1 @c -*- coding: latin-1; mode: texinfo; -*-
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 who are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
32 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements like notes, rests, and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
66 A note is printed by specifying its pitch and then its duration,
68 @lilypond[quote,verbatim,raggedright]
69 { cis'4 d'8 e'16 c'16 }
77 @cindex Note specification
79 @cindex entering notes
81 The most common syntax for pitch entry is used for standard notes and
82 @code{\chordmode} modes. In these modes, pitches may be designated by
83 names. The notes are specified by the letters @code{a} through
84 @code{g}. The octave is formed with notes ranging from @code{c}
85 to @code{b}. The pitch @code{c} is an octave below middle C and the
86 letters span the octave above that C
88 @lilypond[quote,fragment,verbatim]
90 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
93 @cindex note names, Dutch
95 A sharp is formed by adding @code{-is} to the end of a pitch name and
96 a flat is formed by adding @code{-es}. Double sharps and double flats
97 are obtained by adding @code{-isis} or @code{-eses}. These
98 names are the Dutch note names. In Dutch, @code{aes} is contracted to
99 @code{as}, but both forms are accepted. Similarly, both
100 @code{es} and @code{ees} are accepted
102 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
110 In accordance with standard typsetting rules, a natural sign is printed
111 before a sharp or flat if a previous accidental needs to be
112 cancelled. To change this behaviour, use
113 @code{\set Staff.extraNatural = ##f}
115 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
117 \set Staff.extraNatural = ##f
121 There are predefined sets of note names for various other languages.
122 To use them, include the language specific init file. For
123 example: @code{\include "english.ly"}. The available language files
124 and the note names they define are
129 Note Names sharp flat
130 nederlands.ly c d e f g a bes b -is -es
131 english.ly c d e f g a bf b -s/-sharp -f/-flat
133 deutsch.ly c d e f g a b h -is -es
134 norsk.ly c d e f g a b h -iss/-is -ess/-es
135 svenska.ly c d e f g a b h -iss -ess
136 italiano.ly do re mi fa sol la sib si -d -b
137 catalan.ly do re mi fa sol la sib si -d/-s -b
138 espanol.ly do re mi fa sol la sib si -s -b
146 The optional octave specification takes the form of a series of
147 single quote (`@code{'}') characters or a series of comma
148 (`@code{,}') characters. Each @code{'} raises the pitch by one
149 octave; each @code{,} lowers the pitch by an octave
151 @lilypond[quote,raggedright,fragment,verbatim]
152 c' c'' es' g' as' gisis' ais'
155 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
157 Notes can be hidden and unhidden with the following commands
159 @cindex @code{\hideNotes}
161 @cindex @code{\unHideNotes}
167 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
171 @node Chromatic alterations
172 @subsection Chromatic alterations
174 Normally accidentals are printed automatically, but you may also
175 print them manually. A reminder accidental
176 @cindex reminder accidental
178 can be forced by adding an exclamation mark @code{!}
179 after the pitch. A cautionary accidental
180 @cindex cautionary accidental
181 @cindex parenthesized accidental
182 (i.e., an accidental within parentheses) can be obtained by adding the
183 question mark `@code{?}' after the pitch.
185 @lilypond[quote,raggedright,fragment,verbatim]
186 cis' cis' cis'! cis'?
192 The automatic production of accidentals can be tuned in many
193 ways. For more information, refer to @ref{Automatic accidentals}.
198 @subsection Micro tones
200 Half-flats and half-sharps are formed by adding @code{-eh} and
201 @code{-ih}; the following is a series of Cs with increasing pitches
203 @cindex quarter tones
204 @cindex semi-flats, semi-sharps
206 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
207 { ceseh ceh cih cisih }
210 Micro tones are also exported to the MIDI file
215 There are no generally accepted standards for denoting three quarter
216 flats, so LilyPond's symbol does not conform to any standard.
221 A chord is formed by a enclosing a set of pitches in @code{<} and
222 @code{>}. A chord may be followed by a duration, and a set of
223 articulations, just like simple notes
225 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
237 Rests are entered like notes, with the note name @code{r}
239 @lilypond[fragment,quote,raggedright,verbatim]
243 Whole bar rests, centered in middle of the bar,
244 must be done with multi-measure rests. They are discussed in
245 @ref{Multi measure rests}.
248 A rest's vertical position may be explicitly specified by entering a
249 note with the @code{\rest} keyword appended, the rest will be placed at
250 the note's place. This makes manual formatting in polyphonic music
251 easier. Automatic rest collision formatting will leave these rests
254 @lilypond[fragment,quote,raggedright,verbatim]
260 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
267 @cindex Invisible rest
272 An invisible rest (also called a `skip') can be entered like a note
273 with note name `@code{s}' or with @code{\skip @var{duration}}
275 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
276 a4 a4 s4 a4 \skip 1 a4
279 The @code{s} syntax is only available in note mode and chord mode. In
280 other situations, for example, when entering lyrics, you should use
281 the @code{\skip} command
283 @lilypond[quote,raggedright,verbatim]
286 \new Lyrics \lyricmode { \skip 2 bla1 }
290 The skip command is merely an empty musical placeholder. It does not
291 produce any output, not even transparent output.
293 The @code{s} skip command does create @internalsref{Staff} and
294 @internalsref{Voice} when necessary, similar to note and rest
295 commands. For example, the following results in an empty staff.
297 @lilypond[quote,raggedright,verbatim]
301 The fragment @code{@{ \skip 4 @} } would produce an empty page.
305 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
310 @subsection Durations
314 @cindex @code{\longa}
315 @cindex @code{\breve}
316 @cindex @code{\maxima}
319 In Note, Chord, and Lyrics mode, durations are designated by numbers and
320 dots: durations are entered as their reciprocal values. For example, a
321 quarter note is entered using a @code{4} (since it is a 1/4 note), while
322 a half note is entered using a @code{2} (since it is a 1/2 note). For
323 notes longer than a whole you must use the variables @code{\longa} and
328 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
330 r1 r2 r4 r8 r16 r32 r64 r64
336 a\breve*1/2 \autoBeamOff
337 a1 a2 a4 a8 a16 a32 a64 a64
340 r\longa*1/4 r\breve *1/2
341 r1 r2 r4 r8 r16 r32 r64 r64
347 \remove "Clef_engraver"
348 \override StaffSymbol #'transparent = ##t
349 \override TimeSignature #'transparent = ##t
350 \override BarLine #'transparent = ##t
351 \consists "Pitch_squash_engraver"
357 If the duration is omitted then it is set to the previously entered
358 duration. The default for the first note is a quarter note.
360 @lilypond[quote,raggedright,verbatim,fragment]
361 { a a a2 a a4 a a1 a }
366 @node Augmentation dots
367 @subsection Augmentation dots
370 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
371 the number. Double-dotted notes are produced in a similar way.
373 @lilypond[quote,raggedright,fragment,verbatim]
374 a'4 b' c''4. b'8 a'4. b'4.. c''8.
379 Dots are normally moved up to avoid staff lines, except in polyphonic
380 situations. The following commands may be used to force a particular
383 @cindex @code{\dotsUp}
385 @cindex @code{\dotsDown}
387 @cindex @code{\dotsNeutral}
392 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
394 @node Scaling durations
395 @subsection Scaling durations
397 You can alter the length of duration by a fraction @var{N/M}
398 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
399 will not affect the appearance of the notes or rests produced.
401 In the following example, the first three notes take up exactly two
402 beats, but no triplet bracket is printed.
403 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
405 a4*2/3 gis4*2/3 a4*2/3
413 This manual: @ref{Tuplets}
416 @c TODO: I'm not certain that Stems belong here in the manual. -gp
420 Whenever a note is found, a @internalsref{Stem} object is created
421 automatically. For whole notes and rests, they are also created but
426 @cindex @code{\stemUp}
428 @cindex @code{\stemDown}
430 @cindex @code{\stemNeutral}
441 A tie connects two adjacent note heads of the same pitch. The tie in
442 effect extends the length of a note. Ties should not be confused with
443 slurs, which indicate articulation, or phrasing slurs, which indicate
444 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
446 @lilypond[quote,raggedright,fragment,verbatim]
447 e' ~ e' <c' e' g'> ~ <c' e' g'>
450 When a tie is applied to a chord, all note heads whose pitches match
451 are connected. When no note heads match, no ties will be created.
453 A tie is just a way of extending a note duration, similar to the
454 augmentation dot. The following example shows two ways of notating
455 exactly the same concept
457 @lilypond[quote,fragment,raggedright]
458 \time 3/4 c'2. c'2 ~ c'4
462 Ties are used either when the note crosses a bar line, or when dots
463 cannot be used to denote the rhythm. When using ties, larger note
464 values should be aligned to subdivisions of the measure, eg.
466 @lilypond[fragment,quote,raggedright]
468 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
472 If you need to tie a lot of notes over bars, it may be easier to use
473 automatic note splitting (see @ref{Automatic note splitting}). This
474 mechanism automatically splits long notes, and ties them across bar
480 @cindex @code{\tieUp}
482 @cindex @code{\tieDown}
484 @cindex @code{\tieNeutral}
486 @cindex @code{\tieDotted}
488 @cindex @code{\tieSolid}
493 In this manual: @ref{Automatic note splitting}.
495 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
500 Switching staves when a tie is active will not produce a slanted tie.
502 Formatting of ties is a difficult subject. The results are often not
510 @cindex @code{\times}
512 Tuplets are made out of a music expression by multiplying all durations
515 @cindex @code{\times}
517 \times @var{fraction} @var{musicexpr}
521 The duration of @var{musicexpr} will be multiplied by the fraction.
522 The fraction's denominator will be printed over the notes, optionally
523 with a bracket. The most common tuplet is the triplet in which 3
524 notes have the length of 2, so the notes are 2/3 of their written
527 @lilypond[quote,raggedright,fragment,verbatim]
528 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
531 The property @code{tupletSpannerDuration} specifies how long each
532 bracket should last. With this, you can make lots of tuplets while
533 typing @code{\times} only once, thus saving lots of typing. In the next
534 example, there are two triplets shown, while @code{\times} was only
537 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
538 \set tupletSpannerDuration = #(ly:make-moment 1 4)
539 \times 2/3 { c'8 c c c c c }
542 The format of the number is determined by the property
543 @code{tupletNumberFormatFunction}. The default prints only the
544 denominator, but if it is set to the Scheme function
545 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
549 @cindex @code{tupletNumberFormatFunction}
550 @cindex tuplet formatting
555 @cindex @code{\tupletUp}
557 @cindex @code{\tupletDown}
559 @cindex @code{\tupletNeutral}
560 @code{\tupletNeutral}.
564 User manual: @ref{Changing context properties on the fly} for the
568 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
570 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
574 Nested tuplets are not formatted automatically. In this case, outer
575 tuplet brackets should be moved manually, which is demonstrated in
576 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
580 @node Easier music entry
581 @section Easier music entry
584 This section deals with tricks and features of the input language that
585 were added solely to help entering music and finding and correcting
586 mistakes. There are also external tools that make debugging easier.
587 See @ref{Point and click} for more information.
589 It is also possible to enter and edit music using other programs, such as
590 GUI interfaces or MIDI sequencers. Refer to the LilyPond
591 website for more information.
598 * Skipping corrected music::
599 * Automatic note splitting::
605 @node Relative octaves
606 @subsection Relative octaves
608 @cindex relative octave specification
610 Octaves are specified by adding @code{'} and @code{,} to pitch names.
611 When you copy existing music, it is easy to accidentally put a pitch
612 in the wrong octave and hard to find such an error. The relative
613 octave mode prevents these errors by making the mistakes much
614 larger: a single error puts the rest of the piece off by one octave
616 @cindex @code{\relative}
618 \relative @var{startpitch} @var{musicexpr}
625 \relative @var{musicexpr}
628 The octave of notes that appear in @var{musicexpr} are calculated as
629 follows: if no octave changing marks are used, the basic interval
630 between this and the last note is always taken to be a fourth or
631 less. This distance is determined without regarding alterations; a
632 @code{fisis} following a @code{ceses} will be put above the
633 @code{ceses}. In other words, a doubly-augmented fourth is considered
634 a smaller interval than a diminshed fifth, even though the fourth is
635 seven semitones while the fifth is only six semitones.
637 The octave changing marks @code{'} and @code{,} can be added to raise
638 or lower the pitch by an extra octave. Upon entering relative mode,
639 an absolute starting pitch can be specified that will act as the
640 predecessor of the first note of @var{musicexpr}. If no starting pitch
641 is specified, then middle C is used as a start.
643 Here is the relative mode shown in action
644 @lilypond[quote,fragment,raggedright,verbatim]
650 Octave changing marks are used for intervals greater than a fourth
651 @lilypond[quote,raggedright,fragment,verbatim]
657 If the preceding item is a chord, the first note of the chord is used
658 to determine the first note of the next chord
660 @lilypond[quote,raggedright,fragment,verbatim]
668 The pitch after the @code{\relative} contains a note name.
671 The relative conversion will not affect @code{\transpose},
672 @code{\chordmode} or @code{\relative} sections in its argument. To use
673 relative within transposed music, an additional @code{\relative} must
674 be placed inside @code{\transpose}.
677 @subsection Octave check
680 Octave checks make octave errors easier to correct: a note may be
681 followed by @code{=}@var{quotes} which indicates what its absolute
682 octave should be. In the following example,
684 \relative c'' @{ c='' b=' d,='' @}
688 @c take care with @code, adds confusing quotes.
689 the @code{d} will generate a warning, because a @code{d''} is expected
690 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
691 found. In the output, the octave is corrected to be a @code{d''} and
692 the next note is calculated relative to @code{d''} instead of @code{d'}.
696 There is also a syntax that is separate from the notes. The syntax
702 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
703 quotes) in \relative mode. If not, a warning is printed, and the
706 In the example below, the first check passes without incident, since
707 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
708 the second check produces a warning, since the @code{e} is not within
709 a fifth of @code{b'}. The warning message is printed, and the octave
710 is adjusted so that the following notes are in the correct octave
722 The octave of a note following an octave check is determined with
723 respect to the note preceding it. In the next fragment, the last note
724 is a @code{a'}, above middle C. That means that the @code{\octave}
725 check passes successfully, so the check could be deleted without changing
726 the output of the piece.
728 @lilypond[quote,raggedright,verbatim,fragment]
737 @subsection Bar check
741 @cindex @code{barCheckSynchronize}
744 Bar checks help detect errors in the durations. A bar check is
745 entered using the bar symbol, `@code{|}'. Whenever it is encountered
746 during interpretation, it should fall on a measure boundary. If it
747 does not, a warning is printed. In the next example, the second bar
748 check will signal an error
750 \time 3/4 c2 e4 | g2 |
753 Bar checks can also be used in lyrics, for example
758 Twin -- kle | Twin -- kle
763 @cindex @code{skipTypesetting}
765 Failed bar checks are caused by entering incorrect
766 durations. Incorrect durations often completely garble up the score,
767 especially if the score is polyphonic, so a good place to start correcting
768 input is by scanning for failed bar checks and incorrect durations. To
769 speed up this process, the @code{skipTypesetting} feature may be
770 used. It is described in the next section.
773 @cindex @code{pipeSymbol}
775 It is also possible to redefine the meaning of @code{|}. This is done
776 by assigning a music expression to @code{pipeSymbol},
778 @lilypond[quote,raggedright,verbatim]
779 pipeSymbol = \bar "||"
785 @node Skipping corrected music
786 @subsection Skipping corrected music
788 The property @code{Score.skipTypesetting} can be used to switch on and
789 off typesetting completely during the interpretation phase. When
790 typesetting is switched off, the music is processed much more
791 quickly. This can be used to skip over the parts of a score that
792 have already been checked for errors
794 @lilypond[quote,fragment,raggedright,verbatim]
797 \set Score.skipTypesetting = ##t
799 \set Score.skipTypesetting = ##f
803 In polyphonic music, @code{Score.skipTypesetting} will affect all
804 voices and staves, saving even more time.
806 @node Automatic note splitting
807 @subsection Automatic note splitting
809 Long notes can be converted automatically to tied notes. This is done
810 by replacing the @internalsref{Note_heads_engraver} by the
811 @internalsref{Completion_heads_engraver}.
812 In the following examples, notes crossing the bar line are split and tied.
815 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
817 \remove "Note_heads_engraver"
818 \consists "Completion_heads_engraver"
820 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
824 This engraver splits all running notes at the bar line, and inserts
825 ties. One of its uses is to debug complex scores: if the measures are
826 not entirely filled, then the ties exactly show how much each measure
831 Not all durations (especially those containing tuplets) can be
832 represented exactly with normal notes and dots, but the engraver will
837 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
841 Program reference: @internalsref{Completion_heads_engraver}.
845 @section Staff notation
847 This section describes music notation that occurs on staff level,
848 such as key signatures, clefs and time signatures.
850 @cindex Staff notation
861 * Time administration::
862 * Controlling formatting of prefatory matter::
866 @subsection Staff symbol
868 @cindex adjusting staff symbol
870 Notes, dynamic signs, etc., are grouped
871 with a set of horizontal lines, into a staff (plural `staves'). In our
872 system, these lines are drawn using a separate layout object called
876 @cindex staff lines, setting number of
877 @cindex staff lines, setting thickness of
878 @cindex thickness of staff lines, setting
879 @cindex number of staff lines, setting
883 Program reference: @internalsref{StaffSymbol}.
885 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
886 @inputfileref{input/@/test,staff@/-size@/.ly}.
890 If a staff is ended halfway a piece, the staff symbol may not end
891 exactly on the bar line.
895 @subsection Key signature
896 @cindex Key signature
900 The key signature indicates the tonality in which a piece is played. It
901 is denoted by a set of alterations (flats or sharps) at the start of the
905 Setting or changing the key signature is done with the @code{\key}
908 @code{\key} @var{pitch} @var{type}
911 @cindex @code{\minor}
912 @cindex @code{\major}
913 @cindex @code{\minor}
914 @cindex @code{\ionian}
915 @cindex @code{\locrian}
916 @cindex @code{\aeolian}
917 @cindex @code{\mixolydian}
918 @cindex @code{\lydian}
919 @cindex @code{\phrygian}
920 @cindex @code{\dorian}
922 Here, @var{type} should be @code{\major} or @code{\minor} to get
923 @var{pitch}-major or @var{pitch}-minor, respectively.
924 The standard mode names @code{\ionian},
925 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
926 @code{\phrygian}, and @code{\dorian} are also defined.
928 This command sets the context property
929 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
930 can be specified by setting this property directly.
932 A natural sign is printed to cancel any previous accidentals. This
933 can be suppressed by setting the @code{Staff.printKeyCancellation}
936 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
942 \set Staff.printKeyCancellation = ##f
950 Accidentals and key signatures often confuse new users, because
951 unaltered notes get natural signs depending on the key signature. For
952 more information, see @ref{More about pitches}.
956 Program reference: @internalsref{KeyChangeEvent},
957 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
959 @cindex @code{keySignature}
966 The clef indicates which lines of the staff correspond to which
970 The clef can be set with the @code{\clef} command
971 @lilypond[quote,raggedright,fragment,verbatim]
972 { c''2 \clef alto g'2 }
975 Supported clef-names include
976 @c Moved standard clefs to the top /MB
980 @item treble, violin, G, G2
993 G clef on 1st line, so-called French violin clef
998 @cindex mezzosoprano clef
1001 @cindex baritone clef
1004 @cindex varbaritone clef
1007 @cindex subbass clef
1015 By adding @code{_8} or @code{^8} to the clef name, the clef is
1016 transposed one octave down or up, respectively, and @code{_15} and
1017 @code{^15} transposes by two octaves. The argument @var{clefname}
1018 must be enclosed in quotes when it contains underscores or digits. For
1022 @cindex choral tenor clef
1023 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
1027 This command is equivalent to setting @code{clefGlyph},
1028 @code{clefPosition} (which controls the Y position of the clef),
1029 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1030 when any of these properties are changed. The following example shows
1031 possibilities when setting properties manually.
1034 should to be fixed very quickly -gp
1036 @lilypond[quote,raggedright,verbatim]
1038 \set Staff.clefGlyph = #"clefs.F"
1039 \set Staff.clefPosition = #2
1041 \set Staff.clefGlyph = #"clefs.G"
1043 \set Staff.clefGlyph = #"clefs.C"
1045 \set Staff.clefOctavation = #7
1047 \set Staff.clefOctavation = #0
1048 \set Staff.clefPosition = #0
1052 \set Staff.middleCPosition = #4
1061 Program reference: @internalsref{Clef}.
1065 @node Ottava brackets
1066 @subsection Ottava brackets
1068 `Ottava' brackets introduce an extra transposition of an octave for
1069 the staff. They are created by invoking the function
1070 @code{set-octavation}
1076 @lilypond[quote,raggedright,verbatim,fragment]
1086 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1087 (for 15ma) as arguments. Internally the function sets the properties
1088 @code{ottavation} (e.g., to @code{"8va"}) and
1089 @code{centralCPosition}. For overriding the text of the bracket, set
1090 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1092 @lilypond[quote,raggedright,verbatim]
1095 \set Staff.ottavation = #"8"
1102 Program reference: @internalsref{OttavaBracket}.
1104 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1105 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1109 @code{set-octavation} will get confused when clef changes happen
1110 during an octavation bracket.
1115 @node Time signature
1116 @subsection Time signature
1117 @cindex Time signature
1119 @cindex @code{\time}
1121 Time signature indicates the metrum of a piece: a regular pattern of
1122 strong and weak beats. It is denoted by a fraction at the start of the
1126 The time signature is set or changed by the @code{\time}
1128 @lilypond[quote,raggedright,fragment,verbatim]
1129 \time 2/4 c'2 \time 3/4 c'2.
1132 The symbol that is printed can be customized with the @code{style}
1133 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1136 @lilypond[fragment,quote,raggedright,verbatim]
1139 \override Staff.TimeSignature #'style = #'()
1146 There are many more options for its layout. See @ref{Ancient time
1147 signatures} for more examples.
1150 This command sets the property @code{timeSignatureFraction},
1151 @code{beatLength} and @code{measureLength} in the @code{Timing}
1152 context, which is normally aliased to @internalsref{Score}. The
1153 property @code{measureLength} determines where bar lines should be
1154 inserted, and how automatic beams should be generated. Changing the
1155 value of @code{timeSignatureFraction} also causes the symbol to be
1158 More options are available through the Scheme function
1159 @code{set-time-signature}. In combination with the
1160 @internalsref{Measure_grouping_engraver}, it will create
1161 @internalsref{MeasureGrouping} signs. Such signs ease reading
1162 rhythmically complex modern music. In the following example, the 9/8
1163 measure is subdivided in 2, 2, 2 and 3. This is passed to
1164 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1166 @lilypond[quote,raggedright,verbatim]
1169 #(set-time-signature 9 8 '(2 2 2 3))
1170 g8[ g] d[ d] g[ g] a8[( bes g]) |
1171 #(set-time-signature 5 8 '(3 2))
1177 \consists "Measure_grouping_engraver"
1185 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1190 Automatic beaming does not use the measure grouping specified with
1191 @code{set-time-signature}.
1193 @node Partial measures
1194 @subsection Partial measures
1197 @cindex partial measure
1198 @cindex measure, partial
1199 @cindex shorten measures
1200 @cindex @code{\partial}
1202 Partial measures, for example in upsteps, are entered using the
1203 @code{\partial} command
1204 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1205 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1208 The syntax for this command is
1210 \partial @var{duration}
1212 This is internally translated into
1214 \set Timing.measurePosition = -@var{length of duration}
1217 The property @code{measurePosition} contains a rational number
1218 indicating how much of the measure has passed at this point.
1222 This command does not take into account grace notes at the start of
1223 the music. When a piece starts with graces notes in the pickup, then
1224 the @code{\partial} should follow the grace notes
1226 @lilypond[verbatim,quote,raggedright,relative,fragment]
1236 @node Unmetered music
1237 @subsection Unmetered music
1241 Bar lines and bar numbers are calculated automatically. For unmetered
1242 music (cadenzas, for example), this is not desirable. By setting
1243 @code{Score.timing} to false, this automatic timing can be switched
1244 off. Empty bar lines,
1251 indicate where line breaks can occur.
1255 @cindex @code{\cadenzaOn}
1257 @cindex @code{\cadenzaOff}
1264 @subsection Bar lines
1268 @cindex measure lines
1272 Bar lines delimit measures, but are also used to indicate repeats.
1273 Normally, they are inserted automatically. Line breaks may only
1274 happen on bar lines.
1276 Special types of bar lines can be forced with the @code{\bar} command
1278 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1282 The following bar types are available
1283 @lilypondfile[raggedright,quote]{bar-lines.ly}
1285 For allowing line breaks, there is a special command,
1289 This will insert an invisible bar line, and allow line breaks at this
1292 In scores with many staves, a @code{\bar} command in one staff is
1293 automatically applied to all staves. The resulting bar lines are
1294 connected between different staves of a @internalsref{StaffGroup}
1296 @lilypond[quote,raggedright,fragment,verbatim]
1298 \context StaffGroup <<
1304 \new Staff { \clef bass c4 g e g }
1306 \new Staff { \clef bass c2 c2 }
1311 The command @code{\bar }@var{bartype} is a short cut for doing
1312 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1313 is set to a string, a bar line of that type is created.
1315 A bar line is created whenever the @code{whichBar} property is set.
1316 At the start of a measure it is set to the contents of
1317 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1318 to override default measure bars.
1320 @cindex @code{whichBar}
1321 @cindex @code{repeatCommands}
1322 @cindex @code{defaultBarType}
1324 You are encouraged to use @code{\repeat} for repetitions. See
1331 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1334 Program reference: @internalsref{BarLine} (created at
1335 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1337 @cindex bar lines at start of system
1338 @cindex start of system
1342 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1345 @node Time administration
1346 @subsection Time administration
1348 Time is administered by the @internalsref{Time_signature_engraver},
1349 which usually lives in the @internalsref{Score} context.
1350 The bookkeeping deals with the following variables
1353 @item currentBarNumber
1357 The length of the measures in the current time signature. For a 4/4
1358 time this is@tie{}1, and for 6/8 it is 3/4.
1360 @item measurePosition
1361 The point within the measure where we currently are. This quantity
1362 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1363 happens, @code{currentBarNumber} is incremented.
1366 If set to true, the above variables are updated for every time
1367 step. When set to false, the engraver stays in the current measure
1371 Timing can be changed by setting any of these variables explicitly.
1372 In the next example, the 4/4 time signature is printed, but
1373 @code{measureLength} is set to 5/4. After a while, the measure is
1374 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1375 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1376 3/8 arises because 5/4 normally has 10/8, but we have manually
1377 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1379 @lilypond[quote,raggedright,verbatim,relative,fragment]
1380 \set Score.measureLength = #(ly:make-moment 5 4)
1384 \set Score.measurePosition = #(ly:make-moment 7 8)
1390 @node Controlling formatting of prefatory matter
1391 @subsection Controlling formatting of prefatory matter
1393 @c This section will be moved to somewhere else soon. -gp
1394 This example demonstrates how to place prefatory matter
1395 (such as the clef and key signature) at the end of a line.
1397 @lilypond[quote,verbatim]
1399 \override Staff.Clef
1400 #'break-visibility = #end-of-line-visible
1401 \override Staff.KeySignature
1402 #'break-visibility = #end-of-line-visible
1403 \set Staff.explicitClefVisibility = #end-of-line-visible
1404 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1406 % We want the time sig to take space, otherwise there is not
1407 % enough white at the start of the line.
1409 \override Staff.TimeSignature #'transparent = ##t
1410 \set Score.defaultBarType = #"empty"
1430 Polyphony in music refers to having more than one voice occuring in
1431 a piece of music. Polyphony in LilyPond refers to having more than
1432 one voice on the same staff.
1435 * Writing polyphonic music::
1438 @node Writing polyphonic music
1439 @subsection Writing polyphonic music
1442 The easiest way to enter fragments with more than one voice on a staff
1443 is to split chords using the separator @code{\\}. You can use it for
1444 small, short-lived voices or for single chords
1448 @lilypond[quote,raggedright,verbatim,fragment]
1449 \context Staff \relative c'' {
1450 c4 << { f d e } \\ { b c2 } >>
1451 c4 << g' \\ b, \\ f' \\ d >>
1455 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1456 voices are sometimes called ``layers'' in other notation packages}
1458 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1459 each of these contexts, vertical direction of slurs, stems, etc., is set
1460 appropriately. Specifically,
1463 << \upper \\ \lower >>
1471 \context Voice = "1" @{ \voiceOne \upper @}
1472 \context Voice = "2" @{ \voiceTwo \lower @}
1476 @cindex @code{\voiceOne}
1477 @cindex @code{\voiceFour}
1479 This can also be done by instantiating @internalsref{Voice} contexts
1480 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1481 a stem directions and horizontal shift for each part
1484 @lilypond[quote,raggedright,verbatim]
1487 \new Voice { \voiceOne cis2 b }
1488 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1489 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1493 The command @code{\oneVoice} will revert back to the normal setting.
1494 @cindex @code{\oneVoice}
1496 Defining voices (either with the separator @code{\\} or with
1497 @code{\voiceXXX}) will set the direction of stems, slurs, ties,
1498 articulations, text annotations, augmentation dots of dotted
1499 notes, and fingerings. @code{\voiceOne} makes these objects
1500 point upwards, while @code{\voiceTwo} makes them point down.
1502 Normally, note heads with a different number of dots are not merged, but
1503 when the object property @code{merge-differently-dotted} is set in
1504 the @internalsref{NoteCollision} object, they are merged
1505 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1508 \override Staff.NoteCollision
1509 #'merge-differently-dotted = ##t
1511 } \\ { g8.[ f16] g8.[ f16] } >>
1514 Similarly, you can merge half note heads with eighth notes, by setting
1515 @code{merge-differently-headed}
1516 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1519 \override Staff.NoteCollision
1520 #'merge-differently-headed = ##t
1521 c8 c4. } \\ { c2 c2 } >>
1524 LilyPond also vertically shifts rests that are opposite of a stem,
1527 @lilypond[quote,raggedright,fragment,verbatim]
1528 \context Voice << c''4 \\ r4 >>
1536 @cindex @code{\oneVoice}
1538 @cindex @code{\voiceOne}
1540 @cindex @code{\voiceTwo}
1542 @cindex @code{\voiceThree}
1544 @cindex @code{\voiceFour}
1549 @cindex @code{\shiftOn}
1551 @cindex @code{\shiftOnn}
1553 @cindex @code{\shiftOnnn}
1555 @cindex @code{\shiftOff}
1556 @code{\shiftOff}: these commands specify in what chords of the current
1557 voice should be shifted. The outer voices (normally: voice one and
1558 two) have @code{\shiftOff}, while the inner voices (three and four)
1559 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1560 further shift levels.
1563 When LilyPond cannot cope, the @code{force-hshift}
1564 property of the @internalsref{NoteColumn} object and pitched rests can
1565 be used to override typesetting decisions.
1567 @lilypond[quote,verbatim,raggedright]
1574 \once \override NoteColumn #'force-hshift = #1.7
1583 Program reference: the objects responsible for resolving collisions are
1584 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1587 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1588 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1589 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1590 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1591 @inputfileref{input/@/regression,collisions@/.ly}.
1597 When using @code{merge-differently-headed} with an upstem eighth or a
1598 shorter note, and a downstem half note, the eighth note gets the wrong
1601 There is no support for clusters where the same note occurs with
1602 different accidentals in the same chord. In this case, it is
1603 recommended to use enharmonic transcription, or to use special cluster
1604 notation (see @ref{Clusters}).
1609 Beams are used to group short notes into chunks that are aligned with
1610 the metrum. LilyPond normally inserts beams automatically, but if you
1611 wish you may control them manually or changed how beams are automatically
1614 @cindex Automatic beams
1618 * Setting automatic beam behavior::
1622 @node Automatic beams
1623 @subsection Automatic beams
1625 LilyPond inserts beams automatically
1627 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1628 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1631 When these automatic decisions are not good enough, beaming can be
1632 entered explicitly. It is also possible to define beaming patterns
1633 that differ from the defaults.
1635 Individual notes may be marked with @code{\noBeam}, to prevent them
1638 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1639 \time 2/4 c8 c\noBeam c c
1645 Program reference: @internalsref{Beam}.
1649 @subsection Manual beams
1650 @cindex beams, manual
1654 In some cases it may be necessary to override the automatic beaming
1655 algorithm. For example, the autobeamer will not put beams over rests
1656 or bar lines. Such beams are specified manually by marking the begin
1657 and end point with @code{[} and @code{]}
1659 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1661 r4 r8[ g' a r8] r8 g[ | a] r8
1665 @cindex @code{stemLeftBeamCount}
1667 Normally, beaming patterns within a beam are determined automatically.
1668 If necessary, the properties @code{stemLeftBeamCount} and
1669 @code{stemRightBeamCount} can be used to override the defaults. If
1670 either property is set, its value will be used only once, and then it
1673 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1678 \set stemLeftBeamCount = #1
1682 @cindex @code{stemRightBeamCount}
1685 The property @code{subdivideBeams} can be set in order to subdivide
1686 all 16th or shorter beams at beat positions, as defined by the
1687 @code{beatLength} property.
1690 @lilypond[fragment,quote,relative=2,verbatim]
1692 \set subdivideBeams = ##t
1694 \set Score.beatLength = #(ly:make-moment 1 8)
1697 @cindex @code{subdivideBeams}
1699 Normally, line breaks are forbidden when beams cross bar lines. This
1700 behavior can be changed by setting @code{allowBeamBreak}.
1702 @cindex @code{allowBeamBreak}
1703 @cindex beams and line breaks
1705 @cindex beams, kneed
1707 @cindex auto-knee-gap
1712 User manual: @ref{Changing context properties on the fly} for the
1718 @cindex Frenched staves
1719 Kneed beams are inserted automatically, when a large gap is detected
1720 between the note heads. This behavior can be tuned through the object.
1723 Automatically kneed cross-staff beams cannot be used together with
1724 hidden staves. See @ref{Hiding staves}.
1726 Beams do not avoid collisions with symbols around the notes, such as
1727 texts and accidentals.
1732 @node Setting automatic beam behavior
1733 @subsection Setting automatic beam behavior
1735 @cindex @code{autoBeamSettings}
1736 @cindex @code{(end * * * *)}
1737 @cindex @code{(begin * * * *)}
1738 @cindex automatic beams, tuning
1739 @cindex tuning automatic beaming
1741 @c [TODO: use \applycontext]
1743 In normal time signatures, automatic beams can start on any note but can
1744 only end in a few positions within the measure: beams can end on a beat,
1745 or at durations specified by the properties in
1746 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1747 are defined in @file{scm/@/auto@/-beam@/.scm}.
1749 The value of @code{autoBeamSettings} is changed with three functions,
1751 #(override-auto-beam-setting
1752 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1754 #(score-override-auto-beam-setting
1755 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
1756 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
1759 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1760 @var{context} is an optional context (default: @code{'Voice}). It
1761 determines whether the rule applies to begin or end-points. The
1762 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1763 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1764 to a time signature (wildcards `@code{* *}' may be entered to
1765 designate all time signatures), @var{a}/@var{b} is a duration. By
1766 default, this command changes settings for the current voice. It is
1767 also possible to adjust settings at higher contexts, by adding a
1768 @var{context} argument. @code{score-override-auto-beam-setting} is
1769 equal to @code{override-auto-beam-setting} with the argument
1770 @var{context} set to @code{'Score}.
1772 For example, if automatic beams should end on every quarter note, use
1775 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1777 Since the duration of a quarter note is 1/4 of a whole note, it is
1778 entered as @code{(ly:make-moment 1 4)}.
1780 The same syntax can be used to specify beam starting points. In this
1781 example, automatic beams can only end on a dotted quarter note
1783 #(override-auto-beam-setting '(end * * * *) 3 8)
1785 In 4/4 time signature, this means that automatic beams could end only on
1786 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1787 3/8, has passed within the measure).
1789 Rules can also be restricted to specific time signatures. A rule that
1790 should only be applied in @var{N}/@var{M} time signature is formed by
1791 replacing the second asterisks by @var{N} and @var{M}. For example, a
1792 rule for 6/8 time exclusively looks like
1794 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1797 If a rule should be to applied only to certain types of beams, use the
1798 first pair of asterisks. Beams are classified according to the
1799 shortest note they contain. For a beam ending rule that only applies
1800 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1803 @cindex automatic beam generation
1805 @cindex @code{autoBeaming}
1808 If beams are used to indicate melismata in songs, then automatic
1809 beaming should be switched off. This is done by setting
1810 @code{autoBeaming} to @code{#f}.
1814 @cindex @code{\autoBeamOff}
1815 @code{\autoBeamOff},
1816 @cindex @code{\autoBeamOn}
1822 If a score ends while an automatic beam has not been ended and is
1823 still accepting notes, this last beam will not be typeset at all. The
1824 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1825 >>}. If a polyphonic voice ends while an automatic beam is still
1826 accepting notes, it is not typeset.
1828 The rules for ending a beam depend on the shortest note in a beam.
1829 So, while it is possible to have different ending rules for eight
1830 beams and sixteenth beams, a beam that contains both eight and
1831 sixteenth notes will use the rules for the sixteenth beam.
1833 In the example below, the autobeamer makes eighth beams and sixteenth
1834 end at three eighths. The third beam can only be corrected by
1835 specifying manual beaming.
1837 @lilypond[quote,raggedright,fragment,relative=1]
1838 #(override-auto-beam-setting '(end * * * *) 3 8)
1839 % rather show case where it goes wrong
1840 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1841 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1843 It is not possible to specify beaming parameters that act differently in
1844 different parts of a measure. This means that it is not possible to use
1845 automatic beaming in irregular meters such as @code{5/8}.
1847 @node Beam formatting
1848 @subsection Beam formatting
1851 When a beam falls in the middle of the staff, the beams point normally
1852 down. However, this behaviour can be altered with the
1853 @code{neutral-direction} property.
1856 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1859 \override Beam #'neutral-direction = #-1
1861 \override Beam #'neutral-direction = #1
1868 @section Accidentals
1870 This section describes how to change the way that accidentals are
1871 inserted automatically before notes.
1874 * Automatic accidentals::
1877 @node Automatic accidentals
1878 @subsection Automatic accidentals
1879 @cindex Automatic accidentals
1881 Common rules for typesetting accidentals have been placed in a
1882 function. This function is called as follows
1884 @cindex @code{set-accidental-style}
1886 #(set-accidental-style 'STYLE #('CONTEXT#))
1889 The function can take two arguments: the name of the accidental style,
1890 and an optional argument that denotes the context that should be
1891 changed. If no context name is supplied, @code{Staff} is the default,
1892 but you may wish to apply the accidental style to a single @code{Voice}
1895 The following accidental styles are supported
1898 This is the default typesetting behavior. It corresponds
1899 to 18th century common practice: Accidentals are
1900 remembered to the end of the measure in which they occur and
1901 only on their own octave.
1904 The normal behavior is to remember the accidentals on
1905 Staff-level. This variable, however, typesets accidentals
1906 individually for each voice. Apart from that, the rule is similar to
1909 As a result, accidentals from one voice do not get canceled in other
1910 voices, which is often an unwanted result
1912 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1914 #(set-accidental-style 'voice)
1921 The @code{voice} option should be used if the voices
1922 are to be read solely by individual musicians. If the staff is to be
1923 used by one musician (e.g., a conductor) then
1924 @code{modern} or @code{modern-cautionary}
1925 should be used instead.
1928 @cindex @code{modern} style accidentals
1929 This rule corresponds to the common practice in the 20th century. This rule
1930 prints the same accidentals as @code{default}, but temporary
1931 accidentals also are canceled in other octaves. Furthermore,
1932 in the same octave, they also get canceled in the following
1935 @lilypond[quote,raggedright,fragment,verbatim]
1936 #(set-accidental-style 'modern)
1937 cis' c'' cis'2 | c'' c'
1940 @item @code{modern-cautionary}
1941 @cindex @code{modern-cautionary}
1942 This rule is similar to @code{modern}, but the ``extra'' accidentals
1943 (the ones not typeset by @code{default}) are typeset as cautionary
1944 accidentals. They are printed in reduced size or with parentheses
1945 @lilypond[quote,raggedright,fragment,verbatim]
1946 #(set-accidental-style 'modern-cautionary)
1947 cis' c'' cis'2 | c'' c'
1950 @cindex @code{modern-voice}
1952 This rule is used for multivoice accidentals to be read both by musicians
1953 playing one voice and musicians playing all voices. Accidentals are
1954 typeset for each voice, but they @emph{are} canceled across voices in
1955 the same @internalsref{Staff}.
1957 @cindex @code{modern-voice-cautionary}
1958 @item modern-voice-cautionary
1959 This rule is the same as @code{modern-voice}, but with the extra
1960 accidentals (the ones not typeset by @code{voice}) typeset
1961 as cautionaries. Even though all accidentals typeset by
1962 @code{default} @emph{are} typeset by this variable,
1963 some of them are typeset as cautionaries.
1966 @cindex @code{piano} accidentals
1967 This rule reflects 20th century practice for piano notation. Very similar to
1968 @code{modern} but accidentals also get canceled
1969 across the staves in the same @internalsref{GrandStaff} or
1970 @internalsref{PianoStaff}.
1972 @item piano-cautionary
1973 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1974 Same as @code{#(set-accidental-style 'piano)} but with the extra
1975 accidentals typeset as cautionaries.
1978 @cindex @code{no-reset} accidental style
1979 This is the same as @code{default} but with accidentals lasting
1980 ``forever'' and not only until the next measure
1981 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1982 #(set-accidental-style 'no-reset)
1987 This is sort of the opposite of @code{no-reset}: Accidentals
1988 are not remembered at all---and hence all accidentals are
1989 typeset relative to the key signature, regardless of what was
1992 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1993 #(set-accidental-style 'forget)
1994 \key d\major c4 c cis cis d d dis dis
2001 Program reference: @internalsref{Accidental_engraver},
2002 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2007 Simultaneous notes are considered to be entered in sequential
2008 mode. This means that in a chord the accidentals are typeset as if the
2009 notes in the chord happened once at a time - in the order in which
2010 they appear in the input file.
2012 This is a problem when accidentals in a chord depend on each other,
2013 which does not happen for the default accidental style. The problem
2014 can be solved by manually inserting @code{!} and @code{?} for the
2018 @node Expressive marks
2019 @section Expressive marks
2022 @c todo: should change ordering
2023 @c where to put text spanners, metronome marks,
2026 Expressive marks help musicians to bring more to the music than simple
2036 * Analysis brackets::
2039 * Fingering instructions::
2049 A slur indicates that notes are to be played bound or @emph{legato}.
2051 They are entered using parentheses
2052 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2053 f( g a) a8 b( a4 g2 f4)
2057 The direction of a slur can be set with the
2061 \override Slur #'direction = #UP
2062 \slurUp % shortcut for the previous line
2066 However, there is a convenient shorthand for forcing slur
2067 directions. By adding @code{_} or @code{^} before the opening
2068 parentheses, the direction is also set. For example,
2070 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2074 Some composers write two slurs when they want legato chords. This can
2075 be achieved in LilyPond by setting @code{doubleSlurs},
2077 @lilypond[verbatim,raggedright,relative,fragment,quote]
2078 \set doubleSlurs = ##t
2079 <c e>4 ( <d f> <c e> <d f> )
2086 @cindex @code{\slurUp}
2088 @cindex @code{\slurDown}
2090 @cindex @code{\slurNeutral}
2091 @code{\slurNeutral},
2092 @cindex @code{\slurDashed}
2094 @cindex @code{\slurDotted}
2096 @cindex @code{\slurSolid}
2101 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2104 @node Phrasing slurs
2105 @subsection Phrasing slurs
2107 @cindex phrasing slurs
2108 @cindex phrasing marks
2110 A phrasing slur (or phrasing mark) connects chords and is used to
2111 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2114 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2115 \time 6/4 c'\( d( e) f( e) d\)
2118 Typographically, the phrasing slur behaves almost exactly like a
2119 normal slur. However, they are treated as different objects. A
2120 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2121 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2122 @code{\phrasingSlurNeutral}.
2124 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2125 will only affect normal slurs and not phrasing slurs.
2129 @cindex @code{\phrasingSlurUp}
2130 @code{\phrasingSlurUp},
2131 @cindex @code{\phrasingSlurDown}
2132 @code{\phrasingSlurDown},
2133 @cindex @code{\phrasingSlurNeutral}
2134 @code{\phrasingSlurNeutral}.
2138 Program reference: see also @internalsref{PhrasingSlur}, and
2139 @internalsref{PhrasingSlurEvent}.
2143 Putting phrasing slurs over rests leads to spurious warnings.
2146 @subsection Breath marks
2148 Breath marks are entered using @code{\breathe}
2151 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2155 The glyph of the breath mark can be tuned by overriding the
2156 @code{text} property of the @code{BreathingSign} layout object with
2157 any markup text. For example,
2158 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2160 \override BreathingSign #'text
2161 = #(make-musicglyph-markup "scripts-rvarcomma")
2168 Program reference: @internalsref{BreathingSign},
2169 @internalsref{BreathingSignEvent}.
2171 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2174 @node Metronome marks
2175 @subsection Metronome marks
2178 @cindex beats per minute
2179 @cindex metronome marking
2181 Metronome settings can be entered as follows
2183 \tempo @var{duration} = @var{per-minute}
2186 In the MIDI output, they are interpreted as a tempo change. In the
2187 layout output, a metronome marking is printed
2188 @cindex @code{\tempo}
2189 @lilypond[quote,raggedright,verbatim,fragment]
2195 Program reference: @internalsref{MetronomeChangeEvent}.
2199 @subsection Text scripts
2200 @cindex Text scripts
2202 @cindex text items, non-empty
2203 @cindex non-empty texts
2205 It is possible to place arbitrary strings of text or markup text (see
2206 @ref{Text markup}) above or below notes by using a string
2207 @code{c^"text"}. By default, these indications do not influence the
2208 note spacing, but by using the command @code{\fatText}, the widths
2209 will be taken into account
2211 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2212 c4^"longtext" \fatText c4_"longlongtext" c4
2215 More complex formatting may also be added to a note by using the
2217 @lilypond[fragment,raggedright,verbatim,quote]
2218 c'4^\markup { bla \bold bla }
2221 The @code{\markup} is described in more detail in
2227 @cindex @code{\fatText}
2229 @cindex @code{\emptyText}
2234 In this manual: @ref{Text markup}.
2236 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2240 @subsection Text spanners
2241 @cindex Text spanners
2243 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
2244 are written as text and are extended over many measures with dotted
2245 lines. Such texts are created using text spanners; attach
2246 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2247 notes of the spanner.
2249 The string to be printed, as well as the style, is set through object
2252 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2254 \override TextSpanner #'direction = #-1
2255 \override TextSpanner #'edge-text = #'("rall " . "")
2256 c2\startTextSpan b c\stopTextSpan a
2262 Internals @internalsref{TextSpanEvent},
2263 @internalsref{TextSpanner}.
2265 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
2268 @node Analysis brackets
2269 @subsection Analysis brackets
2271 @cindex phrasing brackets
2272 @cindex musicological analysis
2273 @cindex note grouping bracket
2275 Brackets are used in musical analysis to indicate structure in musical
2276 pieces. LilyPond supports a simple form of nested horizontal
2277 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2278 to @internalsref{Staff} context. A bracket is started with
2279 @code{\startGroup} and closed with @code{\stopGroup}
2281 @lilypond[quote,raggedright,verbatim]
2284 c4\startGroup\startGroup
2287 c4\stopGroup\stopGroup
2291 \Staff \consists "Horizontal_bracket_engraver"
2297 Program reference: @internalsref{HorizontalBracket},
2298 @internalsref{NoteGroupingEvent}.
2300 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2304 @subsection Articulations
2305 @cindex Articulations
2307 @cindex articulations
2311 A variety of symbols can appear above and below notes to indicate
2312 different characteristics of the performance. They are added to a note
2313 by adding a dash and the character signifying the
2314 articulation. They are demonstrated here
2316 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2318 The meanings of these shorthands can be changed. See
2319 @file{ly/@/script@/-init@/.ly} for examples.
2322 The script is automatically placed, but the direction can be forced as
2323 well. Like other pieces of LilyPond code, @code{_} will place them
2324 below the staff, and @code{^} will place them above.
2327 @lilypond[quote,raggedright,fragment,verbatim]
2331 Other symbols can be added using the syntax
2332 @var{note}@code{\}@var{name}. Again, they
2333 can be forced up or down using @code{^} and @code{_},
2336 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2337 c\fermata c^\fermata c_\fermata
2344 @cindex staccatissimo
2354 @cindex organ pedal marks
2363 @cindex prallmordent
2367 @cindex thumb marking
2372 Here is a chart showing all scripts available,
2374 @lilypondfile[raggedright,quote]{script-chart.ly}
2377 The vertical ordering of scripts is controlled with the
2378 @code{script-priority} property. The lower this number, the closer it
2379 will be put to the note. In this example, the
2380 @internalsref{TextScript} (the sharp symbol) first has the lowest
2381 priority, so it is put lowest in the first example. In the second, the
2382 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2383 inside. When two objects have the same priority, the order in which
2384 they are entered decides which one comes first.
2387 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2388 \once \override TextScript #'script-priority = #-100
2389 a4^\prall^\markup { \sharp }
2391 \once \override Script #'script-priority = #-100
2392 a4^\prall^\markup { \sharp }
2400 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2404 These signs appear in the printed output but have no effect on the
2405 MIDI rendering of the music.
2409 @node Running trills
2410 @subsection Running trills
2412 Long running trills are made with @code{\startTrillSpan} and
2413 @code{\stopTrillSpan},
2416 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2418 << { c1 \startTrillSpan }
2419 { s2. \grace { d16[\stopTrillSpan e] } } >>
2425 @code{\startTrillSpan},
2426 @cindex @code{\startTrillSpan}
2427 @code{\stopTrillSpan}.
2428 @cindex @code{\stopTrillSpan}
2432 Program reference: @internalsref{TrillSpanner},
2433 @internalsref{TrillSpanEvent}.
2435 @node Fingering instructions
2436 @subsection Fingering instructions
2440 Fingering instructions can be entered using
2442 @var{note}-@var{digit}
2444 For finger changes, use markup texts
2446 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2448 c^\markup { \finger "2-3" }
2451 @cindex finger change
2456 You can use the thumb-script to indicate that a note should be
2457 played with the thumb (e.g., in cello music)
2458 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2459 <a_\thumb a'-3>8 <b_\thumb b'-3>
2462 Fingerings for chords can also be added to individual notes
2463 of the chord by adding them after the pitches
2464 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2465 < c-1 e-2 g-3 b-5 >4
2469 In this case, setting @code{fingeringOrientations} will put fingerings next
2472 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2473 \set fingeringOrientations = #'(left down)
2474 <c-1 es-2 g-4 bes-5 > 4
2475 \set fingeringOrientations = #'(up right down)
2476 <c-1 es-2 g-4 bes-5 > 4
2479 Using this feature, it is also possible to put fingering instructions
2480 very close to note heads in monophonic music,
2482 @lilypond[verbatim,raggedright,quote,fragment]
2483 \set fingeringOrientations = #'(right)
2490 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2492 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2498 @subsection Grace notes
2501 @c should have blurb about accaciatura / appogiatura
2503 @cindex @code{\grace}
2507 Grace notes are ornaments that are written out. The most common ones
2508 are acciaccatura, which should be played as very short. It is denoted
2509 by a slurred small note with a slashed stem. The appoggiatura is a
2510 grace note that takes a fixed fraction of the main note, and is
2511 denoted as a slurred note in small print without a slash. They
2512 are entered with the commands @code{\acciaccatura} and
2513 @code{\appoggiatura}, as demonstrated in the following example
2516 @cindex appoggiatura
2517 @cindex acciaccatura
2519 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2520 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2521 \acciaccatura { g16[ f] } e4
2524 Both are special forms of the @code{\grace} command. By prefixing this
2525 keyword to a music expression, a new one is formed, which will be
2526 printed in a smaller font and takes up no logical time in a measure.
2528 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2530 \grace { c16[ d16] } c2 c4
2534 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2535 @code{\grace} command does not start a slur.
2537 Internally, timing for grace notes is done using a second, `grace'
2538 timing. Every point in time consists of two rational numbers: one
2539 denotes the logical time, one denotes the grace timing. The above
2540 example is shown here with timing tuples
2542 @lilypond[quote,raggedright]
2545 c4 \grace c16 c4 \grace {
2548 \new Lyrics \lyricmode {
2549 \override LyricText #'font-family = #'typewriter
2553 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2554 \markup { (\fraction 1 4 , 0 ) } 4
2556 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2557 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2559 \markup { ( \fraction 2 4 , 0 ) }
2565 The placement of grace notes is synchronized between different staves.
2566 In the following example, there are two sixteenth grace notes for
2567 every eighth grace note
2569 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2570 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2571 \new Staff { c4 \grace { g8[ b] } c4 } >>
2576 If you want to end a note with a grace, use the @code{\afterGrace}
2577 command. It takes two arguments: the main note, and the grace notes
2578 following the main note.
2580 @lilypond[raggedright, verbatim,relative=2,fragment]
2581 c1 \afterGrace d1 { c16[ d] } c4
2584 This will put the grace notes after a ``space'' lasting 3/4 of the
2585 length of the main note. The fraction 3/4 can be changed by setting
2586 @code{afterGraceFraction}, ie.
2589 afterGraceFraction = #(cons 7 8)
2593 will put the grace note at 7/8 of the main note.
2596 The same effect can be achieved manually by doing
2599 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2602 { s2 \grace { c16[ d] } } >>
2608 By adjusting the duration of the skip note (here it is a half-note),
2609 the space between the main-note and the grace is adjusted.
2614 A @code{\grace} section will introduce special typesetting settings,
2615 for example, to produce smaller type, and set directions. Hence, when
2616 introducing layout tweaks, they should be inside the grace section,
2618 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2630 The overrides should also be reverted inside the grace section.
2632 The layout of grace sections can be changed throughout the music using
2633 the function @code{add-grace-property}. The following example
2634 undefines the Stem direction for this grace, so stems do not always
2639 #(add-grace-property 'Voice 'Stem 'direction '())
2645 Another option is to change the variables @code{startGraceMusic},
2646 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2647 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2648 @code{stopAppoggiaturaMusic}. More information is in the file
2649 @file{ly/@/grace@/-init@/.ly}.
2654 Program reference: @internalsref{GraceMusic}.
2658 A score that starts with a @code{\grace} section needs an explicit
2659 @code{\context Voice} declaration, otherwise the main note and the grace
2660 note end up on different staves.
2662 Grace note synchronization can also lead to surprises. Staff notation,
2663 such as key signatures, bar lines, etc., are also synchronized. Take
2664 care when you mix staves with grace notes and staves without, for example,
2666 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2667 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2668 \new Staff { c4 \bar "|:" d4 } >>
2672 This can be remedied by inserting grace skips, for the above example
2675 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2678 Grace sections should only be used within sequential music
2679 expressions. Nesting or juxtaposing grace sections is not supported,
2680 and might produce crashes or other errors.
2684 @subsection Glissando
2687 @cindex @code{\glissando}
2689 A glissando is a smooth change in pitch. It is denoted by a line or a
2690 wavy line between two notes. It is requested by attaching
2691 @code{\glissando} to a note
2693 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2699 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2701 Example files: @file{input/@/regression/@/glissando@/.ly}.
2707 Printing text over the line (such as @emph{gliss.}) is not supported.
2711 @subsection Dynamics
2724 @cindex @code{\ffff}
2734 Absolute dynamic marks are specified using a command after a note
2735 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2736 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2737 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2738 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2740 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2741 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2742 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2751 A crescendo mark is started with @code{\<} and terminated with
2752 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2753 with @code{\!}. Because these marks are bound to notes, you must
2754 use spacer notes if multiple marks are needed during one note
2756 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2758 << f1 { s4 s4\< s4\! \> s4\! } >>
2760 This may give rise to very short hairpins. Use @code{minimum-length}
2761 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2765 \override Staff.Hairpin #'minimum-length = #5
2768 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2769 is an example how to do it
2771 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2785 You can also supply your own texts
2786 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2787 \set crescendoText = \markup { \italic "cresc. poco" }
2788 \set crescendoSpanner = #'dashed-line
2794 To create new dynamic marks or text that should be aligned
2795 with dynamics, see @ref{New dynamic marks}.
2800 @cindex @code{\dynamicUp}
2802 @cindex @code{\dynamicDown}
2803 @code{\dynamicDown},
2804 @cindex @code{\dynamicNeutral}
2805 @code{\dynamicNeutral}.
2807 @cindex direction, of dynamics
2811 Program reference: @internalsref{CrescendoEvent},
2812 @internalsref{DecrescendoEvent}, and
2813 @internalsref{AbsoluteDynamicEvent}.
2815 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2816 objects. Vertical positioning of these symbols is handled by the
2817 @internalsref{DynamicLineSpanner} object.
2823 Repetition is a central concept in music, and multiple notations exist
2829 * Repeats and MIDI::
2830 * Manual repeat commands::
2832 * Tremolo subdivisions::
2837 @subsection Repeat types
2840 @cindex @code{\repeat}
2842 The following types of repetition are supported
2846 Repeated music is fully written (played) out. This is useful when
2847 entering repetitious music. This is the only kind of repeat that
2848 is included in MIDI output.
2851 Repeats are not written out, but alternative endings (volte) are
2852 printed, left to right with brackets. This is the standard notation
2853 for repeats with alternatives. These are not played in MIDI output by default.
2857 Alternative endings are written stacked. This has limited use but may be
2858 used to typeset two lines of lyrics in songs with repeats, see
2859 @inputfileref{input,star-spangled-banner@/.ly}.
2864 Make tremolo beams. These are not played in MIDI output by default.
2867 Make beat or measure repeats. These look like percent signs. These
2868 are not played in MIDI output by default. Percent repeats must be
2869 declared within a Voice context.
2874 @subsection Repeat syntax
2877 LilyPond has one syntactic construct for specifying different types of
2878 repeats. The syntax is
2881 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2884 If you have alternative endings, you may add
2885 @cindex @code{\alternative}
2887 \alternative @{ @var{alternative1}
2889 @var{alternative3} @dots{} @}
2891 where each @var{alternative} is a music expression. If you do not
2892 give enough alternatives for all of the repeats, the first alternative
2893 is assumed to be played more than once.
2895 Standard repeats are used like this
2896 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2898 \repeat volta 2 { c4 d e f }
2899 \repeat volta 2 { f e d c }
2902 With alternative endings
2903 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2905 \repeat volta 2 {c4 d e f}
2906 \alternative { {d2 d} {f f,} }
2910 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2913 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2914 \alternative { { g4 g g } { a | a a a a | b2. } }
2918 It is possible to shorten volta brackets
2919 by setting @code{voltaSpannerDuration}. In the next example, the
2920 bracket only lasts one measure, which is a duration of 3/4.
2924 @lilypond[verbatim,raggedright,quote]
2928 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2929 \repeat "volta" 5 { d d d }
2930 \alternative { { e e e f f f }
2940 Brackets for the repeat are normally only printed over the topmost
2941 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2942 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2945 @c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
2950 A nested repeat like
2959 is ambiguous, since it is is not clear to which @code{\repeat} the
2960 @code{\alternative} belongs. This ambiguity is resolved by always
2961 having the @code{\alternative} belong to the inner @code{\repeat}.
2962 For clarity, it is advisable to use braces in such situations.
2967 Timing information is not remembered at the start of an alternative,
2968 so after a repeat timing information must be reset by hand, for
2969 example by setting @code{Score.measurePosition} or entering
2970 @code{\partial}. Similarly, slurs or ties are also not repeated.
2975 @node Repeats and MIDI
2976 @subsection Repeats and MIDI
2978 @cindex expanding repeats
2980 With a little bit of tweaking, all types of repeats can be present
2981 in the MIDI output. This is achieved by applying the
2982 @code{\unfoldrepeats} music function. This functions changes all
2983 repeats to unfold repeats.
2985 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2987 \repeat tremolo 8 {c'32 e' }
2988 \repeat percent 2 { c''8 d'' }
2989 \repeat volta 2 {c'4 d' e' f'}
2998 When creating a score file using @code{\unfoldrepeats} for midi, then
2999 it is necessary to make two @code{\score} blocks. One for MIDI (with
3000 unfolded repeats) and one for notation (with volta, tremolo, and
3001 percent repeats). For example,
3009 \unfoldrepeats @var{..music..}
3014 @node Manual repeat commands
3015 @subsection Manual repeat commands
3017 @cindex @code{repeatCommands}
3019 The property @code{repeatCommands} can be used to control the layout of
3020 repeats. Its value is a Scheme list of repeat commands.
3023 @item @code{start-repeat}
3024 Print a @code{|:} bar line.
3026 @item @code{end-repeat}
3027 Print a @code{:|} bar line.
3029 @item @code{(volta @var{text})}
3030 Print a volta bracket saying @var{text}: The text can be specified as
3031 a text string or as a markup text, see @ref{Text markup}. Do not
3032 forget to change the font, as the default number font does not contain
3033 alphabetic characters;
3035 @item @code{(volta #f)}
3036 Stop a running volta bracket.
3039 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
3041 \set Score.repeatCommands = #'((volta "93") end-repeat)
3043 \set Score.repeatCommands = #'((volta #f))
3051 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
3052 @internalsref{VoltaRepeatedMusic},
3053 @internalsref{UnfoldedRepeatedMusic}, and
3054 @internalsref{FoldedRepeatedMusic}.
3056 @node Tremolo repeats
3057 @subsection Tremolo repeats
3058 @cindex tremolo beams
3060 To place tremolo marks between notes, use @code{\repeat} with tremolo
3062 @lilypond[quote,verbatim,raggedright]
3063 \new Voice \relative c' {
3064 \repeat "tremolo" 8 { c16 d16 }
3065 \repeat "tremolo" 4 { c16 d16 }
3066 \repeat "tremolo" 2 { c16 d16 }
3070 Tremolo marks can also be put on a single note. In this case, the
3071 note should not be surrounded by braces.
3072 @lilypond[quote,verbatim,raggedright]
3073 \repeat "tremolo" 4 c'16
3076 Similar output is obtained using the tremolo subdivision, described in
3077 @ref{Tremolo subdivisions}.
3081 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3083 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
3084 tremolos are @internalsref{StemTremolo} objects. The music expression is
3085 @internalsref{TremoloEvent}.
3087 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3088 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3090 @node Tremolo subdivisions
3091 @subsection Tremolo subdivisions
3092 @cindex tremolo marks
3093 @cindex @code{tremoloFlags}
3095 Tremolo marks can be printed on a single note by adding
3096 `@code{:}[@var{number}]' after the note. The number indicates the
3097 duration of the subdivision, and it must be at least 8. A
3098 @var{length} value of 8 gives one line across the note stem. If the
3099 length is omitted, the last value (stored in @code{tremoloFlags}) is
3102 @lilypond[quote,raggedright,verbatim,fragment]
3103 c'2:8 c':32 | c': c': |
3106 @c [TODO: stok is te kort bij 32en]
3107 @c somebody want to translate that into English?
3108 @c `Stem is too short for 32nds' (wl)
3112 Tremolos entered in this way do not carry over into the MIDI output.
3116 In this manual: @ref{Tremolo repeats}.
3118 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3120 @node Measure repeats
3121 @subsection Measure repeats
3123 @cindex percent repeats
3124 @cindex measure repeats
3126 In the @code{percent} style, a note pattern can be repeated. It is
3127 printed once, and then the pattern is replaced with a special sign.
3128 Patterns of one and two measures are replaced by percent-like signs,
3129 patterns that divide the measure length are replaced by slashes.
3130 Percent repeats must be declared within a @code{Voice} context.
3132 @lilypond[quote,verbatim,raggedright]
3133 \new Voice \relative c' {
3134 \repeat "percent" 4 { c4 }
3135 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3141 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3142 @internalsref{PercentRepeatedMusic}, and
3143 @internalsref{DoublePercentRepeat}.
3147 @node Rhythmic music
3148 @section Rhythmic music
3150 Rhythmic music is primarily used for percussion and drum notation, but it can
3151 also be used to show the rhythms of melodies.
3154 * Showing melody rhythms::
3155 * Entering percussion::
3156 * Percussion staves::
3160 @node Showing melody rhythms
3161 @subsection Showing melody rhythms
3163 Sometimes you might want to show only the rhythm of a melody. This
3164 can be done with the rhythmic staff. All pitches of notes on such a
3165 staff are squashed, and the staff itself has a single line
3167 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3168 \context RhythmicStaff {
3170 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3176 Program reference: @internalsref{RhythmicStaff}.
3178 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
3181 @node Entering percussion
3182 @subsection Entering percussion
3188 Percussion notes may be entered in @code{\drummode} mode, which is
3189 similar to the standard mode for entering notes. Each piece of
3190 percussion has a full name and an abbreviated name, and both can be used
3193 @lilypond[quote,raggedright,verbatim]
3195 hihat hh bassdrum bd
3199 The complete list of drum names is in the init file
3200 @file{ly/@/drumpitch@/-init@/.ly}.
3201 @c TODO: properly document this.
3205 Program reference: @internalsref{DrumNoteEvent}.
3207 @node Percussion staves
3208 @subsection Percussion staves
3212 A percussion part for more than one instrument typically uses a
3213 multiline staff where each position in the staff refers to one piece
3217 To typeset the music, the notes must be interpreted in a
3218 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3220 @lilypond[quote,raggedright,verbatim]
3221 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3222 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3224 \new DrumVoice { \voiceOne \up }
3225 \new DrumVoice { \voiceTwo \down }
3229 The above example shows verbose polyphonic notation. The short
3230 polyphonic notation, described in @ref{Polyphony}, can also be used if
3231 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3233 @lilypond[quote,raggedright,fragment,verbatim]
3235 \context DrumVoice = "1" { s1 *2 }
3236 \context DrumVoice = "2" { s1 *2 }
3240 { \repeat unfold 16 hh16 }
3249 There are also other layout possibilities. To use these, set the
3250 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3251 The following variables have been predefined
3255 This is the default. It typesets a typical drum kit on a five-line staff
3257 @lilypond[quote,linewidth=10.0\cm]
3259 cymc cyms cymr hh hhc hho hhho hhp
3260 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
3262 cymc cyms cymr hh hhc hho hhho hhp \break
3263 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3265 << \new DrumStaff \with {
3266 \remove Bar_engraver
3267 \remove Time_signature_engraver
3268 \override Stem #'transparent = ##t
3269 \override Stem #'Y-extent-callback = ##f
3270 minimumVerticalExtent = #'(-4.0 . 5.0)
3272 \context Lyrics \nam
3277 \override LyricText #'font-family = #'typewriter
3278 \override BarNumber #'transparent =##T
3284 The drum scheme supports six different toms. When there are fewer toms,
3285 simply select the toms that produce the desired result, i.e., to get toms
3286 on the three middle lines you use @code{tommh}, @code{tomml}, and
3289 @item timbales-style
3290 This typesets timbales on a two line staff
3292 @lilypond[quote,raggedright]
3293 nam = \lyricmode { timh ssh timl ssl cb }
3294 mus = \drummode { timh ssh timl ssl cb s16 }
3297 \context DrumStaff \with {
3298 \remove Bar_engraver
3299 \remove Time_signature_engraver
3300 \override Stem #'transparent = ##t
3301 \override Stem #'Y-extent-callback = ##f
3302 \override StaffSymbol #'line-count = #2
3303 \override StaffSymbol #'staff-space = #2
3304 minimumVerticalExtent = #'(-3.0 . 4.0)
3305 drumStyleTable = #timbales-style
3308 \override LyricText #'font-family = #'typewriter
3315 This typesets congas on a two line staff
3317 @lilypond[quote,raggedright]
3318 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3319 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3322 \context DrumStaff \with {
3323 \remove Bar_engraver
3324 \remove Time_signature_engraver
3325 drumStyleTable = #congas-style
3326 \override StaffSymbol #'line-count = #2
3328 %% this sucks; it will lengthen stems.
3329 \override StaffSymbol #'staff-space = #2
3330 \override Stem #'transparent = ##t
3331 \override Stem #'Y-extent-callback = ##f
3334 \override LyricText #'font-family = #'typewriter
3341 This typesets bongos on a two line staff
3343 @lilypond[quote,raggedright]
3344 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3345 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3348 \context DrumStaff\with {
3349 \remove Bar_engraver
3350 \remove Time_signature_engraver
3351 \override StaffSymbol #'line-count = #2
3352 drumStyleTable = #bongos-style
3354 %% this sucks; it will lengthen stems.
3355 \override StaffSymbol #'staff-space = #2
3356 \override Stem #'transparent = ##t
3357 \override Stem #'Y-extent-callback = ##f
3360 \override LyricText #'font-family = #'typewriter
3366 @item percussion-style
3367 To typeset all kinds of simple percussion on one line staves.
3369 @lilypond[quote,raggedright]
3370 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3371 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3374 \context DrumStaff\with{
3375 \remove Bar_engraver
3376 drumStyleTable = #percussion-style
3377 \override StaffSymbol #'line-count = #1
3378 \remove Time_signature_engraver
3379 \override Stem #'transparent = ##t
3380 \override Stem #'Y-extent-callback = ##f
3383 \override LyricText #'font-family = #'typewriter
3390 If you do not like any of the predefined lists you can define your own
3391 list at the top of your file
3393 @lilypond[quote,raggedright,verbatim]
3395 (bassdrum default #f -1)
3396 (snare default #f 0)
3398 (pedalhihat xcircle "stopped" 2)
3399 (lowtom diamond #f 3)))
3400 up = \drummode { hh8 hh hh hh hhp4 hhp }
3401 down = \drummode { bd4 sn bd toml8 toml }
3404 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
3405 \new DrumVoice { \voiceOne \up }
3406 \new DrumVoice { \voiceTwo \down }
3413 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
3415 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3419 Because general MIDI does not contain rim shots, the sidestick is used
3420 for this purpose instead.
3423 @section Piano music
3425 Piano staves are two normal staves coupled with a brace. The staves
3426 are largely independent, but sometimes voices can cross between the
3427 two staves. The same notation is also used for harps and other key
3428 @c Is this `harp' or `harpsichord'?
3429 instruments. The @internalsref{PianoStaff} is especially built to
3430 handle this cross-staffing behavior. In this section we discuss the
3431 @internalsref{PianoStaff} and some other pianistic peculiarities.
3435 * Automatic staff changes::
3436 * Manual staff switches::
3439 * Staff switch lines::
3440 * Cross staff stems::
3445 Dynamics are not centered, but workarounds do exist. See the
3446 ``piano centered dynamics'' template in @ref{Piano templates}.
3448 @cindex cross staff stem
3449 @cindex stem, cross staff
3450 @cindex distance between staves in piano music
3452 The distance between the two staves is the same for all systems in the
3453 score. It is possible to override this per system, but it does require
3454 an arcane command incantation. See
3455 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
3458 @node Automatic staff changes
3459 @subsection Automatic staff changes
3460 @cindex Automatic staff changes
3462 Voices can be made to switch automatically between the top and the bottom
3463 staff. The syntax for this is
3467 \autochange @dots{}@var{music}@dots{}
3472 This will create two staves inside the current PianoStaff, called
3473 @code{up} and @code{down}. The lower staff will be in bass clef by
3476 A @code{\relative} section that is outside of @code{\autochange} has
3477 no effect on the pitches of @var{music}, so, if necessary, put
3478 @code{\relative} inside @code{\autochange} like
3482 \autochange \relative @dots{} @dots{}
3487 The autochanger switches on basis of the pitch (middle C is the turning
3488 point), and it looks ahead skipping over rests to switch in
3489 advance. Here is a practical example
3491 @lilypond[quote,verbatim,raggedright]
3493 \autochange \relative c'
3502 In this manual: @ref{Manual staff switches}.
3504 Program reference: @internalsref{AutoChangeMusic}.
3510 The staff switches may not end up in optimal places. For high
3511 quality output, staff switches should be specified manually.
3514 @code{\autochange} cannot be inside @code{\times}.
3516 Internally, the @code{\partcombine} interprets both arguments as
3517 @code{Voice}s named @code{one} and @code{two}, and then decides when
3518 the parts can be combined. Consequently, if the arguments switch to
3519 differently named @internalsref{Voice} contexts, the events in those
3523 @node Manual staff switches
3524 @subsection Manual staff switches
3526 @cindex manual staff switches
3527 @cindex staff switch, manual
3529 Voices can be switched between staves manually, using the command
3531 \change Staff = @var{staffname} @var{music}
3535 The string @var{staffname} is the name of the staff. It switches the
3536 current voice from its current staff to the Staff called
3537 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3538 @code{"down"}. The @context{Staff} referred to must already exist, so
3539 usually the setup for a score will start with a setup of the staves,
3543 \context Staff = up @{
3544 \skip 1 * 10 % @emph{keep staff alive}
3546 \context Staff = down @{
3547 \skip 1 * 10 % @emph{idem}
3553 and the @context{Voice} is inserted afterwards
3556 \context Staff = down
3557 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3565 Pianos have pedals that alter the way sound is produced. Generally, a
3566 piano has three pedals, sustain, una corda, and sostenuto.
3569 Piano pedal instruction can be expressed by attaching
3570 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3571 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3574 @lilypond[quote,raggedright,fragment,verbatim]
3575 c'4\sustainDown c'4\sustainUp
3578 What is printed can be modified by setting @code{pedal@var{X}Strings},
3579 where @var{X} is one of the pedal types: @code{Sustain},
3580 @code{Sostenuto} or @code{UnaCorda}. Refer to
3581 @internalsref{SustainPedal} in the program reference for more
3584 Pedals can also be indicated by a sequence of brackets, by setting the
3585 @code{pedalSustainStyle} property to bracket objects
3587 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3588 \set Staff.pedalSustainStyle = #'bracket
3590 b\sustainUp\sustainDown
3591 b g \sustainUp a \sustainDown \bar "|."
3594 A third style of pedal notation is a mixture of text and brackets,
3595 obtained by setting the @code{pedalSustainStyle} property to
3598 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3599 \set Staff.pedalSustainStyle = #'mixed
3601 b\sustainUp\sustainDown
3602 b g \sustainUp a \sustainDown \bar "|."
3605 The default `*Ped.' style for sustain and damper pedals corresponds to
3606 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3609 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3610 c\sostenutoDown d e c, f g a\sostenutoUp
3613 For fine-tuning the appearance of a pedal bracket, the properties
3614 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3615 @code{PianoPedalBracket} objects (see
3616 @internalsref{PianoPedalBracket} in the Program reference) can be
3617 modified. For example, the bracket may be extended to the right edge
3620 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3621 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3622 c\sostenutoDown d e c, f g a\sostenutoUp
3626 @subsection Arpeggio
3629 @cindex broken arpeggio
3630 @cindex @code{\arpeggio}
3632 You can specify an arpeggio sign on a chord by attaching an
3633 @code{\arpeggio} to a chord
3636 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3640 When an arpeggio crosses staves, you attach an arpeggio to the chords
3641 in both staves, and set
3642 @internalsref{PianoStaff}.@code{connectArpeggios}
3644 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3645 \context PianoStaff <<
3646 \set PianoStaff.connectArpeggios = ##t
3647 \new Staff { <c' e g c>\arpeggio }
3648 \new Staff { \clef bass <c,, e g>\arpeggio }
3652 The direction of the arpeggio is sometimes denoted by adding an
3653 arrowhead to the wiggly line
3655 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3664 A square bracket on the left indicates that the player should not
3665 arpeggiate the chord
3667 @c todo: ugh, lousy typography. Look for real example. --hwn
3669 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3676 @cindex @code{\arpeggio}
3678 @cindex @code{\arpeggioUp}
3680 @cindex @code{\arpeggioDown}
3681 @code{\arpeggioDown},
3682 @cindex @code{\arpeggioNeutral}
3683 @code{\arpeggioNeutral},
3684 @cindex @code{\arpeggioBracket}
3685 @code{\arpeggioBracket}.
3689 Program reference: @internalsref{ArpeggioEvent},
3690 @internalsref{Arpeggio}.
3694 It is not possible to mix connected arpeggios and unconnected
3695 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3697 @node Staff switch lines
3698 @subsection Staff switch lines
3701 @cindex follow voice
3702 @cindex staff switching
3705 @cindex @code{followVoice}
3707 Whenever a voice switches to another staff, a line connecting the notes
3708 can be printed automatically. This is switched on by setting
3709 @code{PianoStaff.followVoice} to true
3711 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3712 \context PianoStaff <<
3713 \set PianoStaff.followVoice = ##t
3714 \context Staff \context Voice {
3719 \context Staff=two { \clef bass \skip 1*2 }
3725 Program reference: @internalsref{VoiceFollower}.
3729 @cindex @code{\showStaffSwitch}
3730 @code{\showStaffSwitch},
3731 @cindex @code{\hideStaffSwitch}
3732 @code{\hideStaffSwitch}.
3735 @node Cross staff stems
3736 @subsection Cross staff stems
3738 Chords that cross staves may be produced by increasing the length
3739 of the stem in the lower staff, so it reaches the stem in the upper
3740 staff, or vice versa.
3742 @lilypond[raggedright,verbatim,quote]
3743 stemExtend = \once \override Stem #'length = #22
3744 noFlag = \once \override Stem #'flag-style = #'no-flag
3745 \context PianoStaff <<
3747 \stemDown \stemExtend
3761 @section Vocal music
3763 There are three different issues when printing vocal music
3767 Song texts must be entered as text, not notes. For example, the
3768 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
3772 Song texts must be printed as text, not as notes.
3775 Song texts must be aligned with the notes of their melody.
3778 The simplest solution for printing music uses the @code{\addlyrics}
3779 function to solve all these problems at once. However, these
3780 three functions can be controlled separately, which is necessary
3781 for complex vocal music.
3785 * Setting simple songs::
3787 * Hyphens and extenders::
3788 * The Lyrics context::
3789 * Flexibility in alignment::
3792 * Other vocal issues::
3795 @node Setting simple songs
3796 @subsection Setting simple songs
3798 The easiest way to add lyrics to a melody is to append
3801 \addlyrics @{ @var{the lyrics} @}
3805 to a melody. Here is an example,
3807 @lilypond[raggedright,verbatim,fragment,quote]
3809 \relative { c2 e4 g2. }
3810 \addlyrics { play the game }
3813 More stanzas can be added by adding more
3814 @code{\addlyrics} sections
3816 @lilypond[raggedright,verbatim,fragment,quote]
3818 \relative { c2 e4 g2. }
3819 \addlyrics { play the game }
3820 \addlyrics { speel het spel }
3821 \addlyrics { joue le jeu }
3824 @c TODO - this isn't such a great place for this note, but I can't
3825 @c find a better place without rearranging a lot of lyric stuff.
3826 @c It's yet another thing to look at post-3.0.
3828 The @code{\addlyrics} command is actually just a convienient way
3829 to write a more complicated LilyPond structure that sets up the
3830 lyrics. You should use @code{\addlyrics} unless you need to do
3831 fancy things, in which case you should investigate
3832 @code{\lyricsto} or @code{\lyricmode}.
3836 \addlyrics @{ LYRICS @}
3843 \context Voice = blah @{ music @}
3844 \lyricsto "blah" \new lyrics @{ LYRICS @}
3849 @code{\addlyrics} cannot handle polyphony.
3852 @node Entering lyrics
3853 @subsection Entering lyrics
3857 @cindex @code{\lyricmode}
3860 Lyrics are entered in a special input mode. This mode is introduced
3861 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3862 @code{lyricsto}. In this mode you can enter lyrics,
3863 with punctuation and accents, and the input @code{d} is not parsed as
3864 a pitch, but rather as a one letter syllable. Syllables are entered
3865 like notes, but with pitches replaced by text. For example,
3867 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3871 A word lyrics mode begins with an alphabetic character, and ends with
3872 any space or digit. The following characters can be any character
3873 that is not a digit or white space. One important consequence of this
3874 is that a word can end with @code{@}}. The following example is
3875 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3876 opening brace is not balanced
3878 \lyricmode @{ twinkle@}
3881 @cindex @code{\property}, in @code{\lyricmode}
3883 Similarly, a period which follows an alphabetic sequence is included in
3884 the resulting string. As a consequence, spaces must be inserted around
3887 \override Score . LyricText #'font-shape = #'italic
3891 @cindex spaces, in lyrics
3892 @cindex quotes, in lyrics
3894 Any @code{_} character that appears in an unquoted word is converted
3895 to a space. This provides a mechanism for introducing spaces into words
3896 without using quotes. Quoted words can also be used in Lyrics mode to
3897 specify words that cannot be written with the above rules. The
3898 following example incorporates double quotes
3901 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3904 This example is slightly academic, since it gives better looking
3905 results using single quotes, @code{``} and @code{''}
3907 \lyricmode @{ He said: ``Let my peo ple go'' @}
3911 The full definition of a word start in Lyrics mode is somewhat more
3914 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3915 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3916 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3917 any 8-bit character with ASCII code over 127, or a two-character
3918 combination of a backslash followed by one of @code{`}, @code{'},
3919 @code{"}, or @code{^}.
3925 Program reference: events @internalsref{LyricEvent}, and
3926 @internalsref{LyricText}.
3930 The definition of lyrics mode is too complex.
3932 @node Hyphens and extenders
3933 @subsection Hyphens and extenders
3937 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3938 The hyphen will have variable length depending on the space between
3939 the syllables and it will be centered between the syllables.
3944 When a lyric is sung over many notes (this is called a melisma), this is
3945 indicated with a horizontal line centered between a syllable and the
3946 next one. Such a line is called an extender line, and it is entered as
3950 FIXME: check that this compiles and displays correctly. I don't want
3951 to commit this part blindly.
3953 In tighly engraved music, hyphens can be removed. In some languages
3954 (e.g. German and Hungarian), hyphens should not disappear, since
3955 spelling depends on hyphenation. For that purpose, hyphens can be
3956 forced to remain by overriding @code{minimum-length} of
3957 the @code{LyricHyphen} grob.
3961 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
3968 \lyrics \new Lyrics \with {
3969 % Otherwise lyrics are so far apart that hyphens don't disappear
3970 \override SeparationItem #'padding = #0.0
3971 }{ bla -- bla -- bla -- bla --
3972 bla -- bla -- bla -- bla --
3974 \override LyricHyphen #'minimum-length = #0.7
3975 \override LyricHyphen #'spacing-procedure =
3976 #Hyphen_spanner::set_spacing_rods
3978 bla -- bla -- bla -- bla
3985 \StaffContext \remove "Time_signature_engraver"
3996 Program reference: @internalsref{HyphenEvent},
3997 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3998 @internalsref{LyricExtender}
4002 @node The Lyrics context
4003 @subsection The Lyrics context
4006 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
4008 \context Lyrics \lyricmode @dots{}
4011 @cindex automatic syllable durations
4012 @cindex @code{\lyricsto}
4013 @cindex lyrics and melodies
4015 This will place the lyrics according to the durations that were
4016 entered. The lyrics can also be aligned under a given melody
4017 automatically. In this case, it is no longer necessary to enter the
4018 correct duration for each syllable. This is achieved by combining the
4019 melody and the lyrics with the @code{\lyricsto} expression
4021 \lyricsto @var{name} \new Lyrics @dots{}
4024 This aligns the lyrics to the
4025 notes of the @internalsref{Voice} context called @var{name}, which has
4026 to exist. Therefore, normally the @code{Voice} is specified first, and
4027 then the lyrics are specified with @code{\lyricsto}. The command
4028 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
4029 @code{\lyricmode} keyword may be omitted.
4031 For different or more complex orderings, the best way is to setup the
4032 hierarchy of staves and lyrics first, e.g.,
4034 \context ChoirStaff <<
4035 \context Lyrics = sopranoLyrics @{ s1 @}
4036 \context Voice = soprano @{ @emph{music} @}
4037 \context Lyrics = tenorLyrics @{ s1 @}
4038 \context Voice = tenor @{ @emph{music} @}
4041 and then combine the appropriate melodies and lyric lines
4043 \lyricsto "soprano" \context Lyrics = sopranoLyrics
4048 The final input would resemble
4051 <<\context ChoirStaff << @emph{setup the music} >>
4052 \lyricsto "soprano" @emph{etc}
4053 \lyricsto "alto" @emph{etc}
4059 The @code{\lyricsto} command detects melismata: it only puts one
4060 syllable under a tied or slurred group of notes. If you want to force
4061 an unslurred group of notes to be a melisma, insert @code{\melisma}
4062 after the first note of the group, and @code{\melismaEnd} after the
4065 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
4067 \context Voice = "lala" {
4075 \lyricsto "lala" \new Lyrics {
4081 In addition, notes are considered a melisma if they are manually
4082 beamed, and automatic beaming (see @ref{Setting automatic beam
4083 behavior}) is switched off.
4089 The criteria for deciding melismata can
4090 be tuned with the property @code{melismaBusyProperties}. See
4091 @internalsref{Melisma_translator} in the program reference for more
4096 Lyrics can also be entered without @code{\lyricsto}. In this case the
4097 duration of each syllable must be entered explicitly, for example,
4104 The alignment to a melody can be specified with the
4105 @code{associatedVoice} property,
4108 \set associatedVoice = #"lala"
4112 The value of the property (here: @code{"lala"}) should be the name of
4113 a @internalsref{Voice} context. Without this setting, extender lines
4114 will not be formatted properly.
4116 Here is an example demonstrating manual lyric durations,
4118 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
4119 << \context Voice = melody {
4123 \new Lyrics \lyricmode {
4124 \set associatedVoice = #"melody"
4130 @cindex choral score
4132 A complete example of a SATB score setup is in section
4133 @ref{Vocal ensembles}.
4138 @code{\melisma}, @code{\melismaEnd}
4139 @cindex @code{\melismaEnd}
4140 @cindex @code{\melisma}
4144 Program reference: @internalsref{LyricCombineMusic},
4145 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
4148 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
4149 @c TODO: make separate section for melismata
4151 @c I can't find these examples in 2.0 or 2.2; remove. -gp
4152 @c @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
4153 @c @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
4157 Melismata are not detected automatically, and extender lines must be
4161 @c TODO: document \new Staff << Voice \lyricsto >> bug
4163 @node Flexibility in alignment
4164 @subsection Flexibility in alignment
4167 Often, different stanzas of one song are put to one melody in slightly
4168 differing ways. Such variations can still be captured with
4171 One possibility is that the text has a melisma in one stanza, but
4172 multiple syllables in another one. One solution is to make the faster
4173 voice ignore the melisma. This is done by setting
4174 @code{ignoreMelismata} in the Lyrics context.
4176 There has one tricky aspect. The setting for @code{ignoreMelismata}
4177 must be set one syllable @emph{before} the non-melismatic syllable
4178 in the text, as shown here,
4180 @lilypond[verbatim,raggedright,quote]
4182 \relative \context Voice = "lahlah" {
4183 \set Staff.autoBeaming = ##f
4189 \new Lyrics \lyricsto "lahlah" {
4192 \new Lyrics \lyricsto "lahlah" {
4193 \set ignoreMelismata = ##t % applies to "fas"
4195 \unset ignoreMelismata
4202 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4203 should be entered before ``go''.
4205 The reverse is also possible: making a lyric line slower than the
4206 standard. This can be achieved by insert @code{\skip}s into the
4207 lyrics. For every @code{\skip}, the text will be delayed another note.
4210 @lilypond[verbatim,raggedright,quote]
4211 \relative { c c g' }
4218 More complex variations in text underlay are possible. It is possible
4219 to switch the melody for a line of lyrics during the text. This is
4220 done by setting the @code{associatedVoice} property. In the example
4222 @lilypond[raggedright,quote]
4224 \relative \context Voice = "lahlah" {
4225 \set Staff.autoBeaming = ##f
4228 \context Voice = alternative {
4231 % show associations clearly.
4232 \override NoteColumn #'force-hshift = #-3
4243 \new Lyrics \lyricsto "lahlah" {
4244 Ju -- ras -- sic Park
4246 \new Lyrics \lyricsto "lahlah" {
4247 % Tricky: need to set associatedVoice
4248 % one syllable too soon!
4249 \set associatedVoice = alternative % applies to "ran"
4253 \set associatedVoice = lahlah % applies to "rus"
4259 the text for the first stanza is set to a melody called ``lahlah'',
4262 \new Lyrics \lyricsto "lahlah" @{
4263 Ju -- ras -- sic Park
4268 The second stanza initially is set to the @code{lahlah} context, but
4269 for the syllable ``ran'', it switches to a different melody.
4270 This is achieved with
4272 \set associatedVoice = alternative
4276 Here, @code{alternative} is the name of the @code{Voice} context
4277 containing the triplet.
4279 Again, the command must be one syllable too early, before ``Ty'' in
4283 \new Lyrics \lyricsto "lahlah" @{
4284 \set associatedVoice = alternative % applies to "ran"
4288 \set associatedVoice = lahlah % applies to "rus"
4294 The underlay is switched back to the starting situation by assigning
4295 @code{lahlah} to @code{associatedVoice}.
4301 @subsection More stanzas
4303 @cindex phrasing, in lyrics
4306 @cindex stanza number
4307 @cindex singer's names
4308 @cindex name of singer
4310 Stanza numbers can be added by setting @code{stanza}, e.g.,
4312 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4314 \time 3/4 g2 e4 a2 f4 g2.
4317 Hi, my name is Bert.
4320 Oh, che -- ri, je t'aime
4324 These numbers are put just before the start of first syllable.
4326 Names of singers can also be added. They are printed at the start of
4327 the line, just like instrument names. They are created by setting
4328 @code{vocalName}. A short version may be entered as @code{vocNam}.
4331 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4333 \time 3/4 g2 e4 a2 f4 g2.
4335 \set vocalName = "Bert "
4336 Hi, my name is Bert.
4338 \set vocalName = "Ernie "
4339 Oh, che -- ri, je t'aime
4345 Program reference: Layout objects @internalsref{LyricText} and
4346 @internalsref{VocalName}. Music expressions
4347 @internalsref{LyricEvent}.
4355 The term @emph{ambitus} denotes a range of pitches for a given voice
4356 in a part of music. It may also denote the pitch range that a musical
4357 instrument is capable of playing. Ambits are printed on vocal parts,
4358 so performers can easily determine it meets their capabilities.
4360 Ambits are denoted at the beginning of a piece near the initial clef.
4361 The range is graphically specified by two note heads that represent the
4362 minimum and maximum pitch. To print such ambits, add the
4363 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4370 \consists Ambitus_engraver
4375 This results in the following output
4377 @lilypond[quote,raggedright]
4381 \consists Ambitus_engraver
4385 \relative \new Staff {
4390 If you have multiple voices in a single staff and you want a single
4391 ambitus per staff rather than per each voice, add the
4392 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4393 rather than to the @internalsref{Voice} context. Here is an example,
4395 @lilypond[verbatim,raggedright,quote]
4397 \consists "Ambitus_engraver"
4401 \remove "Ambitus_engraver"
4403 \override Ambitus #'X-offset-callbacks
4404 = #(list (lambda (grob axis) -1.0))
4409 \remove "Ambitus_engraver"
4418 This example uses one advanced feature,
4421 \override Ambitus #'X-offset-callbacks
4422 = #(list (lambda (grob axis) -1.0))
4426 This code moves the ambitus to the left. The same effect could have
4427 been achieved with @code{extra-offset}, but then the formatting system
4428 would not reserve space for the moved object.
4432 Program reference: @internalsref{Ambitus},
4433 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4434 @internalsref{AmbitusAccidental}.
4436 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
4440 There is no collision handling in the case of multiple per-voice
4443 @node Other vocal issues
4444 @subsection Other vocal issue
4447 yeah, I'm giving up somewhat by stuffing a bunch of things in
4448 here. But at least they're in the manual now; it's easier to
4449 move them around in the manual once they're already here.
4451 Besides, if users complain about everything stuffed in here, I
4452 can ask them for specific instructions about where to move these
4453 examples, and that might get them more involved in the docs. -gp
4456 You can display alternate (or divisi) lyrics by naming voice
4457 contexts and attaching lyrics to those specific contexts.
4459 @lilypond[verbatim,raggedright,quote]
4461 \context Voice = "melody" {
4466 \context Voice = splitpart { \voiceTwo c4 }
4471 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
4472 \new Lyrics \lyricsto "splitpart" { shall }
4477 You can use this trick to display different lyrics for a repeated
4480 @lilypond[verbatim,raggedright,quote]
4482 \context Voice = melody \relative c' {
4484 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
4486 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
4489 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
4491 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
4492 dodo rere mimi fafa solsol }
4498 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4499 @section Other instrument specific notation
4501 This section includes extra information for writing string music, and may
4502 include extra information for other instruments in the future.
4508 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4509 @subsection Harmonic notes
4511 @cindex artificial harmonics
4514 Artificial harmonics are notated with a different notehead style. They
4515 are entered by marking the harmonic pitch with @code{\harmonic}.
4517 @lilypond[raggedright,verbatim,quote,fragment]
4522 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4526 @cindex guitar tablature
4528 Tablature notation is used for notating music for plucked string
4529 instruments. Pitches are not denoted with note heads, but by
4530 indicating on which string and fret a note must be played. LilyPond
4531 offers limited support for tablature.
4534 * Tablatures basic::
4535 * Non-guitar tablatures::
4538 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4539 @subsection Tablatures basic
4540 @cindex Tablatures basic
4542 The string number associated to a note is given as a backslash
4543 followed by a number, e.g., @code{c4\3} for a C quarter on the third
4544 string. By default, string 1 is the highest one, and the tuning
4545 defaults to the standard guitar tuning (with 6 strings). The notes
4546 are printed as tablature, by using @internalsref{TabStaff} and
4547 @internalsref{TabVoice} contexts
4549 @lilypond[quote,raggedright,fragment,verbatim]
4556 @cindex @code{minimumFret}
4559 When no string is specified, the first string that does not give a
4560 fret number less than @code{minimumFret} is selected. The default
4561 value for @code{minimumFret} is 0
4566 \set TabStaff.minimumFret = #8
4569 @lilypond[quote,raggedright]
4573 \set TabStaff.minimumFret = #8
4576 \context StaffGroup <<
4577 \context Staff { \clef "G_8" \frag }
4578 \context TabStaff { \frag }
4584 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4585 @internalsref{StringNumberEvent}.
4589 Chords are not handled in a special way, and hence the automatic
4590 string selector may easily select the same string to two notes in a
4594 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4595 @subsection Non-guitar tablatures
4596 @cindex Non-guitar tablatures
4598 You can change the number of strings, by setting the number of lines
4599 in the @internalsref{TabStaff}.
4601 You can change the tuning of the strings. A string tuning is given as
4602 a Scheme list with one integer number for each string, the number
4603 being the pitch (measured in semitones relative to middle C) of an
4604 open string. The numbers specified for @code{stringTuning} are the
4605 numbers of semitones to subtract or add, starting the specified pitch
4606 by default middle C, in string order. In the next example,
4607 @code{stringTunings} is set for the pitches e, a, d, and g
4609 @lilypond[quote,raggedright,fragment,verbatim]
4610 \context TabStaff <<
4611 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4613 a,4 c' a e' e c' a e'
4620 No guitar special effects have been implemented.
4624 Program reference: @internalsref{Tab_note_heads_engraver}.
4627 @node Popular music, Orchestral music, Tablatures, Notation manual
4628 @section Popular music
4630 This section discusses issues that arise when writing popular music.
4635 * Printing chord names::
4640 @node Chord names, Chords mode, Popular music, Popular music
4641 @subsection Chord names
4644 LilyPond has support for printing chord names. Chords may be entered
4645 in musical chord notation, i.e., @code{< .. >}, but they can also be
4646 entered by name. Internally, the chords are represented as a set of
4647 pitches, so they can be transposed
4650 @lilypond[quote,raggedright,verbatim,raggedright]
4651 twoWays = \transpose c c' {
4660 << \context ChordNames \twoWays
4661 \context Voice \twoWays >>
4664 This example also shows that the chord printing routines do not try to
4665 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4668 @c this menu isn't needed.
4672 * Printing chord names::
4677 @subsection Chords mode
4680 In chord mode sets of pitches (chords) are entered with normal note
4681 names. A chord is entered by the root, which is entered like a
4684 @lilypond[quote,raggedright,fragment,verbatim]
4685 \chordmode { es4. d8 c2 }
4689 The mode is introduced by the keyword @code{\chordmode}.
4694 Other chords may be entered by suffixing a colon and introducing a
4695 modifier (which may include a number if desired)
4696 @lilypond[quote,fragment,verbatim]
4697 \chordmode { e1:m e1:7 e1:m7 }
4699 The first number following the root is taken to be the `type' of the
4700 chord, thirds are added to the root until it reaches the specified
4702 @lilypond[quote,fragment,verbatim]
4703 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4706 @cindex root of chord
4707 @cindex additions, in chords
4708 @cindex removals, in chords
4710 More complex chords may also be constructed adding separate steps
4711 to a chord. Additions are added after the number following
4712 the colon and are separated by dots
4713 @lilypond[quote,verbatim,fragment]
4714 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4716 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4718 @lilypond[quote,verbatim,fragment]
4719 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4721 Removals are specified similarly and are introduced by a caret. They
4722 must come after the additions
4723 @lilypond[quote,verbatim,fragment]
4724 \chordmode { c^3 c:7^5 c:9^3.5 }
4727 Modifiers can be used to change pitches. The following modifiers are
4732 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4735 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
4739 The augmented chord. This modifier raises the 5th step.
4742 The major 7th chord. This modifier raises the 7th step if present.
4745 The suspended 4th or 2nd. This modifier removes the 3rd
4746 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4750 Modifiers can be mixed with additions
4751 @lilypond[quote,verbatim,fragment]
4752 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4755 @cindex modifiers, in chords.
4762 Since an unaltered 11 does not sound good when combined with an
4763 unaltered 3, the 11 is removed in this case (unless it is added
4765 @lilypond[quote,raggedright,fragment,verbatim]
4766 \chordmode { c:13 c:13.11 c:m13 }
4771 An inversion (putting one pitch of the chord on the bottom), as well
4772 as bass notes, can be specified by appending
4773 @code{/}@var{pitch} to the chord
4774 @lilypond[quote,raggedright,fragment,verbatim]
4775 \chordmode { c1 c/g c/f }
4779 A bass note can be added instead transposed out of the chord,
4780 by using @code{/+}@var{pitch}.
4782 @lilypond[quote,raggedright,fragment,verbatim]
4783 \chordmode { c1 c/+g c/+f }
4786 Chords is a mode similar to @code{\lyricmode}, etc. Most
4787 of the commands continue to work, for example, @code{r} and
4788 @code{\skip} can be used to insert rests and spaces, and property
4789 commands may be used to change various settings.
4795 Each step can only be present in a chord once. The following
4796 simply produces the augmented chord, since @code{5+} is interpreted
4799 @lilypond[quote,raggedright,verbatim,fragment]
4800 \chordmode { c:5.5-.5+ }
4804 @node Printing chord names
4805 @subsection Printing chord names
4807 @cindex printing chord names
4811 For displaying printed chord names, use the @internalsref{ChordNames} context.
4812 The chords may be entered either using the notation
4813 described above, or directly using @code{<} and @code{>}
4815 @lilypond[quote,verbatim,raggedright]
4817 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4820 \context ChordNames \harmonies
4821 \context Staff \harmonies
4825 You can make the chord changes stand out by setting
4826 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4827 display chord names when there is a change in the chords scheme and at
4828 the start of a new line
4830 @lilypond[quote,verbatim,raggedright]
4831 harmonies = \chordmode {
4832 c1:m c:m \break c:m c:m d
4835 \context ChordNames {
4836 \set chordChanges = ##t
4838 \context Staff \transpose c c' \harmonies
4842 The previous examples all show chords over a staff. This is not
4843 necessary. Chords may also be printed separately. It may be necessary
4844 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4845 for showing repeats.
4847 @lilypond[raggedright,verbatim]
4848 \new ChordNames \with {
4849 \override BarLine #'bar-size = #4
4850 voltaOnThisStaff = ##t
4851 \consists Bar_engraver
4852 \consists "Volta_engraver"
4854 \repeat volta 2 \chordmode {
4863 The default chord name layout is a system for Jazz music, proposed by
4864 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4865 following properties
4868 @cindex @code{chordNameExceptions}
4869 @item chordNameExceptions
4870 This is a list that contains the chords that have special formatting.
4872 The exceptions list should be encoded as
4874 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
4877 To get this information into @code{chordNameExceptions} takes a little
4878 manoeuvring. The following code transforms @code{chExceptionMusic}
4879 (which is a sequential music) into a list of exceptions.
4881 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4886 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4889 adds the new exceptions to the default ones, which are defined in
4890 @file{ly/@/chord@/-modifier@/-init@/.ly}.
4892 For an example of tuning this property, see also
4893 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
4894 @cindex exceptions, chord names.
4897 @cindex @code{majorSevenSymbol}
4898 @item majorSevenSymbol
4899 This property contains the markup object used for the 7th step, when
4900 it is major. Predefined options are @code{whiteTriangleMarkup} and
4901 @code{blackTriangleMarkup}. See
4902 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
4904 @cindex @code{chordNameSeparator}
4905 @item chordNameSeparator
4906 Different parts of a chord name are normally separated by a
4907 slash. By setting @code{chordNameSeparator}, you can specify other
4909 @lilypond[quote,raggedright,fragment,verbatim]
4910 \context ChordNames \chordmode {
4912 \set chordNameSeparator
4913 = \markup { \typewriter "|" }
4918 @cindex @code{chordRootNamer}
4919 @item chordRootNamer
4920 The root of a chord is usually printed as a letter with an optional
4921 alteration. The transformation from pitch to letter is done by this
4922 function. Special note names (for example, the German ``H'' for a
4923 B-chord) can be produced by storing a new function in this property.
4925 @cindex @code{chordNoteNamer}
4926 @item chordNoteNamer
4927 The default is to print single pitch, e.g., the bass note, using the
4928 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4929 to a specialized function to change this behavior. For example, the
4930 base can be printed in lower case.
4934 The predefined variables @code{\germanChords},
4935 @code{\semiGermanChords} set these variables. The effect is
4938 @lilypondfile[raggedright]{chord-names-german.ly}
4940 There are also two other chord name schemes implemented: an alternate
4941 Jazz chord notation, and a systematic scheme called Banter chords. The
4942 alternate Jazz notation is also shown on the chart in @ref{Chord name
4943 chart}. Turning on these styles is described in the input file
4944 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4948 @cindex chords, jazz
4953 @cindex @code{\germanChords}
4954 @code{\germanChords},
4955 @cindex @code{\semiGermanChords}
4956 @code{\semiGermanChords}.
4963 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
4964 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
4965 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4968 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
4969 @file{scm/@/chord@/-entry@/.scm}.
4974 Chord names are determined solely from the list of pitches. Chord
4975 inversions are not identified, and neither are added bass notes. This
4976 may result in strange chord names when chords are entered with the
4977 @code{< .. >} syntax.
4981 @subsection Fret diagrams
4982 @cindex fret diagrams
4983 @cindex chord diagrams
4985 Fret diagrams can be added to music as a markup to the desired note. The
4986 markup contains information about the desired fret diagram, as shown in the
4989 @lilypond[verbatim, raggedright, quote]
4991 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4993 fis' ^\markup \override #'(size . 0.75) {
4994 \override #'(finger-code . below-string) {
4995 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4996 (place-fret 5 4 3) (place-fret 4 4 4)
4997 (place-fret 3 3 2) (place-fret 2 2 1)
5002 c' ^\markup \override #'(dot-radius . 0.35) {
5003 \override #'(finger-code . in-dot) {
5004 \override #'(dot-color . white) {
5005 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
5014 There are three different fret-diagram markup interfaces: standard, terse,
5015 and verbose. The three interfaces produce equivalent markups, but have
5016 varying amounts of information in the markup string. Details about the
5017 markup interfaces are found at @ref{Overview of text markup commands}.
5019 You can set a number of graphical properties according to your preference.
5020 Details about the property interface to fret diagrams are found at
5021 @internalsref{fret-diagram-interface}.
5026 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
5030 @subsection Improvisation
5032 Improvisation is sometimes denoted with slashed note heads. Such note
5033 heads can be created by adding a @internalsref{Pitch_squash_engraver}
5034 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
5038 \set squashedPosition = #0
5039 \override NoteHead #'style = #'slash
5043 switches on the slashes.
5045 There are shortcuts @code{\improvisationOn} (and an accompanying
5046 @code{\improvisationOff}) for this command sequence. They are used in
5047 the following example
5049 @lilypond[verbatim,raggedright,quote]
5051 \consists Pitch_squash_engraver
5053 e8 e g a a16(bes)(a8) g \improvisationOn
5056 ~fis2 \improvisationOff a16(bes) a8 g e
5062 @node Orchestral music
5063 @section Orchestral music
5065 @cindex Writing parts
5067 Orchestral music involves some special notation, both in the full
5068 score and the individual parts. This section explains how to tackle
5069 some common problems in orchestral music.
5074 * System start delimiters::
5075 * Aligning to cadenzas::
5078 * Instrument names::
5080 * Instrument transpositions::
5081 * Multi measure rests::
5082 * Automatic part combining::
5084 * Different editions from one source::
5085 * Quoting other voices::
5086 * Formatting cue notes::
5089 @node System start delimiters
5090 @subsection System start delimiters
5092 Polyphonic scores consist of many staves. These staves can be
5093 constructed in three different ways
5095 @item The group is started with a brace at the left, and bar lines are
5096 connected. This is done with the @internalsref{GrandStaff} context.
5098 @lilypond[verbatim,raggedright,quote]
5107 @item The group is started with a bracket, and bar lines are connected.
5108 This is done with the
5109 @internalsref{StaffGroup} context
5111 @lilypond[verbatim,raggedright,quote]
5120 @item The group is started with a vertical line. Bar lines are not
5121 connected. This is the default for the score.
5123 @lilypond[verbatim,raggedright,quote]
5132 @cindex Staff, multiple
5133 @cindex bracket, vertical
5134 @cindex brace, vertical
5141 The bar lines at the start of each system are
5142 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
5143 @internalsref{SystemStartBracket}. Only one of these types is created
5144 in every context, and that type is determined by the property
5145 @code{systemStartDelimiter}.
5147 @node Aligning to cadenzas
5148 @subsection Aligning to cadenzas
5151 In an orchestral context, cadenzas present a special problem:
5152 when constructing a score that includes a cadenza, all other
5153 instruments should skip just as many notes as the length of the
5154 cadenza, otherwise they will start too soon or too late.
5156 A solution to this problem are the functions @code{mmrest-of-length}
5157 and @code{skip-of-length}. These Scheme functions take a piece of music
5158 as argument, and generate a @code{\skip} or multi-rest, exactly as
5159 long as the piece. The use of @code{mmrest-of-length} is demonstrated
5160 in the following example.
5162 @lilypond[verbatim,raggedright,quote]
5163 cadenza = \relative c' {
5164 c4 d8 << { e f g } \\ { d4. } >>
5169 \new Staff { \cadenza c'4 }
5171 #(ly:export (mmrest-of-length cadenza))
5181 @node Rehearsal marks
5182 @subsection Rehearsal marks
5183 @cindex Rehearsal marks
5185 @cindex @code{\mark}
5187 To print a rehearsal mark, use the @code{\mark} command
5189 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
5198 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
5199 @c umm, is the manual the right place for feature requests? :) -gp
5200 @c FIXME - should make that tunable.
5202 The mark is incremented automatically if you use @code{\mark
5203 \default}, but you can also use an integer argument to set the mark
5204 manually. The value to use is stored in the property
5205 @code{rehearsalMark}.
5207 The style is defined by the property @code{markFormatter}. It is a
5208 function taking the current mark (an integer) and the current context
5209 as argument. It should return a markup object. In the following
5210 example, @code{markFormatter} is set to a canned procedure. After a
5211 few measures, it is set to function that produces a boxed number.
5213 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5214 \set Score.markFormatter = #format-mark-numbers
5217 \set Score.markFormatter = #format-mark-box-numbers
5223 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
5224 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
5225 @code{format-mark-letters} and @code{format-mark-box-letters}.
5226 These can be used as inspiration for other formatting functions.
5229 @cindex coda on bar line
5230 @cindex segno on bar line
5231 @cindex fermata on bar line
5232 @cindex bar lines, symbols on
5234 The @code{\mark} command can also be used to put signs like coda,
5235 segno, and fermata on a bar line. Use @code{\markup} to
5236 access the appropriate symbol
5238 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5239 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
5243 If the mark occurs at a line break, the mark will be printed at the
5244 beginning of the next line.
5245 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
5246 @c delete this sentence. -gp
5247 If there is no next line, then the mark will not be printed at all.
5248 To print the mark at the end of the current line, use
5251 \override Score.RehearsalMark
5252 #'break-visibility = #begin-of-line-invisible
5258 @cindex bar lines, putting symbols on
5262 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5264 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
5265 definition of @code{format-mark-numbers} and
5266 @code{format-mark-letters}. They can be used as inspiration for other
5267 formatting functions.
5269 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
5271 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
5275 @subsection Bar numbers
5279 @cindex measure numbers
5280 @cindex @code{currentBarNumber}
5282 Bar numbers are printed by default at the start of the line. The
5283 number itself is stored in the @code{currentBarNumber} property, which
5284 is normally updated automatically for every measure.
5286 Bar numbers can be typeset at regular intervals instead of at the
5287 beginning of each line. This is illustrated in the following example,
5288 whose source is available as
5289 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
5291 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5293 Bar numbers can be typeset manually by tweaking the
5294 @code{markFormatter} property
5296 @lilypond[verbatim,raggedright,quote]
5298 \set Score.markFormatter
5299 = #(lambda (mark context)
5302 (number->string (ly:context-property context
5303 'currentBarNumber)))))
5305 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
5309 Bar numbers can be manually changed by setting the
5310 @code{Staff.currentBarNumber} property
5312 @lilypond[verbatim,raggedright,quote]
5314 \repeat unfold 4 {c4 c c c} \break
5315 \set Score.currentBarNumber = #50
5316 \repeat unfold 4 {c4 c c c}
5322 Program reference: @internalsref{BarNumber}.
5325 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
5326 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
5330 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5331 there is one at the top. To solve this, the
5332 @code{padding} property of @internalsref{BarNumber} can be
5333 used to position the number correctly.
5335 @node Instrument names
5336 @subsection Instrument names
5338 In an orchestral score, instrument names are printed at the left side
5341 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5342 and @internalsref{Staff}.@code{instr}. This will print a string before
5343 the start of the staff. For the first staff, @code{instrument} is
5344 used, for the following ones, @code{instr} is used.
5346 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5347 \set Staff.instrument = "Ploink "
5348 \set Staff.instr = "Plk "
5354 You can also use markup texts to construct more complicated instrument
5357 @lilypond[quote,fragment,verbatim,raggedright]
5358 \set Staff.instrument = \markup {
5359 \column { "Clarinetti"
5360 \line { "in B" \smaller \flat } } }
5364 For longer instrument names, it may be useful to increase the
5365 @code{indent} setting in the @code{\layout} block.
5369 Program reference: @internalsref{InstrumentName}.
5373 When you put a name on a grand staff or piano staff, the width of the
5374 brace is not taken into account. You must add extra spaces to the end of
5375 the name to avoid a collision.
5378 @subsection Transpose
5380 @cindex transposition of pitches
5381 @cindex @code{\transpose}
5383 A music expression can be transposed with @code{\transpose}. The
5386 \transpose @var{from} @var{to} @var{musicexpr}
5389 This means that @var{musicexpr} is transposed by the interval between
5390 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5391 is changed to @code{to}.
5394 For example, consider a piece written in the key of D-major. If
5395 this piece is a little too low for its performer, it can be
5396 transposed up to E-major with
5398 \transpose d e @dots{}
5401 Consider a part written for violin (a C instrument). If
5402 this part is to be played on the A clarinet, the following
5403 transposition will produce the appropriate part
5406 \transpose a c @dots{}
5409 @code{\transpose} distinguishes between enharmonic pitches: both
5410 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5411 half a tone. The first version will print sharps and the second
5412 version will print flats
5414 @lilypond[quote,raggedright,verbatim]
5415 mus = { \key d \major cis d fis g }
5419 \transpose c g' \mus
5420 \transpose c f' \mus
5427 Program reference: @internalsref{TransposedMusic}, and
5428 @internalsref{UntransposableMusic}.
5432 If you want to use both @code{\transpose} and @code{\relative},
5433 you must put @code{\transpose} outside of @code{\relative}, since
5434 @code{\relative} will have no effect music that appears inside a
5437 @node Instrument transpositions
5438 @subsection Instrument transpositions
5440 The key of a transposing instrument can also be specified. This
5441 applies to many wind instruments, for example, clarinets (B-flat, A, and
5442 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
5444 The transposition is entered after the keyword @code{\transposition}
5447 \transposition bes %% B-flat clarinet
5451 This command sets the property @code{instrumentTransposition}. The value of
5452 this property is used for MIDI output and quotations. It does not
5453 affect how notes are printed in the current staff.
5455 The pitch to use for @code{\transposition} should correspond to the
5456 transposition of the notes. For example, when entering a score in
5457 concert pitch, typically all voices are entered in C, so
5458 they should be entered as
5471 The command @code{\transposition} should be used when the music is
5472 entered from a (transposed) orchestral part. For example, in
5473 classical horn parts, the tuning of the instrument is often changed
5474 during a piece. When copying the notes from the part, use
5475 @code{\transposition}, e.g.,
5488 @cindex transposition, MIDI
5489 @cindex transposition, instrument
5492 @node Multi measure rests
5493 @subsection Multi measure rests
5494 @cindex multi measure rests
5495 @cindex Rests, multi measure
5499 Multi-measure rests are entered using `@code{R}'. It is specifically
5500 meant for full bar rests and for entering parts: the rest can expand
5501 to fill a score with rests, or it can be printed as a single
5502 multi-measure rest. This expansion is controlled by the property
5503 @code{Score.skipBars}. If this is set to true, empty measures will not
5504 be expanded, and the appropriate number is added automatically
5506 @lilypond[quote,raggedright,fragment,verbatim]
5507 \time 4/4 r1 | R1 | R1*2
5508 \set Score.skipBars = ##t R1*17 R1*4
5511 The @code{1} in @code{R1} is similar to the duration notation used for
5512 notes. Hence, for time signatures other than 4/4, you must enter other
5513 durations. This can be done with augmentation dots or fractions
5515 @lilypond[quote,raggedright,fragment,verbatim]
5516 \set Score.skipBars = ##t
5525 An @code{R} spanning a single measure is printed as either a whole rest
5526 or a breve, centered in the measure regardless of the time signature.
5528 If there are only a few measures of rest, LilyPond prints ``church rests''
5529 (a series of rectangles) in the staff. To replace that with a simple
5530 rest, use @code{MultiMeasureRest.expand-limit}.
5532 @lilypond[quote,raggedright,fragment,verbatim]
5533 \set Score.skipBars = ##t
5535 \override MultiMeasureRest #'expand-limit = 1
5540 @cindex text on multi-measure rest
5541 @cindex script on multi-measure rest
5542 @cindex fermata on multi-measure rest
5544 Texts can be added to multi-measure rests by using the
5545 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5546 A variable (@code{\fermataMarkup}) is provided for
5549 @lilypond[quote,raggedright,verbatim,fragment]
5550 \set Score.skipBars = ##t
5552 R2.*10^\markup { \italic "ad lib." }
5556 If you want to have text on the left end of a multi-measure rest,
5557 attach the text to a zero-length skip note, i.e.,
5565 @cindex whole rests for a full measure
5569 Program reference: @internalsref{MultiMeasureRestEvent},
5570 @internalsref{MultiMeasureTextEvent},
5571 @internalsref{MultiMeasureRestMusicGroup}, and
5572 @internalsref{MultiMeasureRest}.
5574 The layout object @internalsref{MultiMeasureRestNumber} is for the
5575 default number, and @internalsref{MultiMeasureRestText} for user
5580 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
5581 over multi-measure rests. And the pitch of multi-measure rests (or
5582 staff-centered rests) can not be influenced.
5584 @cindex condensing rests
5586 There is no way to automatically condense multiple rests into a single
5587 multi-measure rest. Multi-measure rests do not take part in rest
5590 Be careful when entering multi-measure rests followed by whole
5591 notes. The following will enter two notes lasting four measures each
5595 When @code{skipBars} is set, the result will look OK, but the bar
5596 numbering will be off.
5598 @node Automatic part combining
5599 @subsection Automatic part combining
5600 @cindex automatic part combining
5601 @cindex part combiner
5604 Automatic part combining is used to merge two parts of music onto a
5605 staff. It is aimed at typesetting orchestral scores. When the two
5606 parts are identical for a period of time, only one is shown. In
5607 places where the two parts differ, they are typeset as separate
5608 voices, and stem directions are set automatically. Also, solo and
5609 @emph{a due} parts are identified and can be marked.
5611 The syntax for part combining is
5614 \partcombine @var{musicexpr1} @var{musicexpr2}
5619 The following example demonstrates the basic functionality of the part
5620 combiner: putting parts on one staff, and setting stem directions and
5623 @lilypond[quote,verbatim,raggedright,fragment]
5624 \new Staff \partcombine
5625 \relative g' { g g a( b) c c r r }
5626 \relative g' { g g r4 r e e g g }
5629 The first @code{g} appears only once, although it was
5630 specified twice (once in each part). Stem, slur, and tie directions are
5631 set automatically, depending whether there is a solo or unisono. The
5632 first part (with context called @code{one}) always gets up stems, and
5633 `Solo', while the second (called @code{two}) always gets down stems and
5636 If you just want the merging parts, and not the textual markings, you
5637 may set the property @code{printPartCombineTexts} to false
5639 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5641 \set Staff.printPartCombineTexts = ##f
5643 \relative g' { g a( b) r }
5644 \relative g' { g r4 r f }
5648 To change the text that is printed for solos or merging, you may
5649 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
5652 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5654 \set Score.soloText = #"ichi"
5655 \set Score.soloIIText = #"ni"
5656 \set Score.aDueText = #"tachi"
5658 \relative g' { g4 g a( b) r }
5659 \relative g' { g4 g r r f }
5663 Both arguments to @code{\partcombine} will be interpreted as
5664 @internalsref{Voice} contexts. If using relative octaves,
5665 @code{\relative} should be specified for both music expressions, i.e.,
5669 \relative @dots{} @var{musicexpr1}
5670 \relative @dots{} @var{musicexpr2}
5674 A @code{\relative} section that is outside of @code{\partcombine} has
5675 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5679 Program reference: @internalsref{PartCombineMusic},
5680 @internalsref{SoloOneEvent}, and
5681 @internalsref{SoloTwoEvent}, and
5682 @internalsref{UnisonoEvent}.
5686 When @code{printPartCombineTexts} is set, when the two voices play the
5687 same notes on and off, the part combiner may typeset @code{a2} more
5688 than once in a measure.
5690 @code{\partcombine} cannot be inside @code{\times}.
5692 @code{\partcombine} cannot be inside @code{\relative}.
5694 Internally, the @code{\partcombine} interprets both arguments as
5695 @code{Voice}s named @code{one} and @code{two}, and then decides when
5696 the parts can be combined. Consequently, if the arguments switch to
5697 differently named @internalsref{Voice} contexts, the events in those
5701 @subsection Hiding staves
5703 @cindex Frenched scores
5704 @cindex Hiding staves
5706 In orchestral scores, staff lines that only have rests are usually
5707 removed. This saves some space. This style is called `French Score'.
5708 For @internalsref{Lyrics},
5709 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5710 switched on by default. When the lines of these contexts turn out
5711 empty after the line-breaking process, they are removed.
5713 For normal staves, a specialized @internalsref{Staff} context is
5714 available, which does the same: staves containing nothing (or only
5715 multi-measure rests) are removed. The context definition is stored in
5716 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5717 in this example disappears in the second line
5719 @lilypond[quote,raggedright,verbatim]
5721 \context { \RemoveEmptyStaffContext }
5726 \new Staff { e4 f g a \break c1 }
5727 \new Staff { c4 d e f \break R1 }
5732 The first system shows all staves in full. If empty staves should be
5733 removed from the first system too, set @code{remove-first} to false in
5734 @internalsref{RemoveEmptyVerticalGroup}.
5736 Another application is making ossia sections, i.e., alternative
5737 melodies on a separate piece of staff, with help of a Frenched
5738 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
5741 @node Different editions from one source
5742 @subsection Different editions from one source
5745 The @code{\tag} command marks music expressions with a name. These
5746 tagged expressions can be filtered out later. With this mechanism it
5747 is possible to make different versions of the same music source.
5749 In the following example, we see two versions of a piece of music, one
5750 for the full score, and one with cue notes for the instrumental part
5766 The same can be applied to articulations, texts, etc.: they are
5769 -\tag #@var{your-tag}
5771 to an articulation, for example,
5776 This defines a note with a conditional fingering indication.
5779 @cindex removeWithTag
5780 By applying the @code{\keepWithTag} and @code{\removeWithTag}
5781 commands, tagged expressions can be filtered. For example,
5785 \keepWithTag #'score @var{the music}
5786 \keepWithTag #'part @var{the music}
5791 @lilypondfile[raggedright,quote]{tag-filter.ly}
5794 The argument of the @code{\tag} command should be a symbol, or a list
5795 of symbols, for example,
5797 \tag #'(original-part transposed-part) @dots{}
5804 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
5808 Multiple rests are not merged if you create the score with both tagged
5812 @node Quoting other voices
5813 @subsection Quoting other voices
5815 With quotations, fragments of other parts can be inserted into a part
5816 directly. Before a part can be quoted, it must be marked especially as
5817 quotable. This is done with the @code{\addquote} command.
5820 \addquote @var{name} @var{music}
5825 Here, @var{name} is an identifying string. The @var{music} is any kind
5826 of music. Here is an example of @code{\addquote}
5829 \addquote clarinet \relative c' @{
5834 This command must be entered at toplevel, i.e., outside any music
5837 After calling @code{\addquote}, the quotation may then be done with
5838 @code{\quoteDuring} or @code{\cueDuring},
5841 \quoteDuring #@var{name} @var{music}
5844 During a part, a piece of music can be quoted with the @code{\quoteDuring}
5848 \quoteDuring #"clarinet" @{ s2. @}
5851 This would cite three quarter notes (the duration of @code{s2.}) of
5852 the previously added @code{clarinet} voice.
5855 More precisely, it takes the current time-step of the part being
5856 printed, and extracts the notes at the corresponding point of the
5857 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5858 should be the entire part of the voice to be quoted, including any
5859 rests at the beginning.
5861 Quotations take into account the transposition of both source and target
5862 instruments, if they are specified using the @code{\transposition} command.
5864 @lilypond[quote,raggedright,verbatim]
5865 \addquote clarinet \relative c' {
5871 e'8 f'8 \quoteDuring #"clarinet" { s2 }
5875 The type of events that are present in cue notes can be trimmed with
5876 the @code{quotedEventTypes} property. The default value is
5877 @code{(note-event rest-event)}, which means that only notes and
5878 rests of the cued voice end up in the @code{\quoteDuring}.
5882 \set Staff.quotedEventTypes =
5883 #'(note-event articulation-event dynamic-event)
5887 will quote notes (but no rests), together with scripts and dynamics.
5891 Only the contents of the first @internalsref{Voice} occurring in an
5892 @code{\addquote} command will be considered for quotation, so
5893 @var{music} can not contain @code{\new} and @code{\context Voice}
5894 statements that would switch to a different Voice.
5896 Quoting grace notes is broken and can even cause LilyPond to crash.
5900 In this manual: @ref{Instrument transpositions}.
5902 Examples: @inputfileref{input/@/regression,quote@/.ly}
5903 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
5905 Program reference: @internalsref{QuoteMusic}.
5907 @node Formatting cue notes
5908 @subsection Formatting cue notes
5910 The previous section deals with inserting notes from another voice.
5911 There is a more advanced music function called @code{\cueDuring},
5912 which makes formatting cue notes easier.
5917 \cueDuring #@var{name} #@var{updown} @var{music}
5920 This will insert notes from the part @var{name} into a
5921 @internalsref{Voice} called @code{cue}. This happens simultaneously
5922 with @var{music}, which usually is a rest. When the cue notes start,
5923 the staff in effect becomes polyphonic for a moment. The argument
5924 @var{updown} determines whether the cue notes should be notated as a
5925 first or second voice.
5928 @lilypond[verbatim,raggedright]
5931 \override Stem #'length = #5.5
5932 \override Beam #'thickness = #0.384
5933 \override Beam #'space-function =
5934 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5937 \addquote clarinet \relative {
5942 \new Staff \relative <<
5944 % setup a context for cue notes.
5945 \context Voice = cue { \smaller \skip 1*21 }
5947 \set Score.skipBars = ##t
5951 \cueDuring #"clarinet" #1 {
5960 Here are a couple of hints for successful cue notes
5964 Cue notes have smaller font sizes.
5966 the cued part is marked with the instrument playing the cue.
5968 when the original part takes over again, this should be marked with
5969 the name of the original instrument.
5971 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5973 @c Yes, this is good practice. Otherwise, the start of the original
5974 @c part can only be seen from the font size. This is not good enough
5975 @c for sight-reading. It is possilbe to use other
5976 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
5981 any other changes introduced by the cued part should also be
5982 undone. For example, if the cued instrument plays in a different clef,
5983 the original clef should be stated once again.
5991 @node Ancient notation
5992 @section Ancient notation
5994 @cindex Vaticana, Editio
5995 @cindex Medicaea, Editio
6000 Support for ancient notation includes features for mensural notation
6001 and Gregorian Chant notation. There is also limited support for
6002 figured bass notation.
6004 Many graphical objects provide a @code{style} property, see
6007 @ref{Ancient note heads},
6009 @ref{Ancient accidentals},
6011 @ref{Ancient rests},
6013 @ref{Ancient clefs},
6015 @ref{Ancient flags},
6017 @ref{Ancient time signatures}.
6020 By manipulating such a grob property, the typographical appearance of
6021 the affected graphical objects can be accommodated for a specific
6022 notation flavor without the need for introducing any new notational
6025 In addition to the standard articulation signs described in section
6026 @ref{Articulations}, specific articulation signs for ancient notation
6031 @ref{Ancient articulations}
6034 Other aspects of ancient notation can not that easily be expressed
6035 in terms of just changing a style property of a graphical object or
6036 adding articulation signs. Some notational concepts are introduced
6037 specifically for ancient notation,
6048 If this all is too much of documentation for you, and you just want to
6049 dive into typesetting without worrying too much about the details on
6050 how to customize a context, you may have a look at the predefined
6051 contexts. Use them to set up predefined style-specific voice and
6052 staff contexts, and directly go ahead with the note entry,
6056 @ref{Gregorian Chant contexts},
6058 @ref{Mensural contexts}.
6061 There is limited support for figured bass notation which came
6062 up during the baroque period.
6069 Here are all suptopics at a glance:
6072 * Ancient note heads::
6073 * Ancient accidentals::
6077 * Ancient time signatures::
6078 * Ancient articulations::
6082 * Gregorian Chant contexts::
6083 * Mensural contexts::
6088 @node Ancient note heads
6089 @subsection Ancient note heads
6094 For ancient notation, a note head style other than the @code{default}
6095 style may be chosen. This is accomplished by setting the @code{style}
6096 property of the @internalsref{NoteHead} object to @code{baroque},
6097 @code{neomensural} or @code{mensural}. The @code{baroque} style
6098 differs from the @code{default} style only in using a square shape
6099 for @code{\breve} note heads. The @code{neomensural} style differs from
6100 the @code{baroque} style in that it uses rhomboidal heads for whole notes
6101 and all smaller durations. Stems are centered on the note heads.
6102 This style is particularly useful when transcribing mensural music,
6103 e.g., for the incipit. The @code{mensural} style finally produces note
6104 heads that mimic the look of note heads in historic printings of the
6107 The following example demonstrates the @code{neomensural} style
6109 @lilypond[quote,fragment,raggedright,verbatim]
6110 \set Score.skipBars = ##t
6111 \override NoteHead #'style = #'neomensural
6112 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
6115 When typesetting a piece in Gregorian Chant notation, the
6116 @internalsref{Gregorian_ligature_engraver} will automatically select
6117 the proper note heads, so there is no need to explicitly set the
6118 note head style. Still, the note head style can be set, e.g., to
6119 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
6120 @internalsref{Mensural_ligature_engraver} is used to automatically
6121 assemble mensural ligatures. See @ref{Ligatures} for how ligature
6126 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
6127 overview over all available note head styles.
6130 @node Ancient accidentals
6131 @subsection Ancient accidentals
6136 Use the @code{style} property of grob @internalsref{Accidental} to
6137 select ancient accidentals. Supported styles are
6138 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
6140 @lilypond[quote,raggedright,staffsize=26]
6147 \line { " " \musicglyph #"accidentals-vaticana-1"
6148 " " \musicglyph #"accidentals-vaticana0" }
6152 \line { " " \musicglyph #"accidentals-medicaea-1" }
6156 \line { " " \musicglyph #"accidentals-hufnagel-1" }
6160 \line { " " \musicglyph #"accidentals-mensural-1"
6161 " " \musicglyph #"accidentals-mensural1" }
6167 \context { \Score \remove "Bar_number_engraver" }
6169 \remove "Clef_engraver"
6170 \remove "Key_engraver"
6171 \remove "Time_signature_engraver"
6172 \remove "Staff_symbol_engraver"
6173 minimumVerticalExtent = ##f
6179 As shown, not all accidentals are supported by each style. When
6180 trying to access an unsupported accidental, LilyPond will switch to a
6181 different style, as demonstrated in
6182 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6184 Similarly to local accidentals, the style of the key signature can be
6185 controlled by the @code{style} property of the
6186 @internalsref{KeySignature} grob.
6190 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
6191 @ref{Accidentals} give a general introduction of the use of
6192 accidentals. @ref{Key signature} gives a general introduction of
6193 the use of key signatures.
6195 Program reference: @internalsref{KeySignature}.
6197 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6200 @subsection Ancient rests
6205 Use the @code{style} property of grob @internalsref{Rest} to select
6206 ancient rests. Supported styles are @code{classical},
6207 @code{neomensural}, and @code{mensural}. @code{classical} differs
6208 from the @code{default} style only in that the quarter rest looks like
6209 a horizontally mirrored 8th rest. The @code{neomensural} style suits
6210 well for, e.g., the incipit of a transcribed mensural piece of music.
6211 The @code{mensural} style finally mimics the appearance of rests as
6212 in historic prints of the 16th century.
6214 The following example demonstrates the @code{neomensural} style
6216 @lilypond[quote,fragment,raggedright,verbatim]
6217 \set Score.skipBars = ##t
6218 \override Rest #'style = #'neomensural
6219 r\longa r\breve r1 r2 r4 r8 r16
6222 There are no 32th and 64th rests specifically for the mensural or
6223 neo-mensural style. Instead, the rests from the default style will be
6224 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
6227 There are no rests in Gregorian Chant notation; instead, it uses
6232 In this manual: @ref{Rests} gives a general introduction into the use of rests.
6236 @subsection Ancient clefs
6241 LilyPond supports a variety of clefs, many of them ancient.
6243 The following table shows all ancient clefs that are supported via the
6244 @code{\clef} command. Some of the clefs use the same glyph, but
6245 differ only with respect to the line they are printed on. In such
6246 cases, a trailing number in the name is used to enumerate these clefs.
6247 Still, you can manually force a clef glyph to be typeset on an
6248 arbitrary line, as described in @ref{Clef}. The note printed to the
6249 right side of each clef in the example column denotes the @code{c'}
6250 with respect to that clef.
6252 @multitable @columnfractions .4 .4 .2
6261 modern style mensural C clef
6263 @code{neomensural-c1}, @code{neomensural-c2},@*
6264 @code{neomensural-c3}, @code{neomensural-c4}
6266 @lilypond[fragment,relative=1,notime]
6267 \clef "neomensural-c2" c
6271 petrucci style mensural C clefs, for use on different staff lines
6272 (the examples show the 2nd staff line C clef)
6274 @code{petrucci-c1}, @code{petrucci-c2},@*
6275 @code{petrucci-c3}, @code{petrucci-c4},@*
6278 @lilypond[fragment,relative=1,notime]
6279 \clef "petrucci-c2" c
6283 petrucci style mensural F clef
6287 @lilypond[fragment,relative=1,notime]
6288 \clef "petrucci-f" c
6292 petrucci style mensural G clef
6296 @lilypond[fragment,relative=1,notime]
6297 \clef "petrucci-g" c
6301 historic style mensural C clef
6303 @code{mensural-c1}, @code{mensural-c2},@*
6304 @code{mensural-c3}, @code{mensural-c4}
6306 @lilypond[fragment,relative=1,notime]
6307 \clef "mensural-c2" c
6311 historic style mensural F clef
6315 @lilypond[fragment,relative=1,notime]
6316 \clef "mensural-f" c
6320 historic style mensural G clef
6324 @lilypond[fragment,relative=1,notime]
6325 \clef "mensural-g" c
6329 Editio Vaticana style do clef
6331 @code{vaticana-do1}, @code{vaticana-do2},@*
6334 @lilypond[fragment,relative=1,notime]
6335 \override Staff.StaffSymbol #'line-count = #4
6336 \clef "vaticana-do2" c
6340 Editio Vaticana style fa clef
6342 @code{vaticana-fa1}, @code{vaticana-fa2}
6344 @lilypond[fragment,relative=1,notime]
6345 \override Staff.StaffSymbol #'line-count = #4
6346 \clef "vaticana-fa2" c
6350 Editio Medicaea style do clef
6352 @code{medicaea-do1}, @code{medicaea-do2},@*
6355 @lilypond[fragment,relative=1,notime]
6356 \override Staff.StaffSymbol #'line-count = #4
6357 \clef "medicaea-do2" c
6361 Editio Medicaea style fa clef
6363 @code{medicaea-fa1}, @code{medicaea-fa2}
6365 @lilypond[fragment,relative=1,notime]
6366 \override Staff.StaffSymbol #'line-count = #4
6367 \clef "medicaea-fa2" c
6371 historic style hufnagel do clef
6373 @code{hufnagel-do1}, @code{hufnagel-do2},@*
6376 @lilypond[fragment,relative=1,notime]
6377 \override Staff.StaffSymbol #'line-count = #4
6378 \clef "hufnagel-do2" c
6382 historic style hufnagel fa clef
6384 @code{hufnagel-fa1}, @code{hufnagel-fa2}
6386 @lilypond[fragment,relative=1,notime]
6387 \override Staff.StaffSymbol #'line-count = #4
6388 \clef "hufnagel-fa2" c
6392 historic style hufnagel combined do/fa clef
6394 @code{hufnagel-do-fa}
6396 @lilypond[fragment,relative=1,notime]
6397 \clef "hufnagel-do-fa" c
6403 @emph{Modern style} means ``as is typeset in contemporary editions of
6404 transcribed mensural music''.
6406 @emph{Petrucci style} means ``inspired by printings published by the
6407 famous engraver Petrucci (1466-1539)''.
6409 @emph{Historic style} means ``as was typeset or written in historic
6410 editions (other than those of Petrucci)''.
6412 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6414 Petrucci used C clefs with differently balanced left-side vertical
6415 beams, depending on which staff line it is printed.
6419 In this manual: see @ref{Clef}.
6423 The mensural g clef is mapped to the Petrucci g clef.
6428 @subsection Ancient flags
6433 Use the @code{flag-style} property of grob @internalsref{Stem} to
6434 select ancient flags. Besides the @code{default} flag style,
6435 only the @code{mensural} style is supported
6437 @lilypond[quote,fragment,raggedright,verbatim]
6438 \override Stem #'flag-style = #'mensural
6439 \override Stem #'thickness = #1.0
6440 \override NoteHead #'style = #'mensural
6442 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
6443 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6446 Note that the innermost flare of each mensural flag always is
6447 vertically aligned with a staff line.
6449 There is no particular flag style for neo-mensural notation. Hence,
6450 when typesetting the incipit of a transcribed piece of mensural
6451 music, the default flag style should be used. There are no flags in
6452 Gregorian Chant notation.
6456 The attachment of ancient flags to stems is slightly off due to a
6457 change in early 2.3.x.
6459 Vertically aligning each flag with a staff line assumes that stems
6460 always end either exactly on or exactly in the middle between two
6461 staff lines. This may not always be true when using advanced layout
6462 features of classical notation (which however are typically out of
6463 scope for mensural notation).
6465 @node Ancient time signatures
6466 @subsection Ancient time signatures
6468 @cindex time signatures
6471 There is limited support for mensural time signatures. The
6472 glyphs are hard-wired to particular time fractions. In other words,
6473 to get a particular mensural signature glyph with the @code{\time n/m}
6474 command, @code{n} and @code{m} have to be chosen according to the
6477 @lilypond[quote,raggedright]
6481 \remove Staff_symbol_engraver
6482 \remove Clef_engraver
6483 \remove Time_signature_engraver
6486 \set Score.timing = ##f
6487 \set Score.barAlways = ##t
6488 s_\markup { "$\\backslash$time 4/4" }
6489 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6491 s_\markup { "$\\backslash$time 2/2" }
6492 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6494 s_\markup { "$\\backslash$time 6/4" }
6495 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6497 s_\markup { "$\\backslash$time 6/8" }
6498 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6500 s_\markup { "$\\backslash$time 3/2" }
6501 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6503 s_\markup { "$\\backslash$time 3/4" }
6504 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6506 s_\markup { "$\\backslash$time 9/4" }
6507 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6509 s_\markup { "$\\backslash$time 9/8" }
6510 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6512 s_\markup { "$\\backslash$time 4/8" }
6513 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6515 s_\markup { "$\\backslash$time 2/4" }
6516 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6520 Use the @code{style} property of grob @internalsref{TimeSignature} to
6521 select ancient time signatures. Supported styles are
6522 @code{neomensural} and @code{mensural}. The above table uses the
6523 @code{neomensural} style. This style is appropriate for the
6524 incipit of transcriptions of mensural pieces. The @code{mensural}
6525 style mimics the look of historical printings of the 16th century.
6527 The following examples show the differences in style,
6529 @lilypond[raggedright,fragment,relative=1,quote]
6533 c1^\markup { \hspace #-2.0 \typewriter default }
6535 \override Staff.TimeSignature #'style = #'numbered
6537 c1^\markup { \hspace #-2.0 \typewriter numbered }
6539 \override Staff.TimeSignature #'style = #'mensural
6541 c1^\markup { \hspace #-2.0 \typewriter mensural }
6543 \override Staff.TimeSignature #'style = #'neomensural
6545 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6546 \override Staff.TimeSignature #'style = #'single-digit
6548 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6554 This manual: @ref{Time signature} gives a general introduction to
6555 the use of time signatures.
6559 Ratios of note durations do not change with the time signature. For
6560 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6561 be made by hand, by setting
6564 breveTP = #(ly:make-duration -1 0 3 2)
6570 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6572 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6573 addressable with @code{\time}. Use a @code{\markup} instead
6575 @node Ancient articulations
6576 @subsection Ancient articulations
6578 @cindex articulations
6580 In addition to the standard articulation signs described in section
6581 @ref{Articulations}, articulation signs for ancient notation are
6582 provided. These are specifically designed for use with notation in
6583 Editio Vaticana style.
6585 @lilypond[quote,raggedright,verbatim]
6586 \include "gregorian-init.ly"
6588 \context VaticanaVoice {
6589 \override TextScript #'font-family = #'typewriter
6590 \override TextScript #'font-shape = #'upright
6591 \override Script #'padding = #-0.1
6593 a4\circulus_"circulus" s1
6594 a4\semicirculus_"semicirculus" s1 s
6595 a4\accentus_"accentus" s1
6596 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6603 Some articulations are vertically placed too closely to the
6604 correpsonding note heads.
6607 @subsection Custodes
6612 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6613 symbol that appears at the end of a staff. It anticipates the pitch
6614 of the first note(s) of the following line thus helping the performer
6615 to manage line breaks during performance.
6617 Custodes were frequently used in music notation until the 17th
6618 century. Nowadays, they have survived only in a few particular forms
6619 of musical notation such as contemporary editions of Gregorian chant
6620 like the @emph{editio vaticana}. There are different custos glyphs
6621 used in different flavors of notational style.
6623 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6624 @internalsref{Staff} context when declaring the @code{\layout} block,
6625 as shown in the following example
6631 \consists Custos_engraver
6632 Custos \override #'style = #'mensural
6637 The result looks like this
6639 @lilypond[quote,raggedright]
6643 \override Staff.Custos #'style = #'mensural
6648 \context { \Staff \consists Custos_engraver }
6653 The custos glyph is selected by the @code{style} property. The styles
6654 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
6655 @code{mensural}. They are demonstrated in the following fragment
6657 @lilypond[quote,raggedright,fragment]
6658 \new Lyrics \lyricmode {
6660 \typewriter "vaticana"
6661 \line { " " \musicglyph #"custodes-vaticana-u0" }
6664 \typewriter "medicaea"
6665 \line { " " \musicglyph #"custodes-medicaea-u0" }
6668 \typewriter "hufnagel"
6669 \line { " " \musicglyph #"custodes-hufnagel-u0" }
6672 \typewriter "mensural"
6673 \line { " " \musicglyph #"custodes-mensural-u0" }
6680 Program reference: @internalsref{Custos}.
6682 Examples: @inputfileref{input/@/regression,custos@/.ly}.
6686 @subsection Divisiones
6692 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6693 `division') is a staff context symbol that is used to structure
6694 Gregorian music into phrases and sections. The musical meaning of
6695 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
6696 can be characterized as short, medium, and long pause, somewhat like
6697 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6698 only marks the end of a chant, but is also frequently used within a
6699 single antiphonal/responsorial chant to mark the end of each section.
6702 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
6703 contains definitions that you can apply by just inserting
6704 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6705 and @code{\finalis} at proper places in the input. Some editions use
6706 @emph{virgula} or @emph{caesura} instead of divisio minima.
6707 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
6710 @lilypondfile[quote,raggedright]{divisiones.ly}
6714 @cindex @code{\virgula}
6716 @cindex @code{\caesura}
6718 @cindex @code{\divisioMinima}
6719 @code{\divisioMinima},
6720 @cindex @code{\divisioMaior}
6721 @code{\divisioMaior},
6722 @cindex @code{\divisioMaxima}
6723 @code{\divisioMaxima},
6724 @cindex @code{\finalis}
6729 In this manual: @ref{Breath marks}.
6731 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6733 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
6736 @subsection Ligatures
6740 @c TODO: Should double check if I recalled things correctly when I wrote
6741 @c down the following paragraph by heart.
6743 A ligature is a graphical symbol that represents at least two distinct
6744 notes. Ligatures originally appeared in the manuscripts of Gregorian
6745 chant notation to denote ascending or descending sequences of notes.
6747 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6748 Some ligature styles may need additional input syntax specific for
6749 this particular type of ligature. By default, the
6750 @internalsref{LigatureBracket} engraver just puts a square bracket
6753 @lilypond[quote,raggedright,verbatim]
6761 To select a specific style of ligatures, a proper ligature engraver
6762 has to be added to the @internalsref{Voice} context, as explained in
6763 the following subsections. Only white mensural ligatures
6764 are supported with certain limitations.
6770 Ligatures need special spacing that has not yet been implemented. As
6771 a result, there is too much space between ligatures most of the time,
6772 and line breaking often is unsatisfactory. Also, lyrics do not
6773 correctly align with ligatures.
6775 Accidentals must not be printed within a ligature, but instead need to
6776 be collected and printed in front of it.
6778 Augmentum dots within ligatures are not handled correctly.
6782 * White mensural ligatures::
6783 * Gregorian square neumes ligatures::
6786 @node White mensural ligatures
6787 @subsubsection White mensural ligatures
6789 @cindex Mensural ligatures
6790 @cindex White mensural ligatures
6792 There is limited support for white mensural ligatures.
6794 To engrave white mensural ligatures, in the layout block put the
6795 @internalsref{Mensural_ligature_engraver} into the
6796 @internalsref{Voice} context, and remove the
6797 @internalsref{Ligature_bracket_engraver}, like this
6803 \remove Ligature_bracket_engraver
6804 \consists Mensural_ligature_engraver
6809 There is no additional input language to describe the shape of a
6810 white mensural ligature. The shape is rather determined solely from
6811 the pitch and duration of the enclosed notes. While this approach may
6812 take a new user a while to get accustomed to, it has the great advantage
6813 that the full musical information of the ligature is known internally.
6814 This is not only required for correct MIDI output, but also allows for
6815 automatic transcription of the ligatures.
6820 \set Score.timing = ##f
6821 \set Score.defaultBarType = "empty"
6822 \override NoteHead #'style = #'neomensural
6823 \override Staff.TimeSignature #'style = #'neomensural
6825 \[ g\longa c\breve a\breve f\breve d'\longa \]
6827 \[ e1 f1 a\breve g\longa \]
6829 @lilypond[quote,raggedright]
6832 \set Score.timing = ##f
6833 \set Score.defaultBarType = "empty"
6834 \override NoteHead #'style = #'neomensural
6835 \override Staff.TimeSignature #'style = #'neomensural
6837 \[ g\longa c\breve a\breve f\breve d'\longa \]
6839 \[ e1 f1 a\breve g\longa \]
6844 \remove Ligature_bracket_engraver
6845 \consists Mensural_ligature_engraver
6851 Without replacing @internalsref{Ligature_bracket_engraver} with
6852 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6855 @lilypond[quote,raggedright]
6857 \set Score.timing = ##f
6858 \set Score.defaultBarType = "empty"
6859 \override NoteHead #'style = #'neomensural
6860 \override Staff.TimeSignature #'style = #'neomensural
6862 \[ g\longa c\breve a\breve f\breve d'\longa \]
6864 \[ e1 f1 a\breve g\longa \]
6870 The implementation is experimental. It may output strange warnings,
6871 incorrect results, and might even crash on more complex ligatures.
6873 @node Gregorian square neumes ligatures
6874 @subsubsection Gregorian square neumes ligatures
6876 @cindex Square neumes ligatures
6877 @cindex Gregorian square neumes ligatures
6879 There is limited support for Gregorian square neumes notation
6880 (following the style of the Editio Vaticana). Core ligatures can
6881 already be typeset, but essential issues for serious typesetting are
6882 still lacking, such as (among others) horizontal alignment of multiple
6883 ligatures, lyrics alignment and proper handling of accidentals.
6886 The following table contains the extended neumes table of the 2nd
6887 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6888 1983 by the monks of Solesmes.
6890 @multitable @columnfractions .4 .2 .2 .2
6907 @c TODO: \layout block is identical in all of the below examples.
6908 @c Therefore, it should somehow be included rather than duplicated all
6911 @c why not make identifiers in ly/engraver-init.ly? --hwn
6913 @c Because it's just used to typeset plain notes without
6914 @c a staff for demonstration purposes rather than something
6915 @c special of Gregorian chant notation. --jr
6920 @lilypond[staffsize=26,linewidth=1.5\cm]
6921 \include "gregorian-init.ly"
6926 \noBreak s^\markup {"a"} \noBreak
6928 % Punctum Inclinatum
6930 \noBreak s^\markup {"b"}
6932 \layout { \neumeDemoLayout }}
6935 @lilypond[staffsize=26,linewidth=2.5\cm]
6936 \include "gregorian-init.ly"
6939 % Punctum Auctum Ascendens
6940 \[ \auctum \ascendens b \]
6941 \noBreak s^\markup {"c"} \noBreak
6943 % Punctum Auctum Descendens
6944 \[ \auctum \descendens b \]
6945 \noBreak s^\markup {"d"} \noBreak
6947 % Punctum Inclinatum Auctum
6948 \[ \inclinatum \auctum b \]
6949 \noBreak s^\markup {"e"}
6951 \layout { \neumeDemoLayout }}
6954 @lilypond[staffsize=26,linewidth=1.0\cm]
6955 \include "gregorian-init.ly"
6958 % Punctum Inclinatum Parvum
6959 \[ \inclinatum \deminutum b \]
6960 \noBreak s^\markup {"f"}
6962 \layout { \neumeDemoLayout }}
6968 @lilypond[staffsize=26,linewidth=1.0\cm]
6969 \include "gregorian-init.ly"
6974 \noBreak s^\markup {"g"}
6976 \layout { \neumeDemoLayout }}
6982 @code{3. Apostropha vel Stropha}
6984 @lilypond[staffsize=26,linewidth=1.0\cm]
6985 \include "gregorian-init.ly"
6990 \noBreak s^\markup {"h"}
6992 \layout { \neumeDemoLayout }}
6995 @lilypond[staffsize=26,linewidth=1.0\cm]
6996 \include "gregorian-init.ly"
7000 \[ \stropha \auctum b \]
7001 \noBreak s^\markup {"i"}
7003 \layout { \neumeDemoLayout }}
7010 @lilypond[staffsize=26,linewidth=1.0\cm]
7011 \include "gregorian-init.ly"
7016 \noBreak s^\markup {"j"}
7018 \layout { \neumeDemoLayout }}
7024 @code{5. Clivis vel Flexa}
7026 @lilypond[staffsize=26,linewidth=1.0\cm]
7027 \include "gregorian-init.ly"
7034 \layout { \neumeDemoLayout }}
7037 @lilypond[staffsize=26,linewidth=2.0\cm]
7038 \include "gregorian-init.ly"
7041 % Clivis Aucta Descendens
7042 \[ b \flexa \auctum \descendens g \]
7043 \noBreak s^\markup {"l"} \noBreak
7045 % Clivis Aucta Ascendens
7046 \[ b \flexa \auctum \ascendens g \]
7047 \noBreak s^\markup {"m"}
7049 \layout { \neumeDemoLayout }}
7052 @lilypond[staffsize=26,linewidth=1.0\cm]
7053 \include "gregorian-init.ly"
7057 \[ b \flexa \deminutum g \]
7060 \layout { \neumeDemoLayout }}
7064 @code{6. Podatus vel Pes}
7066 @lilypond[staffsize=26,linewidth=1.0\cm]
7067 \include "gregorian-init.ly"
7074 \layout { \neumeDemoLayout }}
7077 @lilypond[staffsize=26,linewidth=2.0\cm]
7078 \include "gregorian-init.ly"
7081 % Pes Auctus Descendens
7082 \[ g \pes \auctum \descendens b \]
7083 \noBreak s^\markup {"p"} \noBreak
7085 % Pes Auctus Ascendens
7086 \[ g \pes \auctum \ascendens b \]
7087 \noBreak s^\markup {"q"}
7089 \layout { \neumeDemoLayout }}
7092 @lilypond[staffsize=26,linewidth=1.0\cm]
7093 \include "gregorian-init.ly"
7097 \[ g \pes \deminutum b \]
7100 \layout { \neumeDemoLayout }}
7104 @code{7. Pes Quassus}
7106 @lilypond[staffsize=26,linewidth=1.0\cm]
7107 \include "gregorian-init.ly"
7111 \[ \oriscus g \pes \virga b \]
7114 \layout { \neumeDemoLayout }}
7117 @lilypond[staffsize=26,linewidth=1.0\cm]
7118 \include "gregorian-init.ly"
7121 % Pes Quassus Auctus Descendens
7122 \[ \oriscus g \pes \auctum \descendens b \]
7125 \layout { \neumeDemoLayout }}
7130 @code{8. Quilisma Pes}
7132 @lilypond[staffsize=26,linewidth=1.0\cm]
7133 \include "gregorian-init.ly"
7137 \[ \quilisma g \pes b \]
7140 \layout { \neumeDemoLayout }}
7143 @lilypond[staffsize=26,linewidth=1.0\cm]
7144 \include "gregorian-init.ly"
7147 % Quilisma Pes Auctus Descendens
7148 \[ \quilisma g \pes \auctum \descendens b \]
7151 \layout { \neumeDemoLayout }}
7156 @code{9. Podatus Initio Debilis}
7158 @lilypond[staffsize=26,linewidth=1.0\cm]
7159 \include "gregorian-init.ly"
7162 % Pes Initio Debilis
7163 \[ \deminutum g \pes b \]
7166 \layout { \neumeDemoLayout }}
7169 @lilypond[staffsize=26,linewidth=1.0\cm]
7170 \include "gregorian-init.ly"
7173 % Pes Auctus Descendens Initio Debilis
7174 \[ \deminutum g \pes \auctum \descendens b \]
7177 \layout { \neumeDemoLayout }}
7184 @lilypond[staffsize=26,linewidth=1.0\cm]
7185 \include "gregorian-init.ly"
7189 \[ a \pes b \flexa g \]
7192 \layout { \neumeDemoLayout }}
7195 @lilypond[staffsize=26,linewidth=1.0\cm]
7196 \include "gregorian-init.ly"
7199 % Torculus Auctus Descendens
7200 \[ a \pes b \flexa \auctum \descendens g \]
7203 \layout { \neumeDemoLayout }}
7206 @lilypond[staffsize=26,linewidth=1.0\cm]
7207 \include "gregorian-init.ly"
7210 % Torculus Deminutus
7211 \[ a \pes b \flexa \deminutum g \]
7214 \layout { \neumeDemoLayout }}
7218 @code{11. Torculus Initio Debilis}
7220 @lilypond[staffsize=26,linewidth=1.0\cm]
7221 \include "gregorian-init.ly"
7224 % Torculus Initio Debilis
7225 \[ \deminutum a \pes b \flexa g \]
7228 \layout { \neumeDemoLayout }}
7231 @lilypond[staffsize=26,linewidth=1.0\cm]
7232 \include "gregorian-init.ly"
7235 % Torculus Auctus Descendens Initio Debilis
7236 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
7239 \layout { \neumeDemoLayout }}
7242 @lilypond[staffsize=26,linewidth=1.0\cm]
7243 \include "gregorian-init.ly"
7246 % Torculus Deminutus Initio Debilis
7247 \[ \deminutum a \pes b \flexa \deminutum g \]
7250 \layout { \neumeDemoLayout }}
7254 @code{12. Porrectus}
7256 @lilypond[staffsize=26,linewidth=1.0\cm]
7257 \include "gregorian-init.ly"
7261 \[ a \flexa g \pes b \]
7264 \layout { \neumeDemoLayout }}
7267 @lilypond[staffsize=26,linewidth=1.0\cm]
7268 \include "gregorian-init.ly"
7271 % Porrectus Auctus Descendens
7272 \[ a \flexa g \pes \auctum \descendens b \]
7275 \layout { \neumeDemoLayout }}
7278 @lilypond[staffsize=26,linewidth=1.0\cm]
7279 \include "gregorian-init.ly"
7282 % Porrectus Deminutus
7283 \[ a \flexa g \pes \deminutum b \]
7286 \layout { \neumeDemoLayout }}
7292 @lilypond[staffsize=26,linewidth=1.0\cm]
7293 \include "gregorian-init.ly"
7297 \[ \virga b \inclinatum a \inclinatum g \]
7300 \layout { \neumeDemoLayout }
7304 @lilypond[staffsize=26,linewidth=1.0\cm]
7305 \include "gregorian-init.ly"
7309 \[ \virga b \inclinatum a \inclinatum \auctum g \]
7312 \layout { \neumeDemoLayout }}
7315 @lilypond[staffsize=26,linewidth=1.0\cm]
7316 \include "gregorian-init.ly"
7319 % Climacus Deminutus
7320 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7323 \layout { \neumeDemoLayout }}
7327 @code{14. Scandicus}
7329 @lilypond[staffsize=26,linewidth=1.0\cm]
7330 \include "gregorian-init.ly"
7334 \[ g \pes a \virga b \]
7337 \layout { \neumeDemoLayout }}
7340 @lilypond[staffsize=26,linewidth=1.0\cm]
7341 \include "gregorian-init.ly"
7344 % Scandicus Auctus Descendens
7345 \[ g \pes a \pes \auctum \descendens b \]
7348 \layout { \neumeDemoLayout }}
7351 @lilypond[staffsize=26,linewidth=1.0\cm]
7352 \include "gregorian-init.ly"
7355 % Scandicus Deminutus
7356 \[ g \pes a \pes \deminutum b \]
7359 \layout { \neumeDemoLayout }}
7365 @lilypond[staffsize=26,linewidth=1.0\cm]
7366 \include "gregorian-init.ly"
7370 \[ g \oriscus a \pes \virga b \]
7373 \layout { \neumeDemoLayout }}
7376 @lilypond[staffsize=26,linewidth=1.0\cm]
7377 \include "gregorian-init.ly"
7380 % Salicus Auctus Descendens
7381 \[ g \oriscus a \pes \auctum \descendens b \]
7384 \layout { \neumeDemoLayout }}
7391 @lilypond[staffsize=26,linewidth=1.0\cm]
7392 \include "gregorian-init.ly"
7396 \[ \stropha b \stropha b \stropha a \]
7399 \layout { \neumeDemoLayout }
7408 Unlike most other neumes notation systems, the input language for
7409 neumes does not reflect the typographical appearance, but is designed
7410 to focus on musical meaning. For example, @code{\[ a \pes b
7411 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7412 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7413 curved flexa shape and only a single Punctum head. There is no
7414 command to explicitly typeset the curved flexa shape; the decision of
7415 when to typeset a curved flexa shape is based on the musical
7416 input. The idea of this approach is to separate the musical aspects
7417 of the input from the notation style of the output. This way, the
7418 same input can be reused to typeset the same music in a different
7419 style of Gregorian chant notation.
7421 The following table shows the code fragments that produce the
7422 ligatures in the above neumes table. The letter in the first column
7423 in each line of the below table indicates to which ligature in the
7424 above table it refers. The second column gives the name of the
7425 ligature. The third column shows the code fragment that produces this
7426 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
7428 @multitable @columnfractions .02 .31 .67
7448 @code{\[ \inclinatum b \]}
7456 @code{\[ \auctum \ascendens b \]}
7464 @code{\[ \auctum \descendens b \]}
7469 Punctum Inclinatum@*
7472 @code{\[ \inclinatum \auctum b \]}
7477 Punctum Inclinatum@*
7479 @code{\[ \inclinatum \deminutum b \]}
7486 @code{\[ \virga b \]}
7493 @code{\[ \stropha b \]}
7500 @code{\[ \stropha \auctum b \]}
7507 @code{\[ \oriscus b \]}
7514 @code{\[ b \flexa g \]}
7522 @code{\[ b \flexa \auctum \descendens g \]}
7530 @code{\[ b \flexa \auctum \ascendens g \]}
7537 @code{\[ b \flexa \deminutum g \]}
7544 @code{\[ g \pes b \]}
7552 @code{\[ g \pes \auctum \descendens b \]}
7560 @code{\[ g \pes \auctum \ascendens b \]}
7567 @code{\[ g \pes \deminutum b \]}
7574 @code{\[ \oriscus g \pes \virga b \]}
7580 Auctus Descendens @tab
7581 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7588 @code{\[ \quilisma g \pes b \]}
7596 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7603 @code{\[ \deminutum g \pes b \]}
7608 Pes Auctus Descendens@*
7611 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7618 @code{\[ a \pes b \flexa g \]}
7626 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7633 @code{\[ a \pes b \flexa \deminutum g \]}
7638 Torculus Initio Debilis
7640 @code{\[ \deminutum a \pes b \flexa g \]}
7646 Descendens Initio Debilis
7648 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7653 Torculus Deminutus@*
7656 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7663 @code{\[ a \flexa g \pes b \]}
7671 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7678 @code{\[ a \flexa g \pes \deminutum b \]}
7685 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7692 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7699 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7706 @code{\[ g \pes a \virga b \]}
7714 @code{\[ g \pes a \pes \auctum \descendens b \]}
7721 @code{\[ g \pes a \pes \deminutum b \]}
7728 @code{\[ g \oriscus a \pes \virga b \]}
7733 Salicus Auctus Descendens
7735 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7742 @code{\[ \stropha b \stropha b \stropha a \]}
7747 The following head prefixes are supported
7749 @cindex @code{\virga}
7751 @cindex @code{\stropha}
7753 @cindex @code{\inclinatum}
7755 @cindex @code{\auctum}
7757 @cindex @code{\descendens}
7759 @cindex @code{\ascendens}
7761 @cindex @code{\oriscus}
7763 @cindex @code{\quilisma}
7765 @cindex @code{\deminutum}
7768 Head prefixes can be accumulated, though restrictions apply. For
7769 example, either @code{\descendens} or @code{\ascendens} can be applied
7770 to a head, but not both to the same head.
7773 @cindex @code{\flexa}
7774 Two adjacent heads can be tied together with the @code{\pes} and
7775 @code{\flexa} infix commands for a rising and falling line of melody,
7780 @node Gregorian Chant contexts
7781 @subsection Gregorian Chant contexts
7783 @cindex VaticanaVoiceContext
7784 @cindex VaticanaStaffContext
7786 The predefined @code{VaticanaVoiceContext} and
7787 @code{VaticanaStaffContext} can be used to engrave a piece of
7788 Gregorian Chant in the style of the Editio Vaticana. These contexts
7789 initialize all relevant context properties and grob properties to
7790 proper values, so you can immediately go ahead entering the chant, as
7791 the following excerpt demonstrates
7793 @lilypond[quote,raggedright,verbatim]
7794 \include "gregorian-init.ly"
7797 \context VaticanaVoice = "cantus" {
7798 \override Score.BarNumber #'transparent = ##t {
7799 \[ c'\melisma c' \flexa a \]
7800 \[ a \flexa \deminutum g\melismaEnd \]
7802 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7803 c' \divisioMinima \break
7804 \[ c'\melisma c' \flexa a \]
7805 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7808 \lyricsto "cantus" \new Lyrics {
7809 San- ctus, San- ctus, San- ctus
7816 @node Mensural contexts
7817 @subsection Mensural contexts
7819 @cindex MensuralVoiceContext
7820 @cindex MensuralStaffContext
7822 The predefined @code{MensuralVoiceContext} and
7823 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7824 style. These contexts initialize all relevant context properties and
7825 grob properties to proper values, so you can immediately go ahead
7826 entering the chant, as the following excerpt demonstrates
7828 @lilypond[quote,raggedright,verbatim]
7831 \context MensuralVoice = "discantus" \transpose c c' {
7832 \override Score.BarNumber #'transparent = ##t {
7833 c'1\melisma bes a g\melismaEnd
7835 \[ f1\melisma a c'\breve d'\melismaEnd \]
7837 c'\breve\melisma a1 g1\melismaEnd
7838 fis\longa^\signumcongruentiae
7841 \lyricsto "discantus" \new Lyrics {
7842 San -- ctus, San -- ctus, San -- ctus
7850 @subsection Figured bass
7852 @cindex Basso continuo
7854 @c TODO: musicological blurb about FB
7857 LilyPond has limited support for figured bass
7859 @lilypond[quote,raggedright,verbatim,fragment]
7861 \context Voice { \clef bass dis4 c d ais g fis}
7862 \context FiguredBass \figuremode {
7863 < 6 >4 < 7 >8 < 6+ [_!] >
7870 The support for figured bass consists of two parts: there is an input
7871 mode, introduced by @code{\figuremode}, where you can enter bass figures
7872 as numbers, and there is a context called @internalsref{FiguredBass} that
7873 takes care of making @internalsref{BassFigure} objects.
7875 In figures input mode, a group of bass figures is delimited by
7876 @code{<} and @code{>}. The duration is entered after the @code{>}
7880 @lilypond[quote,raggedright,fragment]
7881 \context FiguredBass
7882 \figuremode { <4 6> }
7885 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
7891 @lilypond[quote,raggedright,fragment]
7892 \context FiguredBass
7893 \figuremode { <4- 6+ 7!> }
7896 Spaces or dashes may be inserted by using @code{_}. Brackets are
7897 introduced with @code{[} and @code{]}
7902 @lilypond[quote,raggedright,fragment]
7903 \context FiguredBass
7904 \figuremode { < [4 6] 8 [_! 12] > }
7907 Although the support for figured bass may superficially resemble chord
7908 support, it works much simpler. The @code{\figuremode} mode simply
7909 stores the numbers and @internalsref{FiguredBass} context prints
7910 them as entered. There is no conversion to pitches and no
7911 realizations of the bass are played in the MIDI file.
7913 Internally, the code produces markup texts. You can use any of the
7914 markup text properties to override formatting. For example, the
7915 vertical spacing of the figures may be set with @code{baseline-skip}.
7919 Program reference: @internalsref{BassFigureEvent} music,
7920 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
7924 Slash notation for alterations is not supported.
7926 @node Contemporary notation
7927 @section Contemporary notation
7929 In the 20th century, composers have greatly expanded the musical
7930 vocabulary. With this expansion, many innovations in musical notation
7931 have been tried. The book ``Music Notation in the 20th century'' by
7932 Kurt Stone gives a comprehensive overview (see @ref{Literature
7933 list}). In general, the use of new, innovative notation makes a piece
7934 harder to understand and perform and its use should therefore be
7935 avoided. For this reason, support for contemporary notation in
7936 LilyPond is limited.
7940 * Polymetric notation::
7942 * Special fermatas::
7946 @node Polymetric notation
7947 @subsection Polymetric notation
7949 Double time signatures are not supported explicitly, but they can be
7950 faked. In the next example, the markup for the time signature is
7951 created with a markup text. This markup text is inserted in the
7952 @internalsref{TimeSignature} grob.
7954 @lilypond[verbatim,raggedright]
7959 \musicglyph #"scripts-stopped"
7960 \bracket \column { "5" "8" }
7965 \override Staff.TimeSignature #'print-function = #Text_interface::print
7966 \override Staff.TimeSignature #'text = #tsMarkup
7968 c'2 \bar ":" c'4 c'4.
7972 Each staff can also have its own time signature. This is done by
7973 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
7978 \context @{ \Score \remove "Timing_engraver" @}
7979 \context @{ \Staff \consists "Timing_engraver" @}
7984 Now, each staff has its own time signature.
7997 c4. c8 c c c4. c8 c c
8002 @lilypond[quote,raggedright]
8004 \context{ \Score \remove "Timing_engraver" }
8005 \context{ \Staff \consists "Timing_engraver" }
8019 c4. c8 c c c4. c8 c c
8025 A different form of polymetric notation is where note lengths have
8026 different values across staves.
8028 This notation can be created by setting a common time signature for
8029 each staff but replacing it manually using
8030 @code{timeSignatureFraction} to the desired fraction. Then the printed
8031 durations in each staff are scaled to the common time signature.
8032 The latter is done with @code{\compressmusic}, which is similar to
8033 @code{\times}, but does not create a tuplet bracket.
8036 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
8037 used in parallel. In the second staff, shown durations are multiplied by
8038 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
8039 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
8041 @lilypond[quote,raggedright,verbatim,fragment]
8049 \set Staff.timeSignatureFraction = #'(9 . 8)
8050 \compressmusic #'(2 . 3)
8051 \repeat unfold 6 { c8[ c c] }
8055 \set Staff.timeSignatureFraction = #'(10 . 8)
8056 \compressmusic #'(3 . 5) {
8057 \repeat unfold 2 { c8[ c c] }
8058 \repeat unfold 2 { c8[ c] }
8059 | c4. c4. \times 2/3 { c8 c c } c4
8070 When using different time signatures in parallel, the spacing is
8071 aligned vertically, but bar lines distort the regular spacing.
8076 @subsection Clusters
8080 A cluster indicates a continuous range of pitches to be played. They
8081 can be denoted as the envelope of a set of notes. They are entered by
8082 applying the function @code{makeClusters} to a sequence of
8084 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
8085 \makeClusters { <c e > <b f'> }
8088 The following example (from
8089 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
8092 @lilypondfile[raggedright,quote]{cluster.ly}
8094 Ordinary notes and clusters can be put together in the same staff,
8095 even simultaneously. In such a case no attempt is made to
8096 automatically avoid collisions between ordinary notes and clusters.
8100 Program reference: @internalsref{ClusterSpanner},
8101 @internalsref{ClusterSpannerBeacon},
8102 @internalsref{Cluster_spanner_engraver}, and
8103 @internalsref{ClusterNoteEvent}.
8105 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
8109 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
8110 accurately. Use @code{<g a>8 <e a>8} instead.
8114 @node Special fermatas
8115 @subsection Special fermatas
8117 @cindex fermatas, special
8119 In contemporary music notation, special fermata symbols denote breaks
8120 of differing lengths. The following fermatas are supported
8122 @lilypond[quote,raggedright]
8145 \context Lyrics \lyricmode {
8146 \override LyricText #'font-family = #'typewriter
8147 "shortfermata" "fermata" "longfermata" "verylongfermata"
8152 See @ref{Articulations} for general instructions how to apply scripts
8153 such as fermatas to notes.
8155 @node Feathered beams
8156 @subsection Feathered beams
8158 Feathered beams are not supported natively, but they can be faked by
8159 forcing two beams to overlap. Here is an example,
8161 @c don't change relative setting witout changing positions!
8162 @lilypond[raggedright,relative=1,fragment,verbatim]
8167 \once \override Voice.Beam #'positions = #'(0 . 0.5)
8172 \once \override Voice.Beam #'positions = #'(0 . -0.5)
8180 @node Educational use
8181 @section Educational use
8183 With the amount of control that LilyPond offers, one can make great
8184 teaching tools in addition to great musical scores.
8188 * Blank music sheet::
8190 * Shaped note heads ::
8191 * Easy Notation note heads::
8195 @subsection Balloon help
8197 Elements of notation can be marked and named with the help of a square
8198 balloon. The primary purpose of this feature is to explain notation.
8200 The following example demonstrates its use.
8202 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
8205 #(add-balloon-text 'NoteHead "heads, or tails?"
8212 The function @code{add-balloon-text} takes the name of a grob, the
8213 label to print, and the position where to put the label relative to
8214 the object. In the above example, the text ``heads or tails?'' ends
8215 3 spaces below and 1 space to the right of the marked head.
8218 @cindex notation, explaining
8222 Program reference: @internalsref{text-balloon-interface}.
8224 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
8229 @node Blank music sheet
8230 @subsection Blank music sheet
8232 A blank music sheet can be produced also by using invisible notes, and
8233 removing @code{Bar_number_engraver}.
8236 @lilypond[quote,verbatim]
8238 \repeat unfold 2 % Change this for more lines.
8243 \override TimeSignature #'transparent = ##t
8244 defaultBarType = #""
8245 \remove Bar_number_engraver
8247 \context Staff \emptymusic
8248 \context TabStaff \emptymusic
8254 @subsection Hidden notes
8256 @cindex Hidden notes
8257 @cindex Invisible notes
8258 @cindex Transparent notes
8260 Hidden (or invisible or transparent) notes can be useful in preparing theory
8261 or composition exercises.
8263 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
8271 Hidden notes are also great for performing weird tricks. For example,
8272 slurs cannot be attached to rests or spacer rests, but you may wish
8273 to include that in your score -- string instruments use this notation
8274 when doing pizzicato to indicate that the note should ring for as long
8277 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
8280 c4^"pizz"( \hideNotes c)
8281 \unHideNotes c( \hideNotes c)
8288 @node Shaped note heads
8289 @subsection Shaped note heads
8291 In shaped note head notation, the shape of the note head corresponds
8292 to the harmonic function of a note in the scale. This notation was
8293 popular in the 19th century American song books.
8295 Shaped note heads can be produced by setting @code{\aikenHeads} or
8296 @code{\sacredHarpHeads}, depending on the style desired.
8298 @lilypond[verbatim,relative=1,fragment]
8305 Shapes are determined on the step in the scale, where the base of the
8306 scale is determined by the @code{\key} command
8309 @findex shapeNoteStyles
8311 @findex \sacredHarpHeads
8313 Shaped note heads are implemented through the @code{shapeNoteStyles}
8314 property. Its value is a vector of symbols. The k-th element indicates
8315 the style to use for the k-th step of the scale. Arbitrary
8316 combinations are possible, eg.,
8319 @lilypond[verbatim,relative=1,fragment]
8320 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
8325 @node Easy Notation note heads
8326 @subsection Easy Notation note heads
8328 @cindex easy notation
8331 The `easy play' note head includes a note name inside the head. It is
8332 used in music for beginners
8334 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
8339 The command @code{\setEasyHeads} overrides settings for the
8340 @internalsref{NoteHead} object. To make the letters readable, it has
8341 to be printed in a large font size. To print with a larger font, see
8342 @ref{Setting global staff size}.
8346 @cindex @code{\setEasyHeads}
8347 @code{\setEasyHeads}