modern meter
5247 that usually will be a good choice when transcribing a mensural piece
5248 of music. For a particular piece of mensural music, however, the
5249 mapping may be unsatisfactory. In particular, the mapping assumes a
5250 fixed transcription of durations (e.g. brevis = half note in 2/2,
5251 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5252 are not at all accessible through the @code{\time} command.
5254 Mensural time signatures are supported typographically, but not yet
5255 musically. The internal representation of durations is
5256 based on a purely binary system; a ternary division such as 1 brevis =
5257 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5258 prolatione maiori) is not correctly handled: event times in ternary
5259 modes will be badly computed, resulting e.g. in horizontally
5260 misaligned note heads, and bar checks are likely to erroneously fail.
5262 The syntax and semantics of the @code{\time} command for mensural
5263 music is subject to change.
5266 @subsection Custodes
5271 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5272 symbol that appears at the end of a staff. It anticipates the pitch
5273 of the first note(s) of the following line and thus helps the player
5274 or singer to manage line breaks during performance, thus enhancing
5275 readability of a score.
5277 Custodes were frequently used in music notation until the 17th
5278 century. Nowadays, they have survived only in a few particular forms
5279 of musical notation such as contemporary editions of Gregorian chant
5280 like the @emph{editio vaticana}. There are different custos glyphs
5281 used in different flavors of notational style.
5284 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5285 @internalsref{Staff} context when declaring the @code{\paper} block,
5286 as shown in the following example:
5292 \consists Custos_engraver
5293 Custos \override #'style = #'mensural
5298 The result looks like this:
5304 \override Staff.Custos #'style = #'mensural
5311 \consists Custos_engraver
5318 The custos glyph is selected by the @code{style} property. The styles
5319 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5320 @code{mensural}. They are demonstrated in the following fragment:
5330 { " " \musicglyph #"custodes-vaticana-u0" }
5334 { " " \musicglyph #"custodes-medicaea-u0" }
5338 { " " \musicglyph #"custodes-hufnagel-u0" }
5342 { " " \musicglyph #"custodes-mensural-u0" }
5351 \remove "Bar_number_engraver"
5355 \remove "Clef_engraver"
5356 \remove "Key_engraver"
5357 \remove "Time_signature_engraver"
5358 \remove "Staff_symbol_engraver"
5359 minimumVerticalExtent = ##f
5365 If the boolean property @code{adjust-if-on-staffline} is set to
5366 @code{#t} (which it is by default), lily typesets slightly different
5367 variants of the custos glyph, depending on whether the custos, is
5368 typeset on or between staff lines. The glyph will
5369 optically fit well into the staff, with the appendage on the right of
5370 the custos always ending at the same vertical position between two
5371 staff lines regardless of the pitch. If you set
5372 @code{adjust-if-on-staffline} to @code{#f}, then
5373 a compromise between both forms is used.
5375 Just like stems can be attached to note heads in two directions
5376 @emph{up} and @emph{down}, each custos glyph is available with its
5377 appendage pointing either up or down. If the pitch of a custos is
5378 above a selectable position, the appendage will point downwards; if
5379 the pitch is below this position, the appendage will point upwards.
5380 Use property @code{neutral-position} to select this position. By
5381 default, it is set to @code{0}, such that the neutral position is the
5382 center of the staff. Use property @code{neutral-direction} to control
5383 what happens if a custos is typeset on the neutral position itself.
5384 By default, this property is set to @code{-1}, such that the appendage
5385 will point downwards. If set to @code{1}, the appendage will point
5386 upwards. Other values such as @code{0} are reserved for future
5387 extensions and should not be used.
5391 Internals: @internalsref{Custos}.
5393 Examples: @inputfileref{input/regression,custos.ly}.
5397 @subsection Divisiones
5403 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5404 `division') is a staff context symbol that is used to structure
5405 Gregorian music into phrases and sections. The musical meaning of
5406 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5407 can be characterized as short, medium and long pause, somewhat like
5408 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5409 a chant, but is also frequently used within a single
5410 antiphonal/responsorial chant to mark the end of each section.
5413 To use divisiones, include the file @code{gregorian-init.ly}. It
5414 contains definitions that you can apply by just inserting
5415 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5416 and @code{\finalis} at proper places in the input. Some editions use
5417 @emph{virgula} or @emph{caesura} instead of divisio minima.
5418 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5421 @lilypondfile[]{divisiones.ly}
5425 @cindex @code{\virgula}
5427 @cindex @code{\caesura}
5429 @cindex @code{\divisioMinima}
5430 @code{\divisioMinima},
5431 @cindex @code{\divisioMaior}
5432 @code{\divisioMaior},
5433 @cindex @code{\divisioMaxima}
5434 @code{\divisioMaxima},
5435 @cindex @code{\finalis}
5440 In this manual: @ref{Breath marks}.
5442 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5444 Examples: @inputfileref{input/test,divisiones.ly}.
5447 @subsection Ligatures
5451 @c TODO: Should double check if I recalled things correctly when I wrote
5452 @c down the following paragraph by heart.
5454 In musical terminology, a ligature is a coherent graphical symbol that
5455 represents at least two distinct notes. Ligatures originally appeared
5456 in the manuscripts of Gregorian chant notation roughly since the 9th
5457 century as an allusion to the accent symbols of Greek lyric poetry to
5458 denote ascending or descending sequences of notes. Both, the shape
5459 and the exact meaning of ligatures changed tremendously during the
5460 following centuries: In early notation, ligatures were used for
5461 monophonic tunes (Gregorian chant) and very soon denoted also the way
5462 of performance in the sense of articulation. With upcoming
5463 multiphony, the need for a metric system arised, since multiple voices
5464 of a piece have to be synchronized some way. New notation systems
5465 were invented that used the manifold shapes of ligatures to now denote
5466 rhythmical patterns (e.g. black mensural notation, mannered notation,
5467 ars nova). With the invention of the metric system of the white
5468 mensural notation, the need for ligatures to denote such patterns
5469 disappeared. Nevertheless, ligatures were still in use in the
5470 mensural system for a couple of decades until they finally disappeared
5471 during the late 16th / early 17th century. Still, ligatures have
5472 survived in contemporary editions of Gregorian chant such as the
5473 Editio Vaticana from 1905/08.
5476 Syntactically, ligatures are simply enclosed by @code{\[} and
5477 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5478 additional input syntax specific for this particular type of ligature.
5479 By default, the @internalsref{LigatureBracket} engraver just puts a
5480 square bracket above the ligature:
5482 @lilypond[raggedright,verbatim]
5484 \notes \transpose c c' {
5492 To select a specific style of ligatures, a proper ligature engraver
5493 has to be added to the @internalsref{Voice} context, as explained in
5494 the following subsections. Only white mensural ligatures
5495 are supported with certain limitations. Support for Editio Vaticana
5496 will be added in the future.
5499 * White mensural ligatures::
5500 * Gregorian square neumes ligatures::
5503 @node White mensural ligatures
5504 @subsubsection White mensural ligatures
5506 @cindex Mensural ligatures
5507 @cindex White mensural ligatures
5509 There is limited support for white mensural ligatures. The
5510 implementation is still experimental; it may output strange
5511 warnings or even crash in some cases or produce weird results on more
5515 To engrave white mensural ligatures, in the paper block the
5516 @internalsref{Mensural_ligature_engraver} has to be put into the
5517 @internalsref{Voice} context, and remove the
5518 @internalsref{Ligature_bracket_engraver}:
5524 \remove Ligature_bracket_engraver
5525 \consists Mensural_ligature_engraver
5530 There is no additional input language to describe the shape of a
5531 white mensural ligature. The shape is rather determined solely from
5532 the pitch and duration of the enclosed notes. While this approach may
5533 take a new user a while to get accustomed, it has the great advantage
5534 that the full musical information of the ligature is known internally.
5535 This is not only required for correct MIDI output, but also allows for
5536 automatic transcription of the ligatures.
5541 \set Score.timing = ##f
5542 \set Score.defaultBarType = "empty"
5543 \override NoteHead #'style = #'neo_mensural
5544 \override Staff.TimeSignature #'style = #'neo_mensural
5546 \[ g\longa c\breve a\breve f\breve d'\longa \]
5548 \[ e1 f1 a\breve g\longa \]
5550 @lilypond[raggedright]
5552 \notes \transpose c c' {
5553 \set Score.timing = ##f
5554 \set Score.defaultBarType = "empty"
5555 \override NoteHead #'style = #'neo_mensural
5556 \override Staff.TimeSignature #'style = #'neo_mensural
5558 \[ g\longa c\breve a\breve f\breve d'\longa \]
5560 \[ e1 f1 a\breve g\longa \]
5565 \remove Ligature_bracket_engraver
5566 \consists Mensural_ligature_engraver
5572 Without replacing @internalsref{Ligature_bracket_engraver} with
5573 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5576 @lilypond[raggedright]
5578 \notes \transpose c c' {
5579 \set Score.timing = ##f
5580 \set Score.defaultBarType = "empty"
5581 \override NoteHead #'style = #'neo_mensural
5582 \override Staff.TimeSignature #'style = #'neo_mensural
5584 \[ g\longa c\breve a\breve f\breve d'\longa \]
5586 \[ e1 f1 a\breve g\longa \]
5592 @node Gregorian square neumes ligatures
5593 @subsubsection Gregorian square neumes ligatures
5595 @cindex Square neumes ligatures
5596 @cindex Gregorian square neumes ligatures
5598 Gregorian square neumes notation (following the style of the Editio
5599 Vaticana) is under heavy development, but not yet really usable for
5600 production purposes. Core ligatures can already be typeset, but
5601 essential issues for serious typesetting are still under development,
5602 such as (among others) horizontal alignment of multiple ligatures,
5603 lyrics alignment and proper accidentals handling. Still, this section
5604 gives a sneak preview of what Gregorian chant may look like once it
5607 The following table contains the extended neumes table of the 2nd
5608 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5609 1983 by the monks of Solesmes.
5611 @multitable @columnfractions .4 .2 .2 .2
5614 @b{Neuma aut@*Neumarum Elementa} @tab
5615 @b{Figurae@*Rectae} @tab
5616 @b{Figurae@*Liquescentes Auctae} @tab
5617 @b{Figurae@*Liquescentes Deminutae}
5619 @c TODO: \paper block is identical in all of the below examples.
5620 @c Therefore, it should somehow be included rather than duplicated all
5623 @c why not make identifiers in ly/engraver-init.ly? --hwn
5625 @c Because it's just used to typeset plain notes without
5626 @c a staff for demonstration purposes rather than something
5627 @c special of Gregorian chant notation. --jr
5632 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5633 \include "gregorian-init.ly"
5635 \notes \transpose c c' {
5638 \noBreak s^\markup {"a"} \noBreak
5640 % Punctum Inclinatum
5642 \noBreak s^\markup {"b"}
5648 \remove "Bar_number_engraver"
5652 \remove "Clef_engraver"
5653 \remove "Key_engraver"
5654 \override StaffSymbol #'transparent = ##t
5655 \remove "Time_signature_engraver"
5656 \remove "Bar_engraver"
5657 minimumVerticalExtent = ##f
5661 \remove Ligature_bracket_engraver
5662 \consists Vaticana_ligature_engraver
5663 \override NoteHead #'style = #'vaticana_punctum
5664 \override Stem #'transparent = ##t
5670 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5671 \include "gregorian-init.ly"
5673 \notes \transpose c c' {
5674 % Punctum Auctum Ascendens
5675 \[ \auctum \ascendens b \]
5676 \noBreak s^\markup {"c"} \noBreak
5678 % Punctum Auctum Descendens
5679 \[ \auctum \descendens b \]
5680 \noBreak s^\markup {"d"} \noBreak
5682 % Punctum Inclinatum Auctum
5683 \[ \inclinatum \auctum b \]
5684 \noBreak s^\markup {"e"}
5690 \remove "Bar_number_engraver"
5694 \remove "Clef_engraver"
5695 \remove "Key_engraver"
5696 \override StaffSymbol #'transparent = ##t
5697 \remove "Time_signature_engraver"
5698 \remove "Bar_engraver"
5699 minimumVerticalExtent = ##f
5703 \remove Ligature_bracket_engraver
5704 \consists Vaticana_ligature_engraver
5705 \override NoteHead #'style = #'vaticana_punctum
5706 \override Stem #'transparent = ##t
5712 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5713 \include "gregorian-init.ly"
5715 \notes \transpose c c' {
5716 % Punctum Inclinatum Parvum
5717 \[ \inclinatum \deminutum b \]
5718 \noBreak s^\markup {"f"}
5724 \remove "Bar_number_engraver"
5728 \remove "Clef_engraver"
5729 \remove "Key_engraver"
5730 \override StaffSymbol #'transparent = ##t
5731 \remove "Time_signature_engraver"
5732 \remove "Bar_engraver"
5733 minimumVerticalExtent = ##f
5737 \remove Ligature_bracket_engraver
5738 \consists Vaticana_ligature_engraver
5739 \override NoteHead #'style = #'vaticana_punctum
5740 \override Stem #'transparent = ##t
5749 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5750 \include "gregorian-init.ly"
5752 \notes \transpose c c' {
5755 \noBreak s^\markup {"g"}
5761 \remove "Bar_number_engraver"
5765 \remove "Clef_engraver"
5766 \remove "Key_engraver"
5767 \override StaffSymbol #'transparent = ##t
5768 \remove "Time_signature_engraver"
5769 \remove "Bar_engraver"
5770 minimumVerticalExtent = ##f
5774 \remove Ligature_bracket_engraver
5775 \consists Vaticana_ligature_engraver
5776 \override NoteHead #'style = #'vaticana_punctum
5777 \override Stem #'transparent = ##t
5786 @code{3. Apostropha vel Stropha}
5788 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5789 \include "gregorian-init.ly"
5791 \notes \transpose c c' {
5794 \noBreak s^\markup {"h"}
5800 \remove "Bar_number_engraver"
5804 \remove "Clef_engraver"
5805 \remove "Key_engraver"
5806 \override StaffSymbol #'transparent = ##t
5807 \remove "Time_signature_engraver"
5808 \remove "Bar_engraver"
5809 minimumVerticalExtent = ##f
5813 \remove Ligature_bracket_engraver
5814 \consists Vaticana_ligature_engraver
5815 \override NoteHead #'style = #'vaticana_punctum
5816 \override Stem #'transparent = ##t
5822 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5823 \include "gregorian-init.ly"
5825 \notes \transpose c c' {
5827 \[ \stropha \auctum b \]
5828 \noBreak s^\markup {"i"}
5834 \remove "Bar_number_engraver"
5838 \remove "Clef_engraver"
5839 \remove "Key_engraver"
5840 \override StaffSymbol #'transparent = ##t
5841 \remove "Time_signature_engraver"
5842 \remove "Bar_engraver"
5843 minimumVerticalExtent = ##f
5847 \remove Ligature_bracket_engraver
5848 \consists Vaticana_ligature_engraver
5849 \override NoteHead #'style = #'vaticana_punctum
5850 \override Stem #'transparent = ##t
5860 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5861 \include "gregorian-init.ly"
5863 \notes \transpose c c' {
5866 \noBreak s^\markup {"j"}
5872 \remove "Bar_number_engraver"
5876 \remove "Clef_engraver"
5877 \remove "Key_engraver"
5878 \override StaffSymbol #'transparent = ##t
5879 \remove "Time_signature_engraver"
5880 \remove "Bar_engraver"
5881 minimumVerticalExtent = ##f
5885 \remove Ligature_bracket_engraver
5886 \consists Vaticana_ligature_engraver
5887 \override NoteHead #'style = #'vaticana_punctum
5888 \override Stem #'transparent = ##t
5897 @code{5. Clivis vel Flexa}
5899 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5900 \include "gregorian-init.ly"
5902 \notes \transpose c c' {
5911 \remove "Bar_number_engraver"
5915 \remove "Clef_engraver"
5916 \remove "Key_engraver"
5917 \override StaffSymbol #'transparent = ##t
5918 \remove "Time_signature_engraver"
5919 \remove "Bar_engraver"
5920 minimumVerticalExtent = ##f
5924 \remove Ligature_bracket_engraver
5925 \consists Vaticana_ligature_engraver
5926 \override NoteHead #'style = #'vaticana_punctum
5927 \override Stem #'transparent = ##t
5933 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5934 \include "gregorian-init.ly"
5936 \notes \transpose c c' {
5937 % Clivis Aucta Descendens
5938 \[ b \flexa \auctum \descendens g \]
5939 \noBreak s^\markup {"l"} \noBreak
5941 % Clivis Aucta Ascendens
5942 \[ b \flexa \auctum \ascendens g \]
5943 \noBreak s^\markup {"m"}
5949 \remove "Bar_number_engraver"
5953 \remove "Clef_engraver"
5954 \remove "Key_engraver"
5955 \override StaffSymbol #'transparent = ##t
5956 \remove "Time_signature_engraver"
5957 \remove "Bar_engraver"
5958 minimumVerticalExtent = ##f
5962 \remove Ligature_bracket_engraver
5963 \consists Vaticana_ligature_engraver
5964 \override NoteHead #'style = #'vaticana_punctum
5965 \override Stem #'transparent = ##t
5971 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5972 \include "gregorian-init.ly"
5974 \notes \transpose c c' {
5976 \[ b \flexa \deminutum g \]
5983 \remove "Bar_number_engraver"
5987 \remove "Clef_engraver"
5988 \remove "Key_engraver"
5989 \override StaffSymbol #'transparent = ##t
5990 \remove "Time_signature_engraver"
5991 \remove "Bar_engraver"
5992 minimumVerticalExtent = ##f
5996 \remove Ligature_bracket_engraver
5997 \consists Vaticana_ligature_engraver
5998 \override NoteHead #'style = #'vaticana_punctum
5999 \override Stem #'transparent = ##t
6006 @code{6. Podatus vel Pes}
6008 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6009 \include "gregorian-init.ly"
6011 \notes \transpose c c' {
6020 \remove "Bar_number_engraver"
6024 \remove "Clef_engraver"
6025 \remove "Key_engraver"
6026 \override StaffSymbol #'transparent = ##t
6027 \remove "Time_signature_engraver"
6028 \remove "Bar_engraver"
6029 minimumVerticalExtent = ##f
6033 \remove Ligature_bracket_engraver
6034 \consists Vaticana_ligature_engraver
6035 \override NoteHead #'style = #'vaticana_punctum
6036 \override Stem #'transparent = ##t
6042 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6043 \include "gregorian-init.ly"
6045 \notes \transpose c c' {
6046 % Pes Auctus Descendens
6047 \[ g \pes \auctum \descendens b \]
6048 \noBreak s^\markup {"p"} \noBreak
6050 % Pes Auctus Ascendens
6051 \[ g \pes \auctum \ascendens b \]
6052 \noBreak s^\markup {"q"}
6058 \remove "Bar_number_engraver"
6062 \remove "Clef_engraver"
6063 \remove "Key_engraver"
6064 \override StaffSymbol #'transparent = ##t
6065 \remove "Time_signature_engraver"
6066 \remove "Bar_engraver"
6067 minimumVerticalExtent = ##f
6071 \remove Ligature_bracket_engraver
6072 \consists Vaticana_ligature_engraver
6073 \override NoteHead #'style = #'vaticana_punctum
6074 \override Stem #'transparent = ##t
6080 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6081 \include "gregorian-init.ly"
6083 \notes \transpose c c' {
6085 \[ g \pes \deminutum b \]
6092 \remove "Bar_number_engraver"
6096 \remove "Clef_engraver"
6097 \remove "Key_engraver"
6098 \override StaffSymbol #'transparent = ##t
6099 \remove "Time_signature_engraver"
6100 \remove "Bar_engraver"
6101 minimumVerticalExtent = ##f
6105 \remove Ligature_bracket_engraver
6106 \consists Vaticana_ligature_engraver
6107 \override NoteHead #'style = #'vaticana_punctum
6108 \override Stem #'transparent = ##t
6115 @code{7. Pes Quassus}
6117 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6118 \include "gregorian-init.ly"
6120 \notes \transpose c c' {
6122 \[ \oriscus g \pes \virga b \]
6129 \remove "Bar_number_engraver"
6133 \remove "Clef_engraver"
6134 \remove "Key_engraver"
6135 \override StaffSymbol #'transparent = ##t
6136 \remove "Time_signature_engraver"
6137 \remove "Bar_engraver"
6138 minimumVerticalExtent = ##f
6142 \remove Ligature_bracket_engraver
6143 \consists Vaticana_ligature_engraver
6144 \override NoteHead #'style = #'vaticana_punctum
6145 \override Stem #'transparent = ##t
6151 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6152 \include "gregorian-init.ly"
6154 \notes \transpose c c' {
6155 % Pes Quassus Auctus Descendens
6156 \[ \oriscus g \pes \auctum \descendens b \]
6163 \remove "Bar_number_engraver"
6167 \remove "Clef_engraver"
6168 \remove "Key_engraver"
6169 \override StaffSymbol #'transparent = ##t
6170 \remove "Time_signature_engraver"
6171 \remove "Bar_engraver"
6172 minimumVerticalExtent = ##f
6176 \remove Ligature_bracket_engraver
6177 \consists Vaticana_ligature_engraver
6178 \override NoteHead #'style = #'vaticana_punctum
6179 \override Stem #'transparent = ##t
6187 @code{8. Quilisma Pes}
6189 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6190 \include "gregorian-init.ly"
6192 \notes \transpose c c' {
6194 \[ \quilisma g \pes b \]
6201 \remove "Bar_number_engraver"
6205 \remove "Clef_engraver"
6206 \remove "Key_engraver"
6207 \override StaffSymbol #'transparent = ##t
6208 \remove "Time_signature_engraver"
6209 \remove "Bar_engraver"
6210 minimumVerticalExtent = ##f
6214 \remove Ligature_bracket_engraver
6215 \consists Vaticana_ligature_engraver
6216 \override NoteHead #'style = #'vaticana_punctum
6217 \override Stem #'transparent = ##t
6223 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6224 \include "gregorian-init.ly"
6226 \notes \transpose c c' {
6227 % Quilisma Pes Auctus Descendens
6228 \[ \quilisma g \pes \auctum \descendens b \]
6235 \remove "Bar_number_engraver"
6239 \remove "Clef_engraver"
6240 \remove "Key_engraver"
6241 \override StaffSymbol #'transparent = ##t
6242 \remove "Time_signature_engraver"
6243 \remove "Bar_engraver"
6244 minimumVerticalExtent = ##f
6248 \remove Ligature_bracket_engraver
6249 \consists Vaticana_ligature_engraver
6250 \override NoteHead #'style = #'vaticana_punctum
6251 \override Stem #'transparent = ##t
6259 @code{9. Podatus Initio Debilis}
6261 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6262 \include "gregorian-init.ly"
6264 \notes \transpose c c' {
6265 % Pes Initio Debilis
6266 \[ \deminutum g \pes b \]
6273 \remove "Bar_number_engraver"
6277 \remove "Clef_engraver"
6278 \remove "Key_engraver"
6279 \override StaffSymbol #'transparent = ##t
6280 \remove "Time_signature_engraver"
6281 \remove "Bar_engraver"
6282 minimumVerticalExtent = ##f
6286 \remove Ligature_bracket_engraver
6287 \consists Vaticana_ligature_engraver
6288 \override NoteHead #'style = #'vaticana_punctum
6289 \override Stem #'transparent = ##t
6295 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6296 \include "gregorian-init.ly"
6298 \notes \transpose c c' {
6299 % Pes Auctus Descendens Initio Debilis
6300 \[ \deminutum g \pes \auctum \descendens b \]
6307 \remove "Bar_number_engraver"
6311 \remove "Clef_engraver"
6312 \remove "Key_engraver"
6313 \override StaffSymbol #'transparent = ##t
6314 \remove "Time_signature_engraver"
6315 \remove "Bar_engraver"
6316 minimumVerticalExtent = ##f
6320 \remove Ligature_bracket_engraver
6321 \consists Vaticana_ligature_engraver
6322 \override NoteHead #'style = #'vaticana_punctum
6323 \override Stem #'transparent = ##t
6333 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6334 \include "gregorian-init.ly"
6336 \notes \transpose c c' {
6338 \[ a \pes b \flexa g \]
6345 \remove "Bar_number_engraver"
6349 \remove "Clef_engraver"
6350 \remove "Key_engraver"
6351 \override StaffSymbol #'transparent = ##t
6352 \remove "Time_signature_engraver"
6353 \remove "Bar_engraver"
6354 minimumVerticalExtent = ##f
6358 \remove Ligature_bracket_engraver
6359 \consists Vaticana_ligature_engraver
6360 \override NoteHead #'style = #'vaticana_punctum
6361 \override Stem #'transparent = ##t
6367 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6368 \include "gregorian-init.ly"
6370 \notes \transpose c c' {
6371 % Torculus Auctus Descendens
6372 \[ a \pes b \flexa \auctum \descendens g \]
6379 \remove "Bar_number_engraver"
6383 \remove "Clef_engraver"
6384 \remove "Key_engraver"
6385 \override StaffSymbol #'transparent = ##t
6386 \remove "Time_signature_engraver"
6387 \remove "Bar_engraver"
6388 minimumVerticalExtent = ##f
6392 \remove Ligature_bracket_engraver
6393 \consists Vaticana_ligature_engraver
6394 \override NoteHead #'style = #'vaticana_punctum
6395 \override Stem #'transparent = ##t
6401 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6402 \include "gregorian-init.ly"
6404 \notes \transpose c c' {
6405 % Torculus Deminutus
6406 \[ a \pes b \flexa \deminutum g \]
6413 \remove "Bar_number_engraver"
6417 \remove "Clef_engraver"
6418 \remove "Key_engraver"
6419 \override StaffSymbol #'transparent = ##t
6420 \remove "Time_signature_engraver"
6421 \remove "Bar_engraver"
6422 minimumVerticalExtent = ##f
6426 \remove Ligature_bracket_engraver
6427 \consists Vaticana_ligature_engraver
6428 \override NoteHead #'style = #'vaticana_punctum
6429 \override Stem #'transparent = ##t
6436 @code{11. Torculus Initio Debilis}
6438 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6439 \include "gregorian-init.ly"
6441 \notes \transpose c c' {
6442 % Torculus Initio Debilis
6443 \[ \deminutum a \pes b \flexa g \]
6450 \remove "Bar_number_engraver"
6454 \remove "Clef_engraver"
6455 \remove "Key_engraver"
6456 \override StaffSymbol #'transparent = ##t
6457 \remove "Time_signature_engraver"
6458 \remove "Bar_engraver"
6459 minimumVerticalExtent = ##f
6463 \remove Ligature_bracket_engraver
6464 \consists Vaticana_ligature_engraver
6465 \override NoteHead #'style = #'vaticana_punctum
6466 \override Stem #'transparent = ##t
6472 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6473 \include "gregorian-init.ly"
6475 \notes \transpose c c' {
6476 % Torculus Auctus Descendens Initio Debilis
6477 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6484 \remove "Bar_number_engraver"
6488 \remove "Clef_engraver"
6489 \remove "Key_engraver"
6490 \override StaffSymbol #'transparent = ##t
6491 \remove "Time_signature_engraver"
6492 \remove "Bar_engraver"
6493 minimumVerticalExtent = ##f
6497 \remove Ligature_bracket_engraver
6498 \consists Vaticana_ligature_engraver
6499 \override NoteHead #'style = #'vaticana_punctum
6500 \override Stem #'transparent = ##t
6506 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6507 \include "gregorian-init.ly"
6509 \notes \transpose c c' {
6510 % Torculus Deminutus Initio Debilis
6511 \[ \deminutum a \pes b \flexa \deminutum g \]
6518 \remove "Bar_number_engraver"
6522 \remove "Clef_engraver"
6523 \remove "Key_engraver"
6524 \override StaffSymbol #'transparent = ##t
6525 \remove "Time_signature_engraver"
6526 \remove "Bar_engraver"
6527 minimumVerticalExtent = ##f
6531 \remove Ligature_bracket_engraver
6532 \consists Vaticana_ligature_engraver
6533 \override NoteHead #'style = #'vaticana_punctum
6534 \override Stem #'transparent = ##t
6541 @code{12. Porrectus}
6543 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6544 \include "gregorian-init.ly"
6546 \notes \transpose c c' {
6548 \[ a \flexa g \pes b \]
6555 \remove "Bar_number_engraver"
6559 \remove "Clef_engraver"
6560 \remove "Key_engraver"
6561 \override StaffSymbol #'transparent = ##t
6562 \remove "Time_signature_engraver"
6563 \remove "Bar_engraver"
6564 minimumVerticalExtent = ##f
6568 \remove Ligature_bracket_engraver
6569 \consists Vaticana_ligature_engraver
6570 \override NoteHead #'style = #'vaticana_punctum
6571 \override Stem #'transparent = ##t
6577 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6578 \include "gregorian-init.ly"
6580 \notes \transpose c c' {
6581 % Porrectus Auctus Descendens
6582 \[ a \flexa g \pes \auctum \descendens b \]
6589 \remove "Bar_number_engraver"
6593 \remove "Clef_engraver"
6594 \remove "Key_engraver"
6595 \override StaffSymbol #'transparent = ##t
6596 \remove "Time_signature_engraver"
6597 \remove "Bar_engraver"
6598 minimumVerticalExtent = ##f
6602 \remove Ligature_bracket_engraver
6603 \consists Vaticana_ligature_engraver
6604 \override NoteHead #'style = #'vaticana_punctum
6605 \override Stem #'transparent = ##t
6611 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6612 \include "gregorian-init.ly"
6614 \notes \transpose c c' {
6615 % Porrectus Deminutus
6616 \[ a \flexa g \pes \deminutum b \]
6623 \remove "Bar_number_engraver"
6627 \remove "Clef_engraver"
6628 \remove "Key_engraver"
6629 \override StaffSymbol #'transparent = ##t
6630 \remove "Time_signature_engraver"
6631 \remove "Bar_engraver"
6632 minimumVerticalExtent = ##f
6636 \remove Ligature_bracket_engraver
6637 \consists Vaticana_ligature_engraver
6638 \override NoteHead #'style = #'vaticana_punctum
6639 \override Stem #'transparent = ##t
6648 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6649 \include "gregorian-init.ly"
6651 \notes \transpose c c' {
6653 \[ \virga b \inclinatum a \inclinatum g \]
6660 \remove "Bar_number_engraver"
6664 \remove "Clef_engraver"
6665 \remove "Key_engraver"
6666 \override StaffSymbol #'transparent = ##t
6667 \remove "Time_signature_engraver"
6668 \remove "Bar_engraver"
6669 minimumVerticalExtent = ##f
6673 \remove Ligature_bracket_engraver
6674 \consists Vaticana_ligature_engraver
6675 \override NoteHead #'style = #'vaticana_punctum
6676 \override Stem #'transparent = ##t
6682 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6683 \include "gregorian-init.ly"
6685 \notes \transpose c c' {
6687 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6694 \remove "Bar_number_engraver"
6698 \remove "Clef_engraver"
6699 \remove "Key_engraver"
6700 \override StaffSymbol #'transparent = ##t
6701 \remove "Time_signature_engraver"
6702 \remove "Bar_engraver"
6703 minimumVerticalExtent = ##f
6707 \remove Ligature_bracket_engraver
6708 \consists Vaticana_ligature_engraver
6709 \override NoteHead #'style = #'vaticana_punctum
6710 \override Stem #'transparent = ##t
6716 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6717 \include "gregorian-init.ly"
6719 \notes \transpose c c' {
6720 % Climacus Deminutus
6721 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6728 \remove "Bar_number_engraver"
6732 \remove "Clef_engraver"
6733 \remove "Key_engraver"
6734 \override StaffSymbol #'transparent = ##t
6735 \remove "Time_signature_engraver"
6736 \remove "Bar_engraver"
6737 minimumVerticalExtent = ##f
6741 \remove Ligature_bracket_engraver
6742 \consists Vaticana_ligature_engraver
6743 \override NoteHead #'style = #'vaticana_punctum
6744 \override Stem #'transparent = ##t
6751 @code{14. Scandicus}
6753 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6754 \include "gregorian-init.ly"
6756 \notes \transpose c c' {
6758 \[ g \pes a \virga b \]
6765 \remove "Bar_number_engraver"
6769 \remove "Clef_engraver"
6770 \remove "Key_engraver"
6771 \override StaffSymbol #'transparent = ##t
6772 \remove "Time_signature_engraver"
6773 \remove "Bar_engraver"
6774 minimumVerticalExtent = ##f
6778 \remove Ligature_bracket_engraver
6779 \consists Vaticana_ligature_engraver
6780 \override NoteHead #'style = #'vaticana_punctum
6781 \override Stem #'transparent = ##t
6787 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6788 \include "gregorian-init.ly"
6790 \notes \transpose c c' {
6791 % Scandicus Auctus Descendens
6792 \[ g \pes a \pes \auctum \descendens b \]
6799 \remove "Bar_number_engraver"
6803 \remove "Clef_engraver"
6804 \remove "Key_engraver"
6805 \override StaffSymbol #'transparent = ##t
6806 \remove "Time_signature_engraver"
6807 \remove "Bar_engraver"
6808 minimumVerticalExtent = ##f
6812 \remove Ligature_bracket_engraver
6813 \consists Vaticana_ligature_engraver
6814 \override NoteHead #'style = #'vaticana_punctum
6815 \override Stem #'transparent = ##t
6821 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6822 \include "gregorian-init.ly"
6824 \notes \transpose c c' {
6825 % Scandicus Deminutus
6826 \[ g \pes a \pes \deminutum b \]
6833 \remove "Bar_number_engraver"
6837 \remove "Clef_engraver"
6838 \remove "Key_engraver"
6839 \override StaffSymbol #'transparent = ##t
6840 \remove "Time_signature_engraver"
6841 \remove "Bar_engraver"
6842 minimumVerticalExtent = ##f
6846 \remove Ligature_bracket_engraver
6847 \consists Vaticana_ligature_engraver
6848 \override NoteHead #'style = #'vaticana_punctum
6849 \override Stem #'transparent = ##t
6858 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6859 \include "gregorian-init.ly"
6861 \notes \transpose c c' {
6863 \[ g \oriscus a \pes \virga b \]
6870 \remove "Bar_number_engraver"
6874 \remove "Clef_engraver"
6875 \remove "Key_engraver"
6876 \override StaffSymbol #'transparent = ##t
6877 \remove "Time_signature_engraver"
6878 \remove "Bar_engraver"
6879 minimumVerticalExtent = ##f
6883 \remove Ligature_bracket_engraver
6884 \consists Vaticana_ligature_engraver
6885 \override NoteHead #'style = #'vaticana_punctum
6886 \override Stem #'transparent = ##t
6892 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6893 \include "gregorian-init.ly"
6895 \notes \transpose c c' {
6896 % Salicus Auctus Descendens
6897 \[ g \oriscus a \pes \auctum \descendens b \]
6904 \remove "Bar_number_engraver"
6908 \remove "Clef_engraver"
6909 \remove "Key_engraver"
6910 \override StaffSymbol #'transparent = ##t
6911 \remove "Time_signature_engraver"
6912 \remove "Bar_engraver"
6913 minimumVerticalExtent = ##f
6917 \remove Ligature_bracket_engraver
6918 \consists Vaticana_ligature_engraver
6919 \override NoteHead #'style = #'vaticana_punctum
6920 \override Stem #'transparent = ##t
6930 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6931 \include "gregorian-init.ly"
6933 \notes \transpose c c' {
6935 \[ \stropha b \stropha b \stropha a \]
6942 \remove "Bar_number_engraver"
6946 \remove "Clef_engraver"
6947 \remove "Key_engraver"
6948 \override StaffSymbol #'transparent = ##t
6949 \remove "Time_signature_engraver"
6950 \remove "Bar_engraver"
6951 minimumVerticalExtent = ##f
6955 \remove Ligature_bracket_engraver
6956 \consists Vaticana_ligature_engraver
6957 \override NoteHead #'style = #'vaticana_punctum
6958 \override Stem #'transparent = ##t
6969 Unlike most other neumes notation systems, the input language for
6970 neumes does not necessarily reflect directly the typographical
6971 appearance, but is designed to solely focuse on musical meaning. For
6972 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6973 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6974 a Porrectus with a curved flexa shape and only a single Punctum head.
6975 There is no command to explicitly typeset the curved flexa shape; the
6976 decision of when to typeset a curved flexa shape is purely taken from
6977 the musical input. The idea of this approach is to separate the
6978 musical aspects of the input from the notation style of the output.
6979 This way, the same input can be reused to typeset the same music in a
6980 different style of Gregorian chant notation such as Hufnagel (also
6981 known as German gothic neumes) or Medicaea (kind of a very simple
6982 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6983 engraver and Medicaea ligature engraver will have been implemented, it
6984 will be as simple as replacing the ligature engraver in the
6985 @internalsref{Voice} context to get the desired notation style from
6988 The following table shows the code fragments that produce the
6989 ligatures in the above neumes table. The letter in the first column
6990 in each line of the below table indicates to which ligature in the
6991 above table it refers. The second column gives the name of the
6992 ligature. The third column shows the code fragment that produces this
6993 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6995 @multitable @columnfractions .1 .4 .5
7009 Punctum Inclinatum @tab
7010 @code{\[ \inclinatum b \]}
7014 Punctum Auctum Ascendens @tab
7015 @code{\[ \auctum \ascendens b \]}
7019 Punctum Auctum Descendens @tab
7020 @code{\[ \auctum \descendens b \]}
7024 Punctum Inclinatum Auctum @tab
7025 @code{\[ \inclinatum \auctum b \]}
7029 Punctum Inclinatum Parvum @tab
7030 @code{\[ \inclinatum \deminutum b \]}
7035 @code{\[ \virga b \]}
7040 @code{\[ \stropha b \]}
7045 @code{\[ \stropha \auctum b \]}
7050 @code{\[ \oriscus b \]}
7054 Clivis vel Flexa @tab
7055 @code{\[ b \flexa g \]}
7059 Clivis Aucta Descendens @tab
7060 @code{\[ b \flexa \auctum \descendens g \]}
7064 Clivis Aucta Ascendens @tab
7065 @code{\[ b \flexa \auctum \ascendens g \]}
7070 @code{\[ b \flexa \deminutum g \]}
7074 Podatus vel Pes @tab
7075 @code{\[ g \pes b \]}
7079 Pes Auctus Descendens @tab
7080 @code{\[ g \pes \auctum \descendens b \]}
7084 Pes Auctus Ascendens @tab
7085 @code{\[ g \pes \auctum \ascendens b \]}
7090 @code{\[ g \pes \deminutum b \]}
7095 @code{\[ \oriscus g \pes \virga b \]}
7099 Pes Quassus Auctus Descendens @tab
7100 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7105 @code{\[ \quilisma g \pes b \]}
7109 Quilisma Pes Auctus Descendens @tab
7110 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7114 Pes Initio Debilis @tab
7115 @code{\[ \deminutum g \pes b \]}
7119 Pes Auctus Descendens Initio Debilis @tab
7120 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7125 @code{\[ a \pes b \flexa g \]}
7129 Torculus Auctus Descendens @tab
7130 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7134 Torculus Deminutus @tab
7135 @code{\[ a \pes b \flexa \deminutum g \]}
7139 Torculus Initio Debilis @tab
7140 @code{\[ \deminutum a \pes b \flexa g \]}
7144 Torculus Auctus Descendens Initio Debilis @tab
7145 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7149 Torculus Deminutus Initio Debilis @tab
7150 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7155 @code{\[ a \flexa g \pes b \]}
7159 Porrectus Auctus Descendens @tab
7160 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7164 Porrectus Deminutus @tab
7165 @code{\[ a \flexa g \pes \deminutum b \]}
7170 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7174 Climacus Auctus @tab
7175 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7179 Climacus Deminutus @tab
7180 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7185 @code{\[ g \pes a \virga b \]}
7189 Scandicus Auctus Descendens @tab
7190 @code{\[ g \pes a \pes \auctum \descendens b \]}
7194 Scandicus Deminutus @tab
7195 @code{\[ g \pes a \pes \deminutum b \]}
7200 @code{\[ g \oriscus a \pes \virga b \]}
7204 Salicus Auctus Descendens @tab
7205 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7210 @code{\[ \stropha b \stropha b \stropha a \]}
7216 The following head prefixes are supported:
7218 @cindex @code{\virga}
7220 @cindex @code{\stropha}
7222 @cindex @code{\inclinatum}
7224 @cindex @code{\auctum}
7226 @cindex @code{\descendens}
7228 @cindex @code{\ascendens}
7230 @cindex @code{\oriscus}
7232 @cindex @code{\quilisma}
7234 @cindex @code{\deminutum}
7237 Head prefixes can be accumulated, though restrictions apply. For
7238 example, either @code{\descendens} or @code{\ascendens} can be applied
7239 to a head, but not both to the same head.
7242 @cindex @code{\flexa}
7243 Two adjacent heads can be tied together with the @code{\pes} and
7244 @code{\flexa} infix commands for a rising and falling line of melody,
7249 Trigonus: apply equal spacing, regardless of pitch.
7252 @subsection Figured bass
7254 @cindex Basso continuo
7256 @c TODO: musicological blurb about FB
7259 LilyPond has limited support for figured bass:
7261 @lilypond[verbatim,fragment]
7263 \context Voice \notes { \clef bass dis4 c d ais}
7264 \context FiguredBass
7266 < 6 >4 < 7 >8 < 6+ [_!] >
7272 The support for figured bass consists of two parts: there is an input
7273 mode, introduced by @code{\figures}, where you can enter bass figures
7274 as numbers, and there is a context called @internalsref{FiguredBass} that
7275 takes care of making @internalsref{BassFigure} objects.
7277 In figures input mode, a group of bass figures is delimited by
7278 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7283 \context FiguredBass
7287 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7294 \context FiguredBass
7295 \figures { <4- 6+ 7!> }
7298 Spaces or dashes may be inserted by using @code{_}. Brackets are
7299 introduced with @code{[} and @code{]}:
7305 \context FiguredBass
7306 \figures { < [4 6] 8 [_! 12]> }
7309 Although the support for figured bass may superficially resemble chord
7310 support, it works much simpler. The @code{\figures} mode simply
7311 stores the numbers , and @internalsref{FiguredBass} context prints
7312 them as entered. There is no conversion to pitches, and no
7313 realizations of the bass are played in the MIDI file.
7315 Internally, the code produces markup texts. You can use any of the
7316 markup text properties to override formatting. For example, the
7317 vertical spacing of the figures may be set with @code{baseline-skip}.
7321 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7322 and @internalsref{FiguredBass} context.
7326 Slash notation for alterations is not supported.
7329 @node Vaticana style contexts
7330 @subsection Vaticana style contexts
7332 @cindex VaticanaVoiceContext
7333 @cindex VaticanaStaffContext
7335 The predefined @code{VaticanaVoiceContext} and
7336 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7337 Gregorian Chant in the style of the Editio Vaticana. These contexts
7338 initialize all relevant context properties and grob properties to
7339 proper values. With these contexts, you can immediately go ahead
7340 entering the chant, as the following short excerpt demonstrates:
7342 @lilypond[raggedright,verbatim,noindent]
7343 \include "gregorian-init.ly"
7346 \context VaticanaVoice = "cantus" {
7347 \override Score.BarNumber #'transparent = ##t
7349 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7350 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7351 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7354 \lyricsto "cantus" \new Lyrics \lyrics {
7355 San- ctus, San- ctus, San- ctus
7362 @node Contemporary notation
7363 @section Contemporary notation
7365 In the 20th century, composers have greatly expanded the musical
7366 vocabulary. With this expansion, many innovations in musical notation
7367 have been tried. The book by Stone (1980) gives a comprehensive
7368 overview (see @ref{Literature list}). In general, the use of new,
7369 innovative notation makes a piece harder to understand and perform and
7370 its use should therefore be avoided if possible. For this reason,
7371 support for contemporary notation in LilyPond is limited.
7380 @subsection Clusters
7384 A cluster indicates a continuous range of pitches to be played. They
7385 can be denoted as the envelope of a set of notes. They are entered by
7386 applying the function @code{notes-to-clusters} to a sequence of
7389 @lilypond[relative=1,verbatim]
7390 \apply #notes-to-clusters { <c e > <b f'> }
7393 The following example (from
7394 @inputfileref{input/regression,cluster.ly}) shows what the result
7397 @lilypondfile[]{cluster.ly}
7399 By default, @internalsref{Cluster_spanner_engraver} is in the
7400 @internalsref{Voice} context. This allows putting ordinary notes and
7401 clusters together in the same staff, even simultaneously. In such a
7402 case no attempt is made to automatically avoid collisions between
7403 ordinary notes and clusters.
7407 Internals: @internalsref{ClusterSpanner},
7408 @internalsref{ClusterSpannerBeacon},
7409 @internalsref{Cluster_spanner_engraver}, and
7410 @internalsref{ClusterNoteEvent}.
7412 Examples: @inputfileref{input/regression,cluster.ly}.
7416 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7417 accurately. Use @code{<g a>8 <e a>8} instead.
7422 @subsection Fermatas
7428 Contemporary music notation frequently uses special fermata symbols to
7429 indicate fermatas of differing lengths.
7433 The following are supported
7435 @lilypond[raggedright]
7437 << \addlyrics \notes {
7457 \context Lyrics \lyrics {
7458 "shortfermata" "fermata" "longfermata" "verylongfermata"
7463 See @ref{Articulations} for general instructions how to apply scripts
7464 such as fermatas to a @code{\notes@{@}} block.
7467 @node Special notation
7468 @section Special notation
7472 * Easy Notation note heads::
7476 @subsection Balloon help
7478 Elements of notation can be marked and named with the help of a square
7479 balloon. The primary purpose of this feature is to explain notation.
7481 The following example demonstrates its use.
7483 @lilypond[verbatim,fragment,raggedright,relative=1]
7486 #(add-balloon-text 'NoteHead "heads, or tails?"
7492 The function @code{add-balloon-text} takes the name of a grob, the
7493 label to print and where to put the label relative to the object. In
7494 the above example, the text ``heads or tails?'' ends 3 spaces below
7498 @cindex notation, explaining
7502 Internals: @internalsref{text-balloon-interface}.
7504 Examples: @inputfileref{input/regression,balloon.ly}.
7506 @node Easy Notation note heads
7507 @subsection Easy Notation note heads
7509 @cindex easy notation
7512 The `easy play' note head includes a note name inside the head. It is
7513 used in music aimed at beginners:
7515 @lilypond[raggedright,verbatim,staffsize=26]
7517 \notes { c'2 e'4 f' | g'1 }
7518 \paper { \context { \EasyNotation } }
7522 The @code{EasyNotation} variable overrides a @internalsref{Score} @c
7523 context. To make the letters readable, it has to be printed in a
7524 large font size. To print with a larger font, see @ref{Font Size}.
7529 If you view the result with Xdvi, then staff lines may show through
7530 the letters. Printing the PostScript file obtained does produce the
7538 Entered music can also be converted to MIDI output. The performance
7539 is good enough for proof-hearing the music for errors.
7541 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7542 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7543 marks translate to a fixed fraction of the available MIDI volume
7544 range, crescendi and decrescendi make the volume vary linearly between
7545 their two extremities. The fractions can be adjusted by
7546 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7547 For each type of MIDI instrument, a volume range can be defined. This
7548 gives a basic equalizer control, which can enhance the quality of
7549 the MIDI output remarkably. The equalizer can be controlled by
7550 setting @code{instrumentEqualizer}.
7554 Many musically interesting effects, such as swing, articulation,
7555 slurring, etc., are not translated to MIDI.
7557 The MIDI output allocates a channel for each Staff, and one for global
7558 settings. Hence, the MIDI file should not have more than 15 staves
7559 (or 14 if you do not use drums).
7564 * MIDI instrument names::
7569 @subsection MIDI block
7573 The MIDI block is analogous to the paper block, but it is somewhat
7574 simpler. The @code{\midi} block can contain:
7578 @item a @code{\tempo} definition, and
7579 @item context definitions.
7582 Assignments in the @code{\midi} block are not allowed.
7584 A number followed by a period is interpreted as a real number, so
7585 for setting the tempo for dotted notes, an extra space should be
7586 inserted, for example:
7589 \midi @{ \tempo 4 . = 120 @}
7593 @cindex context definition
7595 Context definitions follow precisely the same syntax as within the
7596 \paper block. Translation modules for sound are called performers.
7597 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7600 @node MIDI instrument names
7601 @subsection MIDI instrument names
7603 @cindex instrument names
7604 @cindex @code{Staff.midiInstrument}
7606 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7607 property. The instrument name should be chosen from the list in
7608 @ref{MIDI instruments}.
7612 If the selected string does not exactly match, then the default is
7613 used, which is the Grand Piano.