2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration:
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C:
90 @lilypond[fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches:
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[verbatim,relative=2]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are:
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave:
153 @lilypond[fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands:
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch:
186 @lilypond[fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
220 Rests are entered like notes, with the note name @code{r}:
222 @lilypond[raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone:
236 @lilypond[raggedright,verbatim]
242 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}:
255 @lilypond[raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command:
262 @lilypond[raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables:
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
348 In the following example, the first three notes take up exactly two
350 @lilypond[fragment,relative=2,verbatim]
352 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
377 Whenever a note is found, a @internalsref{Stem} object is created
378 automatically. For whole notes and rests, they are also created but
383 @cindex @code{\stemUp}
385 @cindex @code{\stemDown}
387 @cindex @code{\stemBoth}
398 A tie connects two adjacent note heads of the same pitch. The tie in
399 effect extends the length of a note. Ties should not be confused with
400 slurs, which indicate articulation, or phrasing slurs, which indicate
401 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
403 @lilypond[fragment,verbatim]
404 e' ~ e' <c' e' g'> ~ <c' e' g'>
407 When a tie is applied to a chord, all note heads whose pitches match
408 are connected. When no note heads match, no ties will be created.
410 In its meaning a tie is just a way of extending a note duration, similar
411 to the augmentation dot; in the following example there are two ways of
412 notating exactly the same concept:
414 @lilypond[fragment,raggedright]
415 \time 3/4 c'2. c'2 ~ c'4
417 If you need to tie a lot of notes over bars, it may be easier to use automatic
418 note splitting (see @ref{Automatic note splitting}).
423 @cindex @code{\tieUp}
425 @cindex @code{\tieDown}
427 @cindex @code{\tieBoth}
429 @cindex @code{\tieDotted}
431 @cindex @code{\tieSolid}
436 In this manual: @ref{Automatic note splitting}.
438 Internals: @internalsref{TieEvent}, @internalsref{Tie}.
440 For tying only a subset of the note heads of a pair of chords, see
441 @inputfileref{input/regression,tie-chord-partial.ly}.
446 Switching staves when a tie is active will not produce a slanted tie.
448 Formatting of ties is a difficult subject. The results are often not
458 @cindex @code{\times}
460 Tuplets are made out of a music expression by multiplying all durations
463 @cindex @code{\times}
465 \times @var{fraction} @var{musicexpr}
469 The duration of @var{musicexpr} will be multiplied by the fraction.
470 The fraction's denominator will be printed over the notes, optionally
471 with a bracket. The most common tuplet is the triplet in which 3
472 notes have the length of 2, so the notes are 2/3 of their written
475 @lilypond[fragment,verbatim]
476 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
479 The property @code{tupletSpannerDuration} specifies how long each
480 bracket should last. With this, you can make lots of tuplets while
481 typing @code{\times} only once, saving lots of typing. In the next
482 example, there are two triplets shown, while @code{\times} was only
485 @lilypond[fragment,relative,raggedright,verbatim]
486 \set tupletSpannerDuration = #(ly:make-moment 1 4)
487 \times 2/3 { c'8 c c c c c }
490 The format of the number is determined by the property
491 @code{tupletNumberFormatFunction}. The default prints only the
492 denominator, but if it is set to the Scheme function
493 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
497 @cindex @code{tupletNumberFormatFunction}
498 @cindex tuplet formatting
503 @cindex @code{\tupletUp}
505 @cindex @code{\tupletDown}
507 @cindex @code{\tupletBoth}
512 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
514 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
518 Nested tuplets are not formatted automatically. In this case, outer
519 tuplet brackets should be moved manually, which is demonstrated in
520 @inputfileref{input/regression,tuplet-nest.ly}.
524 @node Easier music entry
525 @section Easier music entry
528 This section deals with tricks and features of the input language
529 that were added solely to help entering music, finding and correcting
532 There are also other tools make debugging easier, by linking the input file
533 and the output shown on screen. See @ref{Point and click} for more
536 It is also possible to use external programs, for example GUI
537 interfaces, or MIDI transcription programs, to enter or edit
538 music. Refer to the website for more information.
545 * Skipping corrected music::
546 * Automatic note splitting::
552 @node Relative octaves
553 @subsection Relative octaves
555 @cindex relative octave specification
557 Octaves are specified by adding @code{'} and @code{,} to pitch names.
558 When you copy existing music, it is easy to accidentally put a pitch
559 in the wrong octave and hard to find such an error. The relative
560 octave mode prevents these errors: a single error puts the rest of the
561 piece off by one octave:
563 @cindex @code{\relative}
565 \relative @var{startpitch} @var{musicexpr}
568 The octave of notes that appear in @var{musicexpr} are calculated as
569 follows: If no octave changing marks are used, the basic interval
570 between this and the last note is always taken to be a fourth or less
571 (; this distance is determined without regarding alterations: a
572 @code{fisis} following a @code{ceses} will be put above the
575 The octave changing marks @code{'} and @code{,} can be added to raise
576 or lower the pitch by an extra octave. Upon entering relative mode,
577 an absolute starting pitch must be specified that will act as the
578 predecessor of the first note of @var{musicexpr}.
580 Here is the relative mode shown in action:
581 @lilypond[fragment,raggedright,verbatim]
587 Octave changing marks are used for intervals greater than a fourth:
588 @lilypond[fragment,verbatim]
593 If the preceding item is a chord, the first note of the chord is used
594 to determine the first note of the next chord:
596 @lilypond[fragment,verbatim]
603 @cindex @code{\notes}
605 The pitch after the @code{\relative} contains a note name. To parse
606 the pitch as a note name, you have to be in note mode, so there must
607 be a surrounding @code{\notes} keyword (which is not
610 The relative conversion will not affect @code{\transpose},
611 @code{\chords} or @code{\relative} sections in its argument. If you
612 want to use relative within transposed music, you must place an
613 additional @code{\relative} inside the @code{\transpose}.
616 @subsection Octave check
619 Octave checks make octave errors easier to correct: a note may be
620 followed by @code{=}@var{quotes} which indicates what its absolute
621 octave should be. In the following example,
623 \relative c'' @{ c='' b=' d,='' @}
627 @c take care with @code, adds confusing quotes.
628 the d will generate a warning, because a d'' is expected, but a d' is
629 found. In the output, the octave is corrected this and the following
634 There is also a syntax that is separate from the notes.
639 This checks that @var{pitch} (without octave) yields @var{pitch} (with
640 octave) in \relative mode. If not, a warning is printed, and the
641 octave is corrected, for example, the first check is passed
642 successfully. The second check fails with an error message. The
643 octave is adjusted so the following notes are in the correct octave
654 The octave of a note following an octave check is determined with
655 respect to the note preceding it. In the next fragment, the last note
656 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
657 be deleted without changing the meaning of the piece.
659 @lilypond[verbatim,fragment]
668 @subsection Bar check
672 @cindex @code{barCheckSynchronize}
675 Bar checks help detect errors in the durations. A bar check is
676 entered using the bar symbol, `@code{|}'. Whenever it is encountered
677 during interpretation, it should fall on a measure boundary. If it
678 does not, a warning is printed. Depending on the value of
679 @code{barCheckSynchronize}, the beginning of the measure will be
682 In the next example, the second bar check will signal an error:
684 \time 3/4 c2 e4 | g2 |
687 Bar checks can also be used in lyrics, for example
692 Twin -- kle | Twin -- kle
697 @cindex skipTypesetting
699 Failed bar checks are caused by entering incorrect
700 durations. Incorrect durations often completely garble up the score,
701 especially if it is polyphonic, so you should start correcting the
702 score by scanning for failed bar checks and incorrect durations. To
703 speed up this process, you can use @code{skipTypesetting}, described
706 @node Skipping corrected music
707 @subsection Skipping corrected music
709 The property @code{Score.skipTypesetting} can be used to switch on and
710 off typesetting completely during the interpretation phase. When
711 typesetting is switched off, the music is processed much more quickly.
712 This can be used to skip over the parts of a score that have already
713 been checked for errors:
715 @lilypond[fragment,raggedright,verbatim]
717 \set Score.skipTypesetting = ##t
719 \set Score.skipTypesetting = ##f
723 @node Automatic note splitting
724 @subsection Automatic note splitting
726 Long notes can be converted automatically to tied notes. This is done
727 by replacing the @internalsref{Note_heads_engraver} by the
728 @internalsref{Completion_heads_engraver}.
729 In the following examples, notes crossing the bar line are split and tied.
732 @lilypond[noindent,verbatim,relative=1]
734 \remove "Note_heads_engraver"
735 \consists "Completion_heads_engraver"
737 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
741 This engraver splits all running notes at the bar line, and inserts
742 ties. One of its uses is to debug complex scores: if the measures are
743 not entirely filled, then the ties exactly show how much each measure
748 Not all durations (especially those containing tuplets) can be
749 represented exactly; the engraver will not insert tuplets.
753 Examples: @inputfileref{input/regression,completion-heads.ly}.
755 Internals: @internalsref{Completion_heads_engraver}.
759 @section Staff notation
761 This section describes music notation that occurs on staff level,
762 such as keys, clefs and time signatures.
764 @cindex Staff notation
778 @subsection Staff symbol
780 @cindex adjusting staff symbol
782 Notes, dynamic signs, etc. are grouped
783 with a set of horizontal lines, into a staff (plural `staves'). In our
784 system, these lines are drawn using a separate layout object called
788 @cindex staff lines, setting number of
789 @cindex staff lines, setting thickness of
790 @cindex thickness of staff lines, setting
791 @cindex number of staff lines, setting
795 Internals: @internalsref{StaffSymbol}.
797 Examples: @inputfileref{input/test,staff-lines.ly},
798 @inputfileref{input/test,staff-size.ly}.
802 If a staff is ended halfway a piece, the staff symbol may not end
803 exactly on the bar line.
807 @subsection Key signature
808 @cindex Key signature
812 The key signature indicates the scale in which a piece is played. It
813 is denoted by a set of alterations (flats or sharps) at the start of
817 Setting or changing the key signature is done with the @code{\key}
820 @code{\key} @var{pitch} @var{type}
823 @cindex @code{\minor}
824 @cindex @code{\major}
825 @cindex @code{\minor}
826 @cindex @code{\ionian}
827 @cindex @code{\locrian}
828 @cindex @code{\aeolian}
829 @cindex @code{\mixolydian}
830 @cindex @code{\lydian}
831 @cindex @code{\phrygian}
832 @cindex @code{\dorian}
834 Here, @var{type} should be @code{\major} or @code{\minor} to get
835 @var{pitch}-major or @var{pitch}-minor, respectively.
836 The standard mode names @code{\ionian},
837 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
838 @code{\phrygian}, and @code{\dorian} are also defined.
840 This command sets the context property
841 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
842 can be specified by setting this property directly.
844 Accidentals and key signatures often confuse new users, because
845 unaltered notes get natural signs depending on the key signature. The
846 tutorial explains why this is so in @ref{More about pitches}.
850 The ordering of a key cancellation is wrong when it is combined with
851 repeat bar lines. The cancellation is also printed after a line break.
855 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
857 @cindex @code{keySignature}
864 The clef indicates which lines of the staff correspond to which
868 The clef can be set or changed with the @code{\clef} command:
869 @lilypond[fragment,verbatim]
870 \key f\major c''2 \clef alto g'2
873 Supported clef-names include:
874 @c Moved standard clefs to the top /MB
878 @item treble, violin, G, G2
891 G clef on 1st line, so-called French violin clef
896 @cindex mezzosoprano clef
899 @cindex baritone clef
902 @cindex varbaritone clef
911 By adding @code{_8} or @code{^8} to the clef name, the clef is
912 transposed one octave down or up, respectively, and @code{_15} and
913 @code{^15} transposes by two octaves. The argument @var{clefname}
914 must be enclosed in quotes when it contains underscores or digits. For
918 @cindex choral tenor clef
919 @lilypond[verbatim,fragment,relative]
923 This command is equivalent to setting @code{clefGlyph},
924 @code{clefPosition} (which controls the Y position of the clef),
925 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
926 when any of these properties are changed.
930 Internals: the object for this symbol is @internalsref{Clef}.
934 @node Ottava brackets
935 @subsection Ottava brackets
937 ``Ottava'' brackets introduce an extra transposition of an octave for
938 the staff. They are created by invoking the function
939 @code{set-octavation}:
945 @lilypond[verbatim,fragment]
954 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
955 (for 15ma) as arguments. Internally the function sets the properties
956 @code{ottavation} (e.g. to @code{"8va"}) and
957 @code{centralCPosition}. For overriding the text of the bracket, set
958 @code{ottavation} after invoking @code{set-octavation}, i.e.,
962 \set Staff.ottavation = #"8"
967 Internals: @internalsref{OttavaBracket}.
969 Examples: @inputfileref{input/regression,ottava.ly},
970 @inputfileref{input/regression,ottava-broken.ly}.
974 @code{set-octavation} will get confused when clef changes happen
975 during an octavation bracket.
978 @subsection Time signature
979 @cindex Time signature
983 Time signature indicates the metrum of a piece: a regular pattern of
984 strong and weak beats. It is denoted by a fraction at the start of the
988 The time signature is set or changed by the @code{\time}
990 @lilypond[fragment,verbatim]
991 \time 2/4 c'2 \time 3/4 c'2.
994 The symbol that is printed can be customized with the @code{style}
995 property. Setting it to @code{#'()} uses fraction style for 4/4 and
996 2/2 time. There are many more options for its layout. See
997 @inputfileref{input/test,time.ly} for more examples.
1000 This command sets the property @code{timeSignatureFraction},
1001 @code{beatLength} and @code{measureLength} in the @code{Timing}
1002 context, which is normally aliased to @internalsref{Score}. The
1003 property @code{measureLength} determines where bar lines should be
1004 inserted, and how automatic beams should be generated. Changing the
1005 value of @code{timeSignatureFraction} also causes the symbol to be
1008 More options are available through the Scheme function
1009 @code{set-time-signature}. In combination with the
1010 @internalsref{Measure_grouping_engraver}, it will create
1011 @internalsref{MeasureGrouping} signs. Such signs ease reading
1012 rhythmically complex modern music. In the following example, the 9/8
1013 measure is subdivided in 2, 2, 2 and 3. This is passed to
1014 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1017 \score { \notes \relative c'' {
1018 #(set-time-signature 9 8 '(2 2 2 3))
1019 g8[ g] d[ d] g[ g] a8[( bes g]) |
1020 #(set-time-signature 5 8 '(3 2))
1025 \context { \StaffContext
1026 \consists "Measure_grouping_engraver"
1032 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1037 Automatic beaming does not use measure grouping specified with
1038 @code{set-time-signature}.
1040 @node Partial measures
1041 @subsection Partial measures
1044 @cindex partial measure
1045 @cindex measure, partial
1046 @cindex shorten measures
1047 @cindex @code{\partial}
1049 Partial measures, for example in upsteps, are entered using the
1050 @code{\partial} command:
1051 @lilypond[fragment,verbatim,relative=1]
1052 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1055 The syntax for this command is
1057 \partial @var{duration}
1059 This is internally translated into
1061 \set Timing.measurePosition = -@var{length of duration}
1064 The property @code{measurePosition} contains a rational number
1065 indicating how much of the measure has passed at this point.
1067 @node Unmetered music
1068 @subsection Unmetered music
1070 Bar lines and bar numbers are calculated automatically. For unmetered
1071 music (e.g. cadenzas), this is not desirable. By setting
1072 @code{Score.timing} to false, this automatic timing can be switched
1078 @cindex @code{\cadenzaOn}
1080 @cindex @code{\cadenzaOff}
1084 @subsection Bar lines
1088 @cindex measure lines
1092 Bar lines delimit measures, but are also used to indicate repeats.
1093 Normally, they are inserted automatically. Line breaks may only
1094 happen on bar lines.
1098 of bar lines can be forced with the @code{\bar} command:
1100 @lilypond[relative=1,fragment,verbatim]
1104 The following bar types are available:
1105 @lilypond[fragment,relative,raggedright,verbatim]
1118 For allowing line breaks, there is a special command,
1122 This will insert an invisible bar line, and allow line breaks at this
1125 In scores with many staves, a @code{\bar} command in one staff is
1126 automatically applied to all staves. The resulting bar lines are
1127 connected between different staves of a @internalsref{StaffGroup}:
1129 @lilypond[fragment,verbatim]
1130 << \context StaffGroup <<
1134 \new Staff { \clef bass c4 g e g } >>
1135 \new Staff { \clef bass c2 c2 } >>
1139 The command @code{\bar @var{bartype}} is a short cut for doing
1140 @code{\set Score.whichBar = @var{bartype}} Whenever
1141 @code{whichBar} is set to a string, a bar line of that type is
1142 created. At the start of a measure it is set to
1143 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1144 to override default measure bars.
1146 Property @code{whichBar} can also be set directly, using @code{\set}
1147 or @code{\bar}. These settings take precedence over the automatic
1148 @code{whichBar} settings.
1151 @cindex repeatCommands
1152 @cindex defaultBarType
1154 You are encouraged to use @code{\repeat} for repetitions. See
1161 In this manual: @ref{Repeats}.
1164 Internals: the bar line objects that are created at
1165 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1166 lines that span staves are @internalsref{SpanBar}s.
1168 @cindex bar lines at start of system
1169 @cindex start of system
1171 The bar lines at the start of each system are
1172 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1173 @internalsref{SystemStartBracket}. Only one of these types is created
1174 in every context, and that type is determined by the property
1175 @code{systemStartDelimiter}.
1177 Examples: @inputfileref{input/test,bar-lines.ly},
1183 The easiest way to enter fragments with more than one voice on a staff
1184 is to split chords using the separator @code{\\}. You can use it for
1185 small, short-lived voices or for single chords:
1187 @lilypond[verbatim,fragment]
1188 \context Staff \relative c'' {
1189 c4 << { f d e } \\ { b c2 } >>
1190 c4 << g' \\ b, \\ f' \\ d >>
1194 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1195 voices are sometimes called "layers" other notation packages}
1197 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1198 each of these contexts, vertical direction of slurs, stems, etc. is set
1201 @cindex @code{\voiceOne}
1202 @cindex @code{\voiceFour}
1204 This can also be done by instantiating @internalsref{Voice} contexts
1205 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1206 a stem directions and horizontal shift for each part:
1209 @lilypond[raggedright,verbatim]
1211 \context Staff << \new Voice { \voiceOne cis2 b }
1212 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1213 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1217 The command @code{\oneVoice} will revert back to the normal setting.
1218 @cindex @code{\oneVoice}
1221 Normally, note heads with a different number of dots are not merged, but
1222 when the object property @code{merge-differently-dotted} is set in
1223 the @internalsref{NoteCollision} object, they are merged:
1224 @lilypond[verbatim,fragment,raggedright]
1225 \relative c'' \context Voice << {
1227 \override Staff.NoteCollision
1228 #'merge-differently-dotted = ##t
1230 } \\ { g8.[ f16] g8.[ f16] }
1234 Similarly, you can merge half note heads with eighth notes, by setting
1235 @code{merge-differently-headed}:
1236 @lilypond[fragment,relative=2,verbatim]
1239 \override Staff.NoteCollision
1240 #'merge-differently-headed = ##t
1241 c8 c4. } \\ { c2 c2 } >>
1244 LilyPond also vertically shifts rests that are opposite of a stem:
1247 @lilypond[raggedright,fragment,verbatim]
1248 \context Voice << c''4 \\ r4 >>
1256 @cindex @code{\oneVoice}
1258 @cindex @code{\voiceOne}
1260 @cindex @code{\voiceTwo}
1262 @cindex @code{\voiceThree}
1264 @cindex @code{\voiceFour}
1268 The following commands specify in what chords of the current voice
1269 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1270 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1273 @cindex @code{\shiftOn}
1275 @cindex @code{\shiftOnn}
1277 @cindex @code{\shiftOnnn}
1279 @cindex @code{\shiftOff}
1286 Internals: the objects responsible for resolving collisions are
1287 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1289 Examples: See also example files
1290 @inputfileref{input/regression,collision-dots.ly},
1291 @inputfileref{input/regression,collision-head-chords.ly},
1292 @inputfileref{input/regression,collision-heads.ly},
1293 @inputfileref{input/regression,collision-mesh.ly}, and
1294 @inputfileref{input/regression,collisions.ly}.
1299 Resolving collisions is a intricate subject, and only a few situations
1300 are handled. When LilyPond cannot cope, the @code{force-hshift}
1301 property of the @internalsref{NoteColumn} object and pitched rests can
1302 be used to override typesetting decisions.
1304 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1305 note, and a downstem half note, the 8th note gets the wrong offset.
1307 There is no support for clusters where the same note occurs with
1308 different accidentals in the same chord. In this case, it is
1309 recommended to use enharmonic transcription, or to use special cluster
1310 notation (see @ref{Clusters}).
1315 Beams are used to group short notes into chunks that are aligned with
1316 the metrum. They are inserted automatically in most cases:
1318 @lilypond[fragment,verbatim,relative=2]
1319 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1322 When these automatic decisions are not good enough, beaming can be
1323 entered explicitly. It is also possible to define beaming patterns
1324 that differ from the defaults.
1326 Individual notes may be marked with @code{\noBeam}, to prevent them
1329 @lilypond[fragment,verbatim,relative=2]
1330 \time 2/4 c8 c\noBeam c c
1336 Internals: @internalsref{Beam}.
1339 @cindex Automatic beams
1342 * Setting automatic beam behavior::
1346 @subsection Manual beams
1347 @cindex beams, manual
1351 In some cases it may be necessary to override the automatic beaming
1352 algorithm. For example, the autobeamer will not put beams over rests
1353 or bar lines. Such beams are specified by manually: the begin and end
1354 point are marked with @code{[} and @code{]}:
1356 @lilypond[fragment,relative,verbatim]
1358 r4 r8[ g' a r8] r8 g[ | a] r8
1362 @cindex @code{stemLeftBeamCount}
1364 Normally, beaming patterns within a beam are determined automatically.
1365 When this mechanism fouls up, the properties
1366 @code{stemLeftBeamCount} and @code{stemRightBeamCount} can
1367 be used to control the beam subdivision on a stem. If either property
1368 is set, its value will be used only once, and then it is erased:
1370 @lilypond[fragment,relative,verbatim]
1373 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1376 @cindex @code{stemRightBeamCount}
1379 The property @code{subdivideBeams} can be set in order to subdivide
1380 all 16th or shorter beams at beat positions, as defined by the
1381 @code{beatLength} property. This accomplishes the same effect as
1382 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1383 but it take less typing:
1386 @lilypond[relative=1,verbatim,noindent]
1388 \set subdivideBeams = ##t
1390 \set Score.beatLength = #(ly:make-moment 1 8)
1393 @cindex subdivideBeams
1395 Kneed beams are inserted automatically, when a large gap is detected
1396 between the note heads. This behavior can be tuned through the object
1397 property @code{auto-knee-gap}.
1399 Normally, line breaks are forbidden when beams cross bar lines. This
1400 behavior can be changed by setting @code{allowBeamBreak}.
1402 @cindex @code{allowBeamBreak}
1403 @cindex beams and line breaks
1405 @cindex beams, kneed
1407 @cindex auto-knee-gap
1413 @cindex Frenched staves
1415 Automatically kneed beams cannot be used together with hidden staves.
1420 @node Setting automatic beam behavior
1421 @subsection Setting automatic beam behavior
1423 @cindex @code{autoBeamSettings}
1424 @cindex @code{(end * * * *)}
1425 @cindex @code{(begin * * * *)}
1426 @cindex automatic beams, tuning
1427 @cindex tuning automatic beaming
1429 @c [TODO: use \applycontext]
1431 In normal time signatures, automatic beams can start on any note but can
1432 only end in a few positions within the measure: beams can end on a beat,
1433 or at durations specified by the properties in
1434 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1435 are defined in @file{scm/auto-beam.scm}.
1437 The value of @code{autoBeamSettings} is changed with two functions:
1439 #(override-auto-beam-setting
1440 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1442 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1444 Here, @var{be} is the symbol @code{begin} or @code{end}. It determines
1445 whether the rule applies to begin or end-points. The quantity
1446 @var{p}/@var{q} refers to the length of the beamed notes (and `@code{*
1447 *}' designates notes of any length), @var{n}/@var{M} refers to a time
1448 signature (wildcards `@code{* *}' may be entered to designate all time
1449 signatures), @var{a}/@var{b} is a duration. By default, this command
1450 changes settings for the current voice. It is also possible to adjust
1451 settings at higher contexts, by adding a @var{context} argument.
1453 For example, if automatic beams should end on every quarter note, use
1456 #(override-auto-beam-setting '(end * * * *) 1 4)
1458 Since the duration of a quarter note is 1/4 of a whole note, it is
1459 entered as @code{(ly:make-moment 1 4)}.
1461 The same syntax can be used to specify beam starting points. In this
1462 example, automatic beams can only end on a dotted quarter note:
1464 #(override-auto-beam-setting '(end * * * *) 3 8)
1466 In 4/4 time signature, this means that automatic beams could end only on
1467 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1468 3/8, has passed within the measure).
1470 Rules can also be restricted to specific time signatures. A rule that
1471 should only be applied in @var{N}/@var{M} time signature is formed by
1472 replacing the second asterisks by @var{N} and @var{M}. For example, a
1473 rule for 6/8 time exclusively looks like
1475 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1478 If a rule should be to applied only to certain types of beams, use the
1479 first pair of asterisks. Beams are classified according to the
1480 shortest note they contain. For a beam ending rule that only applies
1481 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1484 If a score ends while an automatic beam has not been ended and is still
1485 accepting notes, this last beam will not be typeset at all.
1487 @cindex automatic beam generation
1489 @cindex @code{autoBeaming}
1492 For melodies that have lyrics, you may want to switch off
1493 automatic beaming. This is done by setting @code{autoBeaming} to
1498 @cindex @code{\autoBeamOff}
1499 @code{\autoBeamOff},
1500 @cindex @code{\autoBeamOn}
1506 The rules for ending a beam depend on the shortest note in a beam.
1507 So, while it is possible to have different ending rules for eight
1508 beams and sixteenth beams, a beam that contains both eight and
1509 sixteenth notes will use the rules for the sixteenth beam.
1511 In the example below, the autobeamer makes eight beams and sixteenth
1512 end at 3 eights; the third beam can only be corrected by specifying
1515 @lilypond[raggedright,fragment,relative]
1516 #(override-auto-beam-setting '(end * * * *) 3 8)
1517 % rather show case where it goes wrong
1518 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1519 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1521 It is not possible to specify beaming parameters that act differently in
1522 different parts of a measure. This means that it is not possible to use
1523 automatic beaming in irregular meters such as @code{5/8}.
1526 @section Accidentals
1529 This section describes how to change the way that accidentals are
1530 inserted automatically before the running notes.
1534 * Using the predefined accidental variables::
1535 * Customized accidental rules::
1538 @node Using the predefined accidental variables
1539 @subsection Using the predefined accidental variables
1542 Common rules for typesetting macros have been canned in a
1543 function. This function is called as follows:
1545 @cindex @code{set-accidental-style}
1547 #(set-accidental-style 'modern 'Voice)
1550 The function takes two arguments: a symbol that denotes the style (in
1551 the example, @code{modern}), and another symbol that denotes the
1552 context name (in this example, @code{Staff}). If no context name is
1553 supplied, @code{Staff} is the default.
1555 The following styles are supported:
1558 This is the default typesetting behavior. It should correspond
1559 to 18th century common practice: Accidentals are
1560 remembered to the end of the measure in which they occur and
1561 only on their own octave.
1565 The normal behavior is to remember the accidentals on
1566 Staff-level. This variable, however, typesets accidentals
1567 individually for each voice. Apart from that, the rule is similar to
1570 This leads to some weird and often unwanted results
1571 because accidentals from one voice do not get canceled in other
1573 @lilypond[raggedright,relative,fragment,verbatim]
1575 #(set-accidental-style 'voice)
1581 Hence you should only use @code{voice} if the voices
1582 are to be read solely by individual musicians. If the staff is to be
1583 used by one musician (e.g. a conductor) then you use
1584 @code{modern} or @code{modern-cautionary}
1588 @cindex @code{modern} style accidentals
1589 This rule corresponds to the common practice in the 20th
1591 This rule prints the same accidentals as @code{default}, but temporary
1592 accidentals also are canceled in other octaves. Furthermore,
1593 in the same octave, they also get canceled in the following
1596 @lilypond[raggedright,fragment,verbatim]
1597 #(set-accidental-style 'modern)
1598 cis' c'' cis'2 | c'' c'
1601 @item @code{modern-cautionary}
1602 @cindex @code{modern-cautionary}
1603 This rule is similar to @code{modern}, but the
1604 ``extra'' accidentals (the ones not typeset by
1605 @code{default}) are typeset as cautionary accidentals.
1606 They are printed in reduced size or with parentheses:
1607 @lilypond[raggedright,fragment,verbatim]
1608 #(set-accidental-style 'modern-cautionary)
1609 cis' c'' cis'2 | c'' c'
1612 @cindex @code{modern-voice}
1614 is used for multivoice accidentals to be read both by musicians
1615 playing one voice and musicians playing all voices. Accidentals are
1616 typeset for each voice, but they @emph{are} canceled across voices in
1617 the same @internalsref{Staff}.
1619 @cindex @code{modern-voice-cautionary}
1620 @item modern-voice-cautionary
1621 is the same as @code{modern-voice}, but with the extra
1622 accidentals (the ones not typeset by @code{voice}) typeset
1623 as cautionaries. Even though all accidentals typeset by
1624 @code{default} @emph{are} typeset by this variable then
1625 some of them are typeset as cautionaries.
1628 @cindex @code{piano} accidentals
1629 20th century practice for piano notation. Very similar to
1630 @code{modern} but accidentals also get canceled
1631 across the staves in the same @internalsref{GrandStaff} or
1632 @internalsref{PianoStaff}.
1634 @item piano-cautionary
1635 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1636 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1637 typeset as cautionaries.
1640 @cindex @code{no-reset} accidental style
1641 Same as @code{default} but with accidentals lasting
1642 ``forever'' and not only until the next measure:
1643 @lilypond[raggedright,fragment,verbatim,relative]
1644 #(set-accidental-style 'no-reset)
1649 This is sort of the opposite of @code{no-reset}: Accidentals
1650 are not remembered at all---and hence all accidentals are
1651 typeset relative to the key signature, regardless of what was
1652 before in the music:
1654 @lilypond[raggedright,fragment,verbatim,relative]
1655 #(set-accidental-style 'forget)
1656 \key d\major c4 c cis cis d d dis dis
1660 @node Customized accidental rules
1661 @subsection Customized accidental rules
1663 For determining when to print an accidental, several different rules
1664 are tried. The rule that gives the highest number of accidentals is
1665 used. Each rule consists of
1668 In which context is the rule applied. For example, if
1669 @var{context} is @internalsref{Score} then all staves share
1670 accidentals, and if @var{context} is @internalsref{Staff} then all
1671 voices in the same staff share accidentals, but staves do not.
1674 Whether the accidental changes all octaves or only the current
1675 octave. Valid choices are
1679 This is the default algorithm. Accidentals are typeset if the note changes
1680 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1681 and then as many measures as specified in the value. I.e. 1 means to the end
1682 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1684 Accidentals are typeset if the note is different from
1685 the previous note on the same pitch in any octave. The value has same meaning as in
1691 Over how many bar lines the accidental lasts.
1692 If @var{laziness} is @code{-1} then the accidental is forget
1693 immediately, and if @var{laziness} is @code{#t} then the accidental
1700 Internals: @internalsref{Accidental_engraver},
1701 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1706 Currently the simultaneous notes are considered to be entered in
1707 sequential mode. This means that in a chord the accidentals are
1708 typeset as if the notes in the chord happened once at a time - in the
1709 order in which they appear in the input file.
1711 This is only a problem when there are simultaneous notes whose
1712 accidentals depend on each other. The problem only occurs when using
1713 non-default accidentals. In the default scheme, accidentals only
1714 depend on other accidentals with the same pitch on the same staff, so
1715 no conflicts possible.
1717 This example shows two examples of the same music giving different
1718 accidentals depending on the order in which the notes occur in the
1721 @lilypond[raggedright,fragment,verbatim]
1722 \set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1723 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1724 | <cis' c''> r | <c'' cis'> r |
1727 This problem can be solved by manually inserting @code{!} and @code{?}
1728 for the problematic notes.
1730 @node Expressive marks
1731 @section Expressive marks
1734 @c todo: should change ordering
1735 @c where to put text spanners, metronome marks,
1744 * Analysis brackets::
1746 * Fingering instructions::
1757 A slur indicates that notes are to be played bound or @emph{legato}.
1760 They are entered using parentheses:
1761 @lilypond[relative=1,fragment,verbatim]
1762 f( g)( a) a8 b( a4 g2 f4)
1767 @c TODO: should explain that ^( and _( set directions
1768 @c should set attachments with ^ and _ ?
1770 Slurs avoid crossing stems, and are generally attached to note heads.
1771 However, in some situations with beams, slurs may be attached to stem
1772 ends. If you want to override this layout you can do this through the
1773 object property @code{attachment} of @internalsref{Slur} in
1774 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1775 the attachment type of the left and right end points:
1777 @lilypond[fragment,relative,verbatim]
1779 \override Stem #'length = #5.5
1781 \override Slur #'attachment = #'(stem . stem)
1785 If a slur would strike through a stem or beam, the slur will be moved
1786 away upward or downward. If this happens, attaching the slur to the
1787 stems might look better:
1789 @lilypond[fragment,relative,verbatim]
1792 \override Slur #'attachment = #'(stem . stem)
1799 @cindex @code{\slurUp}
1801 @cindex @code{\slurDown}
1803 @cindex @code{\slurBoth}
1805 @cindex @code{\slurDotted}
1807 @cindex @code{\slurSolid}
1812 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1817 Producing nice slurs is a difficult problem, and LilyPond currently
1818 uses a simple, empiric method to produce slurs. In some cases, its
1822 @cindex Adjusting slurs
1824 @node Phrasing slurs
1825 @subsection Phrasing slurs
1827 @cindex phrasing slurs
1828 @cindex phrasing marks
1830 A phrasing slur (or phrasing mark) connects chords and is used to
1831 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1834 @lilypond[fragment,verbatim,relative]
1835 \time 6/4 c'\( d( e) f( e) d\)
1838 Typographically, the phrasing slur behaves almost exactly like a
1839 normal slur. However, they are treated as different objects. A
1840 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1841 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1842 @code{\phrasingSlurBoth}.
1844 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1845 will only affect normal slurs and not phrasing slurs.
1849 @cindex @code{\phrasingSlurUp}
1850 @code{\phrasingSlurUp},
1851 @cindex @code{\phrasingSlurDown}
1852 @code{\phrasingSlurDown},
1853 @cindex @code{\phrasingSlurBoth}
1854 @code{\phrasingSlurBoth}.
1858 Internals: see also @internalsref{PhrasingSlur}, and
1859 @internalsref{PhrasingSlurEvent}.
1863 Phrasing slurs have the same limitations in their formatting as normal
1864 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1867 @subsection Breath marks
1869 Breath marks are entered using @code{\breathe}:
1872 @lilypond[fragment,relative,verbatim]
1876 The glyph of the breath mark can be tweaked by overriding the
1877 @code{text} property of the @code{BreathingSign} layout object with
1878 any markup text. For example,
1879 @lilypond[fragment,verbatim,relative]
1881 \override BreathingSign #'text
1882 = #(make-musicglyph-markup "scripts-rvarcomma")
1889 Internals: @internalsref{BreathingSign},
1890 @internalsref{BreathingSignEvent}.
1892 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1895 @node Metronome marks
1896 @subsection Metronome marks
1899 @cindex beats per minute
1900 @cindex metronome marking
1902 Metronome settings can be entered as follows:
1904 \tempo @var{duration} = @var{per-minute}
1907 In the MIDI output, they are interpreted as a tempo change, and in the
1908 paper output, a metronome marking is printed:
1909 @cindex @code{\tempo}
1910 @lilypond[fragment,verbatim]
1916 Internals: @internalsref{MetronomeChangeEvent}.
1921 @subsection Text spanners
1922 @cindex Text spanners
1924 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1925 are written as texts, and extended over many measures with dotted
1926 lines. You can create such texts using text spanners: attach
1927 @code{\startTextSpan} and @code{\stopTextSpan} to the
1928 start and ending note of the spanner.
1930 The string to be printed, as well as the style, is set through object
1933 @lilypond[fragment,relative,verbatim]
1935 \override TextSpanner #'direction = #-1
1936 \override TextSpanner #'edge-text = #'("rall " . "")
1937 c2\startTextSpan b c\stopTextSpan a }
1943 Internals @internalsref{TextSpanEvent},
1944 @internalsref{TextSpanner}.
1946 Examples: @inputfileref{input/regression,text-spanner.ly}.
1949 @node Analysis brackets
1950 @subsection Analysis brackets
1952 @cindex phrasing brackets
1953 @cindex musicological analysis
1954 @cindex note grouping bracket
1956 Brackets are used in musical analysis to indicate structure in musical
1957 pieces. LilyPond supports a simple form of nested horizontal brackets.
1958 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1959 @internalsref{Staff} context. A bracket is started with
1960 @code{\startGroup} and closed with @code{\stopGroup}:
1962 @lilypond[raggedright,verbatim]
1963 \score { \notes \relative c'' {
1964 c4\startGroup\startGroup
1967 c4\stopGroup\stopGroup
1970 \StaffContext \consists "Horizontal_bracket_engraver"
1976 Internals: @internalsref{HorizontalBracket},
1977 @internalsref{NoteGroupingEvent}.
1979 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1983 @subsection Articulations
1984 @cindex Articulations
1986 @cindex articulations
1990 A variety of symbols can appear above and below notes to indicate
1991 different characteristics of the performance. They are added to a note
1992 by adding a dash and the character signifying the
1993 articulation. They are demonstrated here:
1995 @lilypondfile[]{script-abbreviations.ly}
1997 The meanings of these shorthands can be changed: see
1998 @file{ly/script-init.ly} for examples.
2001 The script is automatically placed, but if you need to force
2002 directions, you can use @code{_} to force them down, or @code{^} to
2004 @lilypond[fragment,verbatim]
2008 Other symbols can be added using the syntax
2009 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2010 can be forced up or down using @code{^} and @code{_},
2013 @lilypond[verbatim,fragment,relative=2]
2014 c\fermata c^\fermata c_\fermata
2021 @cindex staccatissimo
2030 @cindex organ pedal marks
2039 @cindex prallmordent
2043 @cindex thumb marking
2048 @lilypondfile[]{script-chart.ly}
2053 @cindex @code{\scriptUp}
2055 @cindex @code{\scriptDown}
2057 @cindex @code{\scriptBoth}
2062 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2066 These note ornaments appear in the printed output but have no
2067 effect on the MIDI rendering of the music.
2070 @node Fingering instructions
2071 @subsection Fingering instructions
2075 Fingering instructions can be entered using
2077 @var{note}-@var{digit}
2079 For finger changes, use markup texts:
2081 @lilypond[verbatim,raggedright,fragment]
2082 c'4-1 c'4-2 c'4-3 c'4-4
2083 c'^\markup { \fontsize #-3 \number "2-3" }
2086 @cindex finger change
2091 You can use the thumb-script to indicate that a note should be
2092 played with the thumb (e.g. in cello music):
2094 @lilypond[verbatim,raggedright,fragment]
2095 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2096 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2099 Fingerings for chords can also be added to individual notes
2100 of the chord by adding them after the pitches:
2101 @lilypond[verbatim,raggedright,fragment,relative=1]
2102 < c-1 e-2 g-3 b-5 > 4
2106 In this case, setting @code{fingeringOrientations} will put fingerings next
2109 @lilypond[verbatim,raggedright,fragment,relative=1]
2110 \set fingeringOrientations = #'(left down)
2111 <c-1 es-2 g-4 bes-5 > 4
2112 \set fingeringOrientations = #'(up right down)
2113 <c-1 es-2 g-4 bes-5 > 4
2116 By using single note chords, fingering instructions can be put close
2117 to note heads in monophonic music.
2121 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2123 Examples: @inputfileref{input/regression,finger-chords.ly}.
2126 @subsection Text scripts
2127 @cindex Text scripts
2129 @cindex text items, non-empty
2130 @cindex non-empty texts
2132 It is possible to place arbitrary strings of text or markup text (see
2133 @ref{Text markup}) above or below notes by using a string:
2134 @code{c^"text"}. By default, these indications do not influence the
2135 note spacing, but by using the command @code{\fatText}, the widths
2136 will be taken into account:
2138 @lilypond[fragment,raggedright,verbatim] \relative c' {
2139 c4^"longtext" \fatText c4_"longlongtext" c4 }
2142 It is possible to use @TeX{} commands in the strings, but this should
2143 be avoided because the exact dimensions of the string can then no
2148 @cindex @code{\fatText}
2150 @cindex @code{\emptyText}
2155 In this manual: @ref{Text markup}.
2157 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2163 @subsection Grace notes
2166 @c should have blurb about accaciatura / appogiatura
2168 @cindex @code{\grace}
2172 Grace notes are ornaments that are written out. The most common ones
2173 are acciaccatura, which should be played as very short. It is denoted
2174 by a slurred small note with a slashed stem. The appoggiatura is a
2175 grace note that takes a fixed fraction of the main note, is and
2176 denoted as a slurred note in small print without a slash.
2177 They are entered with the commands @code{\acciaccatura} and
2178 @code{\appoggiatura}, as demonstrated in the following example:
2181 @cindex appoggiatura
2182 @cindex acciaccatura
2184 @lilypond[relative=2,verbatim,fragment]
2185 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2186 \acciaccatura { g16[ f] } e4
2189 Both are special forms of the @code{\grace} command. By prefixing this
2190 keyword to a music expression, a new one is formed, which will be
2191 printed in a smaller font and takes up no logical time in a measure.
2192 @lilypond[relative=2,verbatim,fragment]
2194 \grace { c16[ d16] } c2 c4
2198 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2199 @code{\grace} command does not start a slur.
2201 Internally, timing for grace notes is done using a second, `grace'
2202 time. Every point in time consists of two rational numbers: one
2203 denotes the logical time, one denotes the grace timing. The above
2204 example is shown here with timing tuples:
2206 @lilypond[raggedright]
2209 c4 \grace c16 c4 \grace {
2212 \new Lyrics \lyrics {
2215 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2216 \markup { (\fraction 1 4 , 0 ) } 4
2218 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2219 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2221 \markup { ( \fraction 2 4 , 0 ) }
2226 The placement of grace notes is synchronized between different staves.
2227 In the following example, there are two sixteenth graces notes for
2228 every eighth grace note:
2230 @lilypond[relative=2,verbatim,fragment]
2231 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2232 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2237 If you want to end a note with a grace, then the standard trick
2238 is to put the grace notes after a ``space note'', e.g.
2239 @lilypond[fragment,verbatim,relative=2]
2242 { s2 \grace { c16[ d] } } >>
2248 By adjusting the duration of the skip note (here it is a half-note),
2249 the space between the main-note and the grace is adjusted.
2252 A @code{\grace} section will introduce special typesetting settings,
2253 for example, to produce smaller type, and set directions. Hence, when
2254 introducing layout tweaks, they should be inside the grace section,
2256 @lilypond[fragment,verbatim,relative=1]
2259 \override Stem #'direction = #-1
2261 \revert Stem #'direction
2268 The overrides should also be reverted inside the grace section.
2270 If the layout of grace sections must be changed throughout the music,
2271 then this can be accomplished through the function
2272 @code{add-grace-property}. The following example
2273 undefines the Stem direction grace section, so stems do not always
2278 #(add-grace-property "Voice" Stem direction '())
2284 Another option is to change the variables @code{startGraceMusic},
2285 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2286 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2287 @code{stopAppoggiaturaMusic}. More information is in the file
2288 @file{ly/grace-init.ly}.
2293 Internals: @internalsref{GraceMusic}.
2297 A score that starts with an @code{\grace} section needs an explicit
2298 @code{\context Voice} declaration, otherwise the main note and grace
2299 note end up on different staves.
2301 Grace note synchronization can also lead to surprises. Staff notation,
2302 such as key signatures, bar lines, etc. are also synchronized. Take
2303 care when you mix staves with grace notes and staves without, for example,
2305 @lilypond[relative=2,verbatim,fragment]
2306 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2307 \new Staff { c4 \bar "|:" d4 } >>
2310 Grace sections should only be used within sequential music
2311 expressions. Nesting or juxtaposing grace sections is not supported,
2312 and might produce crashes or other errors.
2316 @subsection Glissando
2319 @cindex @code{\glissando}
2321 A glissando is a smooth change in pitch. It is denoted by a line or a
2322 wavy line between two notes.
2325 A glissando line can be requested by attaching a @code{\glissando} to
2328 @lilypond[fragment,relative,verbatim]
2334 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2339 Adding additional texts (such as @emph{gliss.}) is not supported.
2343 @subsection Dynamics
2356 @cindex @code{\ffff}
2366 Absolute dynamic marks are specified using a command after a note:
2367 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2368 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2369 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2370 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2372 @lilypond[verbatim,raggedright,fragment,relative]
2373 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2379 @cindex @code{\decr}
2380 @cindex @code{\rced}
2387 A crescendo mark is started with @code{\<} and terminated with
2388 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2389 with @code{\!}. Because these marks are bound to notes, if you must
2390 use spacer notes if multiple marks during one note are needed:
2392 @lilypond[fragment,verbatim]
2393 c''\< c''\! d''\decr e''\rced
2394 << f''1 { s4 s4\< s4\! \> s4\! } >>
2396 This may give rise to very short hairpins. Use @code{minimum-length}
2397 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2401 \override Staff.Hairpin #'minimum-length = #5
2404 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2405 is an example how to do it:
2407 @lilypond[fragment,relative=2,verbatim]
2408 c4 \cresc c4 c c c \endcresc c4
2414 You can also supply your own texts:
2415 @lilypond[fragment,relative,verbatim]
2417 \set crescendoText = \markup { \italic "cresc. poco" }
2418 \set crescendoSpanner = #'dashed-line
2428 @cindex @code{\dynamicUp}
2430 @cindex @code{\dynamicDown}
2431 @code{\dynamicDown},
2432 @cindex @code{\dynamicBoth}
2433 @code{\dynamicBoth}.
2435 @cindex direction, of dynamics
2439 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2440 @internalsref{AbsoluteDynamicEvent}.
2442 Dynamics are objects of @internalsref{DynamicText} and
2443 @internalsref{Hairpin}. Vertical positioning of these symbols is
2444 handled by the @internalsref{DynamicLineSpanner} object.
2446 If you want to adjust padding or vertical direction of the dynamics, you
2447 must set properties for the @internalsref{DynamicLineSpanner} object.
2455 @cindex @code{\repeat}
2458 Repetition is a central concept in music, and multiple notations exist
2459 for repetitions. In LilyPond, most of these notations can be captured
2460 in a uniform syntax. One of the advantages is that they can be
2461 rendered in MIDI accurately.
2463 The following types of repetition are supported:
2467 Repeated music is fully written (played) out. Useful for MIDI
2468 output, and entering repetitive music.
2471 This is the normal notation: Repeats are not written out, but
2472 alternative endings (volte) are printed, left to right.
2476 Alternative endings are written stacked. This has limited use but may be
2477 used to typeset two lines of lyrics in songs with repeats, see
2478 @inputfileref{input,star-spangled-banner.ly}.
2486 Make beat or measure repeats. These look like percent signs.
2492 * Repeats and MIDI::
2493 * Manual repeat commands::
2495 * Tremolo subdivisions::
2500 @subsection Repeat syntax
2503 LilyPond has one syntactic construct for specifying different types of
2504 repeats. The syntax is
2507 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2510 If you have alternative endings, you may add
2511 @cindex @code{\alternative}
2513 \alternative @code{@{} @var{alternative1}
2515 @var{alternative3} @dots{} @code{@}}
2517 where each @var{alternative} is a music expression. If you do not
2518 give enough alternatives for all of the repeats, then the first
2519 alternative is assumed to be played more than once.
2521 Normal notation repeats are used like this:
2522 @lilypond[fragment,verbatim,relative=1]
2524 \repeat volta 2 { c4 d e f }
2525 \repeat volta 2 { f e d c }
2528 With alternative endings:
2529 @lilypond[fragment,verbatim,relative=1]
2531 \repeat volta 2 {c4 d e f}
2532 \alternative { {d2 d} {f f,} }
2536 @lilypond[fragment,verbatim,relative=1]
2539 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2540 \alternative { { g4 g g } { a | a a a a | b2. } }
2546 If you do a nested repeat like
2555 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2556 belongs. This ambiguity is resolved by always having the
2557 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2558 it is advisable to use braces in such situations.
2561 @node Repeats and MIDI
2562 @subsection Repeats and MIDI
2564 @cindex expanding repeats
2566 For instructions on how to unfold repeats for MIDI output, see the
2567 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2572 Timing information is not remembered at the start of an alternative,
2573 so after a repeat timing information must be reset by hand, for
2574 example by setting @code{Score.measurePosition} or entering
2575 @code{\partial}. Similarly, slurs or ties are also not repeated.
2578 @node Manual repeat commands
2579 @subsection Manual repeat commands
2581 @cindex @code{repeatCommands}
2583 The property @code{repeatCommands} can be used to control the layout of
2584 repeats. Its value is a Scheme list of repeat commands, where each repeat
2588 @item the symbol @code{start-repeat},
2589 which prints a @code{|:} bar line,
2590 @item the symbol @code{end-repeat},
2591 which prints a @code{:|} bar line,
2592 @item the list @code{(volta @var{text})},
2593 which prints a volta bracket saying @var{text}: The text can be specified as
2594 a text string or as a markup text, see @ref{Text markup}. Do not
2595 forget to change the font, as the default number font does not contain
2596 alphabetic characters. Or,
2597 @item the list @code{(volta #f)}, which
2598 stops a running volta bracket:
2601 @lilypond[verbatim,fragment,relative=2]
2603 \set Score.repeatCommands = #'((volta "93") end-repeat)
2605 \set Score.repeatCommands = #'((volta #f))
2612 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2613 @internalsref{VoltaRepeatedMusic},
2614 @internalsref{UnfoldedRepeatedMusic}, and
2615 @internalsref{FoldedRepeatedMusic}.
2617 @node Tremolo repeats
2618 @subsection Tremolo repeats
2619 @cindex tremolo beams
2621 To place tremolo marks between notes, use @code{\repeat} with tremolo
2623 @lilypond[verbatim,raggedright]
2625 \context Voice \notes\relative c' {
2626 \repeat "tremolo" 8 { c16 d16 }
2627 \repeat "tremolo" 4 { c16 d16 }
2628 \repeat "tremolo" 2 { c16 d16 }
2633 Tremolo marks can also be put on a single note. In this case, the
2634 note should not be surrounded by braces.
2635 @lilypond[verbatim,raggedright]
2636 \repeat "tremolo" 4 c16
2639 A similar mechanism is the tremolo subdivision, described in
2640 @ref{Tremolo subdivisions}.
2644 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2646 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2647 tremolos are @internalsref{StemTremolo} objects. The music expression is
2648 @internalsref{TremoloEvent}.
2650 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2651 @inputfileref{input/regression,stem-tremolo.ly}.
2653 @node Tremolo subdivisions
2654 @subsection Tremolo subdivisions
2655 @cindex tremolo marks
2656 @cindex @code{tremoloFlags}
2658 Tremolo marks can be printed on a single note by adding
2659 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2660 A @var{length} value of 8 gives one line across the note stem. If the
2661 length is omitted, then then the last value (stored in
2662 @code{tremoloFlags}) is used:
2664 @lilypond[verbatim,fragment]
2665 c'2:8 c':32 | c': c': |
2668 @c [TODO : stok is te kort bij 32en]
2672 Tremolos in this style do not carry over into the MIDI output.
2676 In this manual: @ref{Tremolo repeats}.
2678 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2680 @node Measure repeats
2681 @subsection Measure repeats
2683 @cindex percent repeats
2684 @cindex measure repeats
2686 In the @code{percent} style, a note pattern can be repeated. It is
2687 printed once, and then the pattern is replaced with a special sign.
2688 Patterns of a one and two measures are replaced by percent-like signs,
2689 patterns that divide the measure length are replaced by slashes:
2691 @lilypond[verbatim,raggedright]
2692 \context Voice { \repeat "percent" 4 { c'4 }
2693 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2699 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2700 @internalsref{PercentRepeatedMusic}, and
2701 @internalsref{DoublePercentRepeat}.
2705 @node Rhythmic music
2706 @section Rhythmic music
2710 * Showing melody rhythms::
2711 * Entering percussion::
2712 * Percussion staves::
2716 @node Showing melody rhythms
2717 @subsection Showing melody rhythms
2719 Sometimes you might want to show only the rhythm of a melody. This
2720 can be done with the rhythmic staff. All pitches of notes on such a
2721 staff are squashed, and the staff itself has a single line:
2723 @lilypond[fragment,relative,verbatim]
2724 \context RhythmicStaff {
2726 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2732 Internals: @internalsref{RhythmicStaff}.
2734 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2737 @node Entering percussion
2738 @subsection Entering percussion
2744 Percussion notes may be entered in @code{\drums} mode, which is
2745 similar to @code{notes}. Each piece of percussion has a full name and
2746 an abbreviated name, and both be used in input files:
2748 @lilypond[raggedright]
2749 \drums { hihat4 hh4 }
2752 The complete list of drum names is in the init file
2753 @file{ly/drumpitch-init.ly}.
2754 @c TODO: properly document this.
2758 Internals: @internalsref{DrumNoteEvent}.
2760 @node Percussion staves
2761 @subsection Percussion staves
2765 A percussion part for more than one instrument typically uses a
2766 multiline staff where each position in the staff refers to one piece
2770 To typeset the music, the notes must be interpreted in a
2771 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2774 @lilypond[raggedright,verbatim]
2775 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2776 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2779 << \new DrumVoice { \voiceOne \up }
2780 \new DrumVoice { \voiceTwo \down }
2784 The above example shows verbose polyphonic notation. The short
2785 polyphonic notation, described in @ref{Polyphony}, can also be used if
2786 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2789 \drums \new DrumStaff <<
2790 \context DrumVoice = "1" { s1 *2 }
2791 \context DrumVoice = "2" { s1 *2 }
2795 { \repeat unfold 16 hh16 }
2804 There are also other layout possibilities. To use these, set the
2805 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2806 The following variables have been predefined:
2810 is the default. It typesets a typical drum kit on a five-line staff
2813 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2814 bd sn ss tomh tommh tomml toml tomfh tomfl }
2815 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2816 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2818 << \new DrumStaff\with {
2819 \remove Bar_engraver
2820 \remove Time_signature_engraver
2821 \override Stem #'transparent = ##t
2822 \override Stem #'Y-extent-callback = ##f
2823 minimumVerticalExtent = #'(-4.0 . 5.0)
2825 \context Lyrics \nam
2828 %% need to do this, because of indented @itemize
2830 \context { \ScoreContext
2831 \override BarNumber #'transparent =##T
2835 The drum scheme supports six different toms. When there fewer toms, simply
2836 select the toms that produce the desired result, i.e. to get toms on
2837 the three middle lines you use @code{tommh}, @code{tomml} and
2840 @item timbales-style
2841 to typeset timbales on a two line staff:
2843 @lilypond[raggedright]
2844 nam = \lyrics { timh ssh timl ssl cb }
2845 mus = \drums { timh ssh timl ssl cb s16 }
2848 \context DrumStaff \with {
2849 \remove Bar_engraver
2850 \remove Time_signature_engraver
2851 \override Stem #'transparent = ##t
2852 \override Stem #'Y-extent-callback = ##f
2853 \override StaffSymbol #'line-count = #2
2854 \override StaffSymbol #'staff-space = #2
2855 minimumVerticalExtent = #'(-3.0 . 4.0)
2856 drumStyleTable = #timbales-style
2858 \context Lyrics \nam
2863 to typeset congas on a two line staff:
2865 @lilypond[raggedright]
2866 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2867 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2870 \context DrumStaff\with {
2871 \remove Bar_engraver
2872 \remove Time_signature_engraver
2873 drumStyleTable = #congas-style
2874 \override StaffSymbol #'line-count = #2
2876 %% this sucks; it will lengthen stems.
2877 \override StaffSymbol #'staff-space = #2
2878 \override Stem #'transparent = ##t
2879 \override Stem #'Y-extent-callback = ##f
2881 \context Lyrics \nam
2886 to typeset bongos on a two line staff:
2888 @lilypond[raggedright]
2889 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2890 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2893 \context DrumStaff\with {
2894 \remove Bar_engraver
2895 \remove Time_signature_engraver
2896 \override StaffSymbol #'line-count = #2
2897 drumStyleTable = #bongos-style
2899 %% this sucks; it will lengthen stems.
2900 \override StaffSymbol #'staff-space = #2
2901 \override Stem #'transparent = ##t
2902 \override Stem #'Y-extent-callback = ##f
2904 \context Lyrics \nam
2909 @item percussion-style
2910 to typeset all kinds of simple percussion on one line staves:
2911 @lilypond[raggedright]
2912 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2913 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2916 \context DrumStaff\with{
2917 \remove Bar_engraver
2918 drumStyleTable = #percussion-style
2919 \override StaffSymbol #'line-count = #1
2920 \remove Time_signature_engraver
2921 \override Stem #'transparent = ##t
2922 \override Stem #'Y-extent-callback = ##f
2924 \context Lyrics \nam
2930 If you do not like any of the predefined lists you can define your own
2931 list at the top of your file:
2933 @lilypond[raggedright,verbatim]
2935 (bassdrum default #f -1)
2936 (snare default #f 0)
2938 (pedalhihat xcircle "stopped" 2)
2939 (lowtom diamond #f 3)
2941 up = \drums { hh8 hh hh hh hhp4 hhp }
2942 down = \drums { bd4 sn bd toml8 toml }
2945 \set DrumStaff.drumStyleTable
2946 = #(alist->hash-table mydrums)
2947 \new DrumVoice { \voiceOne \up }
2948 \new DrumVoice { \voiceTwo \down }
2956 Init files: @file{ly/drumpitch-init.ly}.
2958 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2962 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2963 work for @internalsref{DrumVoices}.
2965 Because general MIDI does not contain rim shots, the sidestick is used
2966 for this purpose instead.
2969 @section Piano music
2971 Piano staves are two normal staves coupled with a brace. The staves
2972 are largely independent, but sometimes voices can cross between the
2973 two staves. The same notation is also used for harps and other key
2974 instruments. The @internalsref{PianoStaff} is especially built to
2975 handle this cross-staffing behavior. In this section we discuss the
2976 @internalsref{PianoStaff} and some other pianistic peculiarities.
2980 * Automatic staff changes::
2981 * Manual staff switches::
2984 * Staff switch lines::
2989 There is no support for putting chords across staves. You can get
2990 this result by increasing the length of the stem in the lower stave so
2991 it reaches the stem in the upper stave, or vice versa. An example is
2992 included with the distribution as
2993 @inputfileref{input/test,stem-cross-staff.ly}.
2995 Dynamics are not centered, but kludges do exist. See
2996 @inputfileref{input/template,piano-dynamics.ly}.
2998 @cindex cross staff stem
2999 @cindex stem, cross staff
3001 The distance between the two staves is normally fixed across the
3002 entire score. It is possible to tune this per system, but it does
3003 require arcane command incantations. See
3004 @inputfileref{input/test,piano-staff-distance.ly}.
3011 @node Automatic staff changes
3012 @subsection Automatic staff changes
3013 @cindex Automatic staff changes
3015 Voices can switch automatically between the top and the bottom
3016 staff. The syntax for this is
3018 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3020 The two staves of the piano staff must be named @code{up} and
3023 The autochanger switches on basis of pitch (middle C is the turning
3024 point), and it looks ahead skipping over rests to switch in
3025 advance. Here is a practical example:
3027 @lilypond[verbatim,raggedright]
3028 \score { \notes \context PianoStaff <<
3029 \context Staff = "up" {
3030 \autochange \new Voice \relative c' {
3031 g4 a b c d r4 a g } }
3032 \context Staff = "down" {
3039 In this example, spacer rests are used to prevent the bottom staff from
3040 terminating too soon.
3045 In this manual: @ref{Manual staff switches}.
3047 Internals: @internalsref{AutoChangeMusic}.
3053 The staff switches often do not end up in optimal places. For high
3054 quality output, staff switches should be specified manually.
3058 @node Manual staff switches
3059 @subsection Manual staff switches
3061 @cindex manual staff switches
3062 @cindex staff switch, manual
3064 Voices can be switched between staves manually, using the following command:
3066 \change Staff = @var{staffname} @var{music}
3070 The string @var{staffname} is the name of the staff. It switches the
3071 current voice from its current staff to the Staff called
3072 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3081 Pianos have pedals that alter the way sound are produced. Generally, a
3082 piano has three pedals, sustain, una corda, and sostenuto.
3085 Piano pedal instruction can be expressed by attaching
3086 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3087 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3090 @lilypond[fragment,verbatim]
3091 c'4\sustainDown c'4\sustainUp
3094 What is printed can be modified by setting @code{pedal@var{X}Strings},
3095 where @var{X} is one of the pedal types: @code{Sustain},
3096 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3097 documentation of @internalsref{SustainPedal} for more information.
3099 Pedals can also be indicated by a sequence of brackets, by setting the
3100 @code{pedalSustainStyle} property to @code{bracket} objects:
3102 @lilypond[fragment,verbatim]
3103 \set Staff.pedalSustainStyle = #'bracket
3104 c''4\sustainDown d''4 e''4
3105 a'4\sustainUp\sustainDown
3106 f'4 g'4 a'4\sustainUp
3109 A third style of pedal notation is a mixture of text and brackets,
3110 obtained by setting the @code{pedalSustainStyle} style property to
3113 @lilypond[fragment,verbatim]
3114 \set Staff.pedalSustainStyle = #'mixed
3115 c''4\sustainDown d''4 e''4
3116 c'4\sustainUp\sustainDown
3117 f'4 g'4 a'4\sustainUp
3120 The default `*Ped.' style for sustain and damper pedals corresponds to
3121 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3124 @lilypond[fragment,verbatim]
3125 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3128 For fine-tuning of the appearance of a pedal bracket, the properties
3129 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3130 @code{PianoPedalBracket} objects (see
3131 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3132 bracket may be extended to the end of the note head:
3134 @lilypond[fragment,verbatim]
3135 \override Staff.PianoPedalBracket
3136 #'shorten-pair = #'(0 . -1.0)
3137 c''4\sostenutoDown d''4 e''4 c'4
3138 f'4 g'4 a'4\sostenutoUp
3142 @subsection Arpeggio
3145 @cindex broken arpeggio
3146 @cindex @code{\arpeggio}
3148 You can specify an arpeggio sign on a chord by attaching an
3149 @code{\arpeggio} to a chord:
3152 @lilypond[fragment,relative,verbatim]
3156 When an arpeggio crosses staves, you attach an arpeggio to the chords
3157 in both staves, and set
3158 @internalsref{PianoStaff}.@code{connectArpeggios}:
3160 @lilypond[fragment,relative,verbatim]
3161 \context PianoStaff <<
3162 \set PianoStaff.connectArpeggios = ##t
3163 \new Staff { <c' e g c>\arpeggio }
3164 \new Staff { \clef bass <c,, e g>\arpeggio }
3168 The direction of the arpeggio is sometimes denoted by adding an
3169 arrowhead to the wiggly line:
3171 @lilypond[fragment,relative,verbatim]
3180 A square bracket on the left indicates that the player should not
3181 arpeggiate the chord:
3183 @lilypond[fragment,relative,verbatim]
3190 @cindex @code{\arpeggio}
3192 @cindex @code{\arpeggioUp}
3194 @cindex @code{\arpeggioDown}
3196 @cindex @code{\arpeggioBoth}
3197 @code{\arpeggioBoth},
3198 @cindex @code{\arpeggioBracket}
3199 @code{\arpeggioBracket}.
3203 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3204 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3205 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3209 It is not possible to mix connected arpeggios and unconnected
3210 arpeggios in one @internalsref{PianoStaff} at the same time.
3212 @node Staff switch lines
3213 @subsection Staff switch lines
3216 @cindex follow voice
3217 @cindex staff switching
3220 @cindex @code{followVoice}
3222 Whenever a voice switches to another staff a line connecting the notes
3223 can be printed automatically. This is enabled if the property
3224 @code{PianoStaff.followVoice} is set to true:
3226 @lilypond[fragment,relative,verbatim]
3227 \context PianoStaff <<
3228 \set PianoStaff.followVoice = ##t
3229 \context Staff \context Voice {
3234 \context Staff=two { \clef bass \skip 1*2 }
3238 The associated object is @internalsref{VoiceFollower}.
3242 @cindex @code{\showStaffSwitch}
3243 @code{\showStaffSwitch},
3244 @cindex @code{\hideStaffSwitch}
3245 @code{\hideStaffSwitch}.
3249 @section Vocal music
3251 This section discusses how to enter and print lyrics.
3255 * The Lyrics context::
3260 @node Entering lyrics
3261 @subsection Entering lyrics
3265 @cindex @code{\lyrics}
3268 Lyrics are entered in a special input mode. This mode is is introduced
3269 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3270 punctuation and accents without any hassle. Syllables are entered like
3271 notes, but with pitches replaced by text. For example,
3273 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3276 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3277 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3278 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3279 any 8-bit character with ASCII code over 127, or a two-character
3280 combination of a backslash followed by one of @code{`}, @code{'},
3281 @code{"}, or @code{^}.
3283 Subsequent characters of a word can be any character that is not a digit
3284 and not white space. One important consequence of this is that a word
3285 can end with @code{@}}. The following example is usually a bug. The
3286 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3288 \lyrics @{ twinkle@}
3291 @cindex @code{\property}, in @code{\lyrics}
3292 Similarly, a period following a alphabetic sequence, is included in
3293 the resulting string. As a consequence, spaces must be inserted around
3296 \override Score . LyricText #'font-shape = #'italic
3300 @cindex spaces, in lyrics
3301 @cindex quotes, in lyrics
3303 Any @code{_} character which appears in an unquoted word is converted
3304 to a space. This provides a mechanism for introducing spaces into words
3305 without using quotes. Quoted words can also be used in Lyrics mode to
3306 specify words that cannot be written with the above rules:
3309 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3313 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3318 These will be attached to the end of the first syllable.
3320 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3321 as a separate word between syllables. The hyphen will have variable
3322 length depending on the space between the syllables and it will be
3323 centered between the syllables.
3328 When a lyric is sung over many notes (this is called a melisma), this is
3329 indicated with a horizontal line centered between a syllable and the
3330 next one. Such a line is called an extender line, and it is entered as
3335 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3336 @internalsref{ExtenderEvent}.
3338 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3342 The definition of lyrics mode is too complex.
3346 @node The Lyrics context
3347 @subsection The Lyrics context
3349 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3351 \context Lyrics \lyrics @dots{}
3354 @cindex automatic syllable durations
3355 @cindex @code{\lyricsto}
3356 @cindex lyrics and melodies
3358 This will place the lyrics according to the durations that were
3359 entered. The lyrics can also be aligned under a given melody
3360 automatically. In this case, it is no longer necessary to enter the
3361 correct duration for each syllable. This is achieved by combining the
3362 melody and the lyrics with the @code{\lyricsto} expression:
3364 \lyricsto @var{name} \new Lyrics @dots{}
3367 This aligns the lyrics to the
3369 notes of the @internalsref{Voice} context called @var{name}, which has
3370 to exist. Therefore, normally the @code{Voice} is specified first, and
3371 then the lyrics are specified with @code{\lyricsto}.
3373 For different or more complex orderings, the best way is to setup the
3374 hierarchy of staves and lyrics first, e.g.
3376 \context ChoirStaff \notes <<
3377 \context Lyrics = sopranoLyrics @{ s1 @}
3378 \context Voice = soprano @{ @emph{music} @}
3379 \context Lyrics = tenorLyrics @{ s1 @}
3380 \context Voice = tenor @{ @emph{music} @}
3383 and then combine the appropriate melodies and lyric lines:
3385 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3389 The final input would resemble
3392 << \context ChoirStaff \notes << @emph{setup the music} >>
3393 \lyricsto "soprano" @emph{etc}
3394 \lyricsto "alto" @emph{etc}
3400 The @code{\lyricsto} command detects melismata: it only puts one
3401 syllable under a tied or slurred group of notes. If you want to force
3402 an unslurred group of notes to be a melisma, then insert
3403 @code{\melisma} after the first note of the group, and
3404 @code{\melismaEnd} after the last one, e.g.
3406 @lilypond[relative=1,raggedright,fragment,verbatim]
3407 << \context Voice = "lala" { \time 3/4
3413 \lyricsto "lala" \new Lyrics \lyrics {
3418 In addition, notes are considered a melisma if they are manually
3419 beamed, and automatic beaming (see @ref{Setting automatic beam
3420 behavior}) is switched off. The criteria for deciding melismata
3421 can be tuned with the property @code{melismaBusyProperties}. See
3422 @internalsref{Melisma_translator} for more information.
3424 When multiple stanzas are put on the same melody, it can happen that
3425 two stanzas have melismata in different locations. This can be
3426 remedied by switching off melismata for one
3427 @internalsref{Lyrics}. This is achieved by setting
3428 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3429 in @inputfileref{input/regression,lyric-combine-new.ly}.
3432 @cindex choral score
3434 A complete example of a SATB score setup is in the file
3435 @inputfileref{input/template,satb.ly}.
3440 @code{\melisma}, @code{\melismaEnd}
3441 @cindex @code{\melismaEnd}
3442 @cindex @code{\melisma}
3446 Internals: Music expressions: @internalsref{LyricCombineMusic},
3447 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3449 Examples: @inputfileref{input/template,satb.ly},
3450 @inputfileref{input/regression,lyric-combine-new.ly}.
3454 Melismata are not detected automatically, and extender lines must be
3458 For proper processing of extender lines, the
3459 @internalsref{Lyrics} and @internalsref{Voice} should be
3460 linked. This can be achieved either by using @code{\lyricsto} or by
3461 setting corresponding names for both contexts. The latter is explained
3462 in @ref{More stanzas}.
3465 @subsection More stanzas
3467 @cindex phrasing, in lyrics
3470 The lyrics should be aligned with the note heads of the melody. To
3471 achieve this, each line of lyrics should be marked to correspond with
3472 the melodic line. This is done automatically when @code{\lyricsto},
3473 but it can also be done manually.
3475 To this end, give the @internalsref{Voice} context an identity:
3477 \context Voice = duet @{
3482 Then set the @internalsref{Lyrics} contexts to names starting with
3483 that identity followed by a dash. In the preceding example, the
3484 @internalsref{Voice} identity is @code{duet}, so the identities of the
3485 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3487 \context Lyrics = "duet-1" @{
3488 Hi, my name is bert. @}
3489 \context Lyrics = "duet-2" @{
3490 Ooooo, ch\'e -- ri, je t'aime. @}
3493 The complete example is shown here:
3494 @lilypond[raggedright,verbatim]
3496 << \notes \relative c'' \context Voice = duet { \time 3/4
3498 \lyrics << \lyricsto "duet" \new Lyrics {
3500 \set vocNam = "Bert"
3501 Hi, my name is bert. }
3502 \lyricsto "duet" \new Lyrics {
3504 \set vocNam = "Ernie"
3505 Ooooo, ch\'e -- ri, je t'aime.
3511 @cindex stanza number
3512 @cindex singer's names
3513 @cindex name of singer
3515 Stanza numbers can be added by setting @code{stanza}, e.g.
3523 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3524 prevent @code{stanza} being interpreted as a single
3527 This example also demonstrates how names of the singers can be added
3528 using @code{vocalName} analogous to instrument annotations for staves.
3529 A short version may be entered as @code{vocNam}.
3531 To make empty spaces in lyrics, use @code{\skip}.
3536 Internals: Layout objects @internalsref{LyricText} and
3537 @internalsref{VocalName}. Music expressions:
3538 @internalsref{LyricEvent}.
3544 Input for lyrics introduces a syntactical ambiguity:
3551 is interpreted as assigning a string identifier @code{\foo} such that
3552 it contains @code{"bar"}. However, it could also be interpreted as
3553 making or a music identifier @code{\foo} containing the syllable
3554 `bar'. The force the latter interpretation, use
3564 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3565 for a given voice in a part of music. It also may denote the pitch
3566 range that a musical instrument is capable of playing. Most musical
3567 instruments have their ambitus standardized (or at least there is
3568 agreement upon the minimal ambitus of a particular type of
3569 instrument), such that a composer or arranger of a piece of music can
3570 easily meet the ambitus constraints of the targeted instrument.
3571 However, the ambitus of the human voice depends on individual
3572 physiological state, including education and training of the voice.
3573 Therefore, a singer potentially has to check for each piece of music
3574 if the ambitus of that piece meets his individual capabilities. This
3575 is why the ambitus of a piece may be of particular value to vocal
3578 The ambitus is typically notated on a per-voice basis at the very
3579 beginning of a piece, e.g. nearby the initial clef or time signature of
3580 each staff. The range is graphically specified by two note heads, that
3581 represent the minimum and maximum pitch. Some publishers use a textual
3582 notation: they put the range in words in front of the corresponding
3583 staff. LilyPond only supports the graphical ambitus notation.
3585 To apply, add the @internalsref{Ambitus_engraver} to the
3586 @internalsref{Voice} context, i.e.
3592 \consists Ambitus_engraver
3597 This results in the following output:
3599 @lilypond[raggedright]
3600 upper = \notes \relative c {
3603 as'' c e2 bes f cis d4 e f2 g
3605 lower = \notes \relative c {
3608 e'4 b g a c es fis a cis b a g f e d2
3611 \context ChoirStaff {
3613 \new Staff { \upper }
3614 \new Staff { \lower }
3620 \consists Ambitus_engraver
3626 If you have multiple voices in a single staff, and you want a single
3627 ambitus per staff rather than per each voice, then add the
3628 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3629 rather than to the @internalsref{Voice} context.
3631 It is possible to tune individual ambituses for multiple voices on a
3632 single staff, for example by erasing or shifting them horizontally. An
3633 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3637 Internals: @internalsref{Ambitus}.
3639 Examples: @inputfileref{input/regression,ambitus.ly},
3640 @inputfileref{input/test,ambitus-mixed.ly}.
3644 There is no collision handling in the case of multiple per-voice
3650 Tablature notation is used for notating music for plucked string
3651 instruments. It notates pitches not by using note heads, but by
3652 indicating on which string and fret a note must be played. LilyPond
3653 offers limited support for tablature.
3656 * Tablatures basic::
3657 * Non-guitar tablatures::
3660 @node Tablatures basic
3661 @subsection Tablatures basic
3662 @cindex Tablatures basic
3664 The string number associated to a note is given as a backslash
3665 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3666 string. By default, string 1 is the highest one, and the tuning
3667 defaults to the standard guitar tuning (with 6 strings). The notes
3668 are printed as tablature, by using @internalsref{TabStaff} and
3669 @internalsref{TabVoice} contexts:
3671 @lilypond[fragment,verbatim]
3672 \notes \context TabStaff {
3680 When no string is specified, the first string that does not give a
3681 fret number less than @code{minimumFret} is selected. The default
3682 value for @code{minimumFret} is 0:
3686 e8 fis gis a b cis' dis' e'
3687 \set TabStaff.minimumFret = #8
3688 e8 fis gis a b cis' dis' e'
3693 e8 fis gis a b cis' dis' e'
3694 \set TabStaff.minimumFret = #8
3695 e8 fis gis a b cis' dis' e'
3698 \context StaffGroup <<
3699 \context Staff { \clef "G_8" \frag }
3700 \context TabStaff { \frag }
3707 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3708 @internalsref{StringNumberEvent}.
3712 Chords are not handled in a special way, and hence the automatic
3713 string selector may easily select the same string to two notes in a
3717 @node Non-guitar tablatures
3718 @subsection Non-guitar tablatures
3719 @cindex Non-guitar tablatures
3721 You can change the number of strings, by setting the number of lines
3722 in the @internalsref{TabStaff}.
3724 You can change the tuning of the strings. A string tuning is given as
3725 a Scheme list with one integer number for each string, the number
3726 being the pitch (measured in semitones relative to middle C) of an
3727 open string. The numbers specified for @code{stringTuning} are the
3728 numbers of semitones to subtract or add, starting the specified pitch
3729 by default middle C, in string order. Thus, the notes are e, a, d, and
3732 @lilypond[fragment,verbatim]
3733 \context TabStaff <<
3734 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3737 a,4 c' a e' e c' a e'
3742 It is possible to change the Scheme function to format the tablature
3743 note text. The default is @code{fret-number-tablature-format}, which
3744 uses the fret number. For instruments that do not use this notation,
3745 you can create a special tablature formatting function. This function
3746 takes three argument: string number, string tuning and note pitch.
3750 No guitar special effects have been implemented.
3755 @section Chord names
3758 LilyPond has support for both printing chord names. Chords may be
3759 entered in musical chord notation, i.e. @code{< .. >}, but they can
3760 also be entered by name. Internally, the chords are represented as a
3761 set of pitches, so they can be transposed:
3764 @lilypond[verbatim,raggedright]
3765 twoWays = \notes \transpose c c' {
3775 << \context ChordNames \twoWays
3776 \context Voice \twoWays >> }
3779 This example also shows that the chord printing routines do not try to
3780 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3786 * Printing chord names::
3791 @subsection Chords mode
3794 Chord mode is a mode where you can input sets of pitches using common
3795 names. It is introduced by the keyword @code{\chords}.
3796 In chords mode, a chord is entered by the root, which is entered
3797 like a common pitch:
3798 @lilypond[fragment,verbatim,relative=1]
3799 \chords { es4. d8 c2 }
3804 Other chords may be entered by suffixing a colon, and introducing a
3805 modifier, and optionally, a number:
3807 @lilypond[fragment,verbatim]
3808 \chords { e1:m e1:7 e1:m7 }
3810 The first number following the root is taken to be the `type' of the
3811 chord, thirds are added to the root until it reaches the specified
3813 @lilypond[fragment,verbatim]
3814 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3817 @cindex root of chord
3818 @cindex additions, in chords
3819 @cindex removals, in chords
3821 More complex chords may also be constructed adding separate steps
3822 to a chord. Additions are added after the number following
3823 the colon, and are separated by dots:
3825 @lilypond[verbatim,fragment]
3826 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3828 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3830 @lilypond[verbatim,fragment]
3831 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3833 Removals are specified similarly, and are introduced by a caret. They
3834 must come after the additions:
3835 @lilypond[verbatim,fragment]
3836 \chords { c^3 c:7^5 c:9^3.5 }
3839 Modifiers can be used to change pitches. The following modifiers are
3843 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3845 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3848 is the augmented chord. This modifier raises the 5th step.
3850 is the major 7th chord. This modifier raises the 7th step if present.
3852 is the suspended 4th or 2nd. This modifier removes the 3rd
3853 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3856 Modifiers can be mixed with additions:
3857 @lilypond[verbatim,fragment]
3858 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3861 @cindex modifiers, in chords.
3868 Since an unaltered 11 does not sound good when combined with an
3869 unaltered 13, the 11 is removed in this case (unless it is added
3872 @lilypond[fragment,verbatim]
3873 \chords { c:13 c:13.11 c:m13 }
3878 An inversion (putting one pitch of the chord on the bottom), as well
3879 as bass notes, can be specified by appending
3880 @code{/}@var{pitch} to the chord:
3881 @lilypond[fragment,verbatim]
3882 \chords { c1 c/g c/f }
3886 A bass note can be added instead of transposed out of the chord,
3887 by using @code{/+}@var{pitch}.
3889 @lilypond[fragment,verbatim]
3890 \chords { c1 c/+g c/+f }
3893 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3894 of the commands continue to work, for example, @code{r} and
3895 @code{\skip} can be used to insert rests and spaces, and property
3896 commands may be used to change various settings.
3902 Each step can only be present in a chord once. The following
3903 simply produces the augmented chord, since @code{5+} is interpreted
3906 @lilypond[verbatim,fragment]
3907 \chords { c:5.5-.5+ }
3911 @node Printing chord names
3912 @subsection Printing chord names
3914 @cindex printing chord names
3918 For displaying printed chord names, use the @internalsref{ChordNames} context.
3919 The chords may be entered either using the notation
3920 described above, or directly using @code{<} and @code{>}:
3922 @lilypond[verbatim,raggedright]
3924 \chords {a1 b c} <d' f' a'> <e' g' b'>
3928 \context ChordNames \scheme
3929 \context Staff \scheme
3934 You can make the chord changes stand out by setting
3935 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3936 display chord names when there is a change in the chords scheme and at
3937 the start of a new line:
3939 @lilypond[verbatim,linewidth=9\cm]
3941 c1:m c:m \break c:m c:m d
3945 \context ChordNames {
3946 \set chordChanges = ##t
3948 \context Staff \transpose c c' \scheme
3953 The default chord name layout is a system for Jazz music, proposed by
3954 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3955 following properties:
3958 @cindex chordNameExceptions
3959 @item chordNameExceptions
3960 This is a list that contains the chords that have special formatting.
3962 @inputfileref{input/regression,chord-name-exceptions.ly}.
3963 @cindex exceptions, chord names.
3966 @cindex majorSevenSymbol
3967 @item majorSevenSymbol
3968 This property contains the markup object used for the 7th step, when
3969 it is major. Predefined options are @code{whiteTriangleMarkup} and
3970 @code{blackTriangleMarkup}. See
3971 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3973 @cindex chordNameSeparator
3974 @item chordNameSeparator
3975 Different parts of a chord name are normally separated by a
3976 slash. By setting @code{chordNameSeparator}, you can specify other
3978 @lilypond[fragment,verbatim]
3979 \context ChordNames \chords {
3981 \set chordNameSeparator
3982 = \markup { \typewriter "|" }
3986 @cindex chordRootNamer
3987 @item chordRootNamer
3988 The root of a chord is usually printed as a letter with an optional
3989 alteration. The transformation from pitch to letter is done by this
3990 function. Special note names (for example, the German ``H'' for a
3991 B-chord) can be produced by storing a new function in this property.
3993 The predefined variables @code{\germanChords},
3994 @code{\semiGermanChords} set these variables.
3997 @cindex chordNoteNamer
3998 @item chordNoteNamer
3999 The default is to print single pitch, e.g. the bass note, using the
4000 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4001 to a specialized function to change this behavior. For example, the
4002 base can be printed in lower case.
4007 There are also two other chord name schemes implemented: an alternate
4008 Jazz chord notation, and a systematic scheme called Banter chords. The
4009 alternate jazz notation is also shown on the chart in @ref{Chord name
4010 chart}. Turning on these styles is described in the input file
4011 @inputfileref{input/test,chord-names-jazz.ly}.
4015 @cindex chords, jazz
4020 @cindex @code{\germanChords}
4021 @code{\germanChords},
4022 @cindex @code{\semiGermanChords}
4023 @code{\semiGermanChords}.
4030 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4031 @inputfileref{input/regression,chord-name-exceptions.ly},
4032 @inputfileref{input/test,chord-names-jazz.ly},
4033 @inputfileref{input/test,chord-names-german.ly}.
4035 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4040 Chord names are determined solely from the list of pitches. Chord
4041 inversions are not identified, and neither are added bass notes. This
4042 may result in strange chord names when chords are entered with the
4043 @code{< .. >} syntax.
4048 @node Orchestral music
4049 @section Orchestral music
4051 @cindex Writing parts
4053 Orchestral music involves some special notation, both in the full
4054 score and the individual parts. This section explains how to tackle
4055 some common problems in orchestral music.
4060 * Multiple staff contexts::
4063 * Instrument names::
4065 * Instrument transpositions::
4066 * Multi measure rests::
4067 * Automatic part combining::
4069 * Different editions from one source::
4070 * Quoting other voices::
4073 @node Multiple staff contexts
4074 @subsection Multiple staff contexts
4076 Polyphonic scores consist of many staves. These staves can be
4077 constructed in three different ways:
4079 @item The group is started with a brace at the left. This is done with the
4080 @internalsref{GrandStaff} context.
4081 @item The group is started with a bracket. This is done with the
4082 @internalsref{StaffGroup} context
4083 @item The group is started with a vertical line. This is the default
4087 @cindex Staff, multiple
4088 @cindex bracket, vertical
4089 @cindex brace, vertical
4096 @node Rehearsal marks
4097 @subsection Rehearsal marks
4098 @cindex Rehearsal marks
4100 @cindex @code{\mark}
4102 To print a rehearsal mark, use the @code{\mark} command:
4103 @lilypond[fragment,verbatim]
4114 (The letter I is skipped in accordance with engraving traditions.)
4116 The mark is incremented automatically if you use @code{\mark
4117 \default}, but you can also use an integer argument to set the mark
4118 manually. The value to use is stored in the property
4119 @code{rehearsalMark}.
4121 The style is defined by the property @code{markFormatter}. It is a
4122 function taking the current mark (an integer) and the current context
4123 as argument. It should return a markup object. In the following
4124 example, @code{markFormatter} is set to a canned procedure. After a
4125 few measures, it is set to function that produces a boxed number.
4127 @lilypond[verbatim,fragment,relative=1]
4128 \set Score.markFormatter = #format-mark-numbers
4131 \set Score.markFormatter
4132 = #(lambda (mark context)
4133 (make-bold-markup (make-box-markup (number->string mark))))
4138 The file @file{scm/translation-functions.scm} contains the definitions
4139 of @code{format-mark-numbers} (the default format) and
4140 @code{format-mark-letters}. They can be used as inspiration for other
4141 formatting functions.
4144 @cindex coda on bar line
4145 @cindex segno on bar line
4146 @cindex fermata on bar line
4147 @cindex bar lines, symbols on
4149 The @code{\mark} command can also be used to put signs like coda,
4150 segno and fermatas on a bar line. Use @code{\markup} to
4151 to access the appropriate symbol:
4153 @lilypond[fragment,verbatim,relative=1]
4154 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4158 In this case, during line breaks, marks must also be printed at the
4159 end of the line, and not at the beginning. Use the following to force
4162 \override Score.RehearsalMark
4163 #'break-visibility = #begin-of-line-invisible
4169 @cindex bar lines, putting symbols on
4173 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4175 Init files: @file{scm/translation-functions.scm} contains the
4176 definition of @code{format-mark-numbers} and
4177 @code{format-mark-letters}. They can be used as inspiration for other
4178 formatting functions.
4180 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4181 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4185 @subsection Bar numbers
4189 @cindex measure numbers
4190 @cindex currentBarNumber
4192 Bar numbers are printed by default at the start of the line. The
4193 number itself is stored in the
4194 @code{currentBarNumber} property,
4195 which is normally updated automatically for every measure.
4197 Bar numbers can be typeset at regular intervals instead of at the
4198 beginning of each line. This is illustrated in the following example,
4199 whose source is available as
4200 @inputfileref{input/test,bar-number-regular-interval.ly}:
4202 @lilypondfile[]{bar-number-regular-interval.ly}
4207 Internals: @internalsref{BarNumber}.
4209 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4210 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4214 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4215 there is one at the top. To solve this, the
4216 @code{padding} property of @internalsref{BarNumber} can be
4217 used to position the number correctly.
4219 @node Instrument names
4220 @subsection Instrument names
4222 In an orchestral score, instrument names are printed left side of the
4225 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4226 and @internalsref{Staff}.@code{instr}. This will print a string before
4227 the start of the staff. For the first start, @code{instrument} is
4228 used, for the next ones @code{instr} is used:
4231 @lilypond[verbatim,raggedright]
4232 \set Staff.instrument = "ploink " { c''4 }
4236 You can also use markup texts to construct more complicated instrument
4240 @lilypond[fragment,verbatim,raggedright]
4242 \set Staff.instrument = \markup {
4243 \column < "Clarinetti"
4256 Internals: @internalsref{InstrumentName}.
4260 When you put a name on a grand staff or piano staff the width of the
4261 brace is not taken into account. You must add extra spaces to the end of
4262 the name to avoid a collision.
4265 @subsection Transpose
4267 @cindex transposition of pitches
4268 @cindex @code{\transpose}
4270 A music expression can be transposed with @code{\transpose}. The syntax
4273 \transpose @var{from} @var{to} @var{musicexpr}
4276 This means that @var{musicexpr} is transposed by the interval between
4277 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4278 is changed to @code{to}.
4281 For example, consider a piece written in the key of D major. If
4282 this piece is a little too low for its performer, it can be
4283 transposed up to E major with
4285 \transpose d e @dots{}
4288 Consider a part written for violin (a C instrument). If
4289 this part is to be played on the A clarinet, the following
4290 transposition will produce the appropriate part
4293 \transpose a c @dots{}
4296 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4297 inside a @code{\notes} section. @code{\transpose} distinguishes
4298 between enharmonic pitches: both @code{\transpose c cis} or
4299 @code{\transpose c des} will transpose up half a tone. The first
4300 version will print sharps and the second version will print flats:
4302 @lilypond[raggedright,verbatim]
4303 mus =\notes { \key d \major cis d fis g }
4304 \score { \notes \context Staff {
4307 \transpose c g' \mus
4308 \transpose c f' \mus
4315 Internals: @internalsref{TransposedMusic}, and
4316 @internalsref{UntransposableMusic}.
4320 If you want to use both @code{\transpose} and @code{\relative}, then
4321 you must put @code{\transpose} outside of @code{\relative}, since
4322 @code{\relative} will have no effect music that appears inside a
4325 @node Instrument transpositions
4326 @subsection Instrument transpositions
4328 The key of a transposing instrument can also be specified. This
4329 applies to many wind instruments, for example, clarinets (B-flat, A and
4330 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4333 The transposition is entered after the keyword @code{\transposition}:
4336 \transposition bes %% B-flat clarinet
4339 This command sets the property @code{instrumentTuning}. The value of
4340 this property is used for MIDI output and quotations. It does not
4341 affect how notes are printed in the current staff.
4343 @cindex transposition, MIDI
4344 @cindex transposition, instrument
4347 @node Multi measure rests
4348 @subsection Multi measure rests
4349 @cindex multi measure rests
4350 @cindex Rests, multi measure
4354 Multi measure rests are entered using `@code{R}'. It is specifically
4355 meant for full bar rests and for entering parts: the rest can expand
4356 to fill a score with rests, or it can be printed as a single
4357 multimeasure rest. This expansion is controlled by the property
4358 @code{Score.skipBars}. If this is set to true, empty measures will not
4359 be expanded, and the appropriate number is added automatically:
4361 @lilypond[fragment,verbatim]
4362 \time 4/4 r1 | R1 | R1*2
4363 \set Score.skipBars = ##t R1*17 R1*4
4366 The @code{1} in @code{R1} is similar to the duration notation used for
4367 notes. Hence, for time signatures other than 4/4, you must enter other
4368 durations. This can be done with augmentation dots or fractions:
4370 @lilypond[fragment,verbatim]
4371 \set Score.skipBars = ##t
4379 An @code{R} spanning a single measure is printed as either a whole rest
4380 or a breve, centered in the measure regardless of the time signature.
4382 @cindex text on multi-measure rest
4383 @cindex script on multi-measure rest
4384 @cindex fermata on multi-measure rest
4386 Texts can be added to multi-measure rests by using the
4387 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4388 replaced. If you need both texts and the number, you must add the
4389 number by hand. A variable (@code{\fermataMarkup}) is provided for
4393 @lilypond[verbatim,fragment]
4395 R2._\markup { "Ad lib" }
4399 If you want to have a text on the left end of a multi-measure rest,
4400 attach the text to a zero-length skip note, i.e.
4408 @cindex whole rests for a full measure
4412 Internals: @internalsref{MultiMeasureRestEvent},
4413 @internalsref{MultiMeasureTextEvent},
4414 @internalsref{MultiMeasureRestMusicGroup}, and
4415 @internalsref{MultiMeasureRest}.
4417 The layout object @internalsref{MultiMeasureRestNumber} is for the
4418 default number, and @internalsref{MultiMeasureRestText} for user
4423 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4424 over multi-measure rests.
4426 @cindex condensing rests
4428 There is no way to automatically condense multiple rests into a single
4429 multimeasure rest. Multi measure rests do not take part in rest
4432 Be careful when entering multimeasure rests followed by whole
4433 notes. The following will enter two notes lasting four measures each:
4437 When @code{skipBars} is set, then the result will look OK, but the
4438 bar numbering will be off.
4440 @node Automatic part combining
4441 @subsection Automatic part combining
4442 @cindex automatic part combining
4443 @cindex part combiner
4446 Automatic part combining is used to merge two parts of music onto a
4447 staff. It is aimed at typesetting orchestral scores. When the two
4448 parts are identical for a period of time, only one is shown. In
4449 places where the two parts differ, they are typeset as separate
4450 voices, and stem directions are set automatically. Also, solo and
4451 @emph{a due} parts are identified and can be marked.
4454 The syntax for part combining is
4457 \partcombine @var{musicexpr1} @var{musicexpr2}
4460 The music expressions will be interpreted as @internalsref{Voice} contexts.
4462 The following example demonstrates the basic functionality of the part
4463 combiner: putting parts on one staff, and setting stem directions and
4466 @lilypond[verbatim,raggedright,fragment,relative=1]
4467 \new Staff \partcombine
4476 The first @code{g} appears only once, although it was
4477 specified twice (once in each part). Stem, slur and tie directions are
4478 set automatically, depending whether there is a solo or unisono. The
4479 first part (with context called @code{one}) always gets up stems, and
4480 `solo', while the second (called @code{two}) always gets down stems and
4483 If you just want the merging parts, and not the textual markings, you
4484 may set the property @var{soloADue} to false:
4486 @lilypond[verbatim,raggedright,fragment,relative=1]
4488 \set Staff.soloADue = ##f
4500 Internals: @internalsref{PartCombineMusic},
4501 @internalsref{SoloOneEvent}, and
4502 @internalsref{SoloTwoEvent}, and
4503 @internalsref{UnisonoEvent}.
4507 In @code{soloADue} mode, when the two voices play the same notes on and
4508 off, the part combiner may typeset @code{a2} more than once in a
4511 @code{\partcombine} can not be inside @code{\times}.
4513 Internally, the @code{\partcombine} interprets both arguments as
4514 @code{Voice}s named @code{one} and @code{two}, and then decides when
4515 the parts can be combined. Consequently, if the arguments switch to
4516 differently named @internalsref{Voice} contexts, then the events in
4517 those will be ignored.
4520 @subsection Hiding staves
4522 @cindex Frenched scores
4523 @cindex Hiding staves
4525 In orchestral scores, staff lines that only have rests are usually
4526 removed. This saves some space. This style is called `French Score'.
4527 For @internalsref{Lyrics},
4528 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4529 switched on by default. When these line of these contexts turn out
4530 empty after the line-breaking process, they are removed.
4532 For normal staves, a specialized @internalsref{Staff} context is
4533 available, which does the same: staves containing nothing (or only
4534 multi measure rests) are removed. The context definition is stored in
4535 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4536 in this example disappears in the second line:
4541 \notes \relative c' <<
4542 \new Staff { e4 f g a \break c1 }
4543 \new Staff { c4 d e f \break R1 }
4547 \context { \RemoveEmptyStaffContext }
4552 The first page shows all staves in full. If they should be removed
4553 from the first page too, set @code{remove-first} to false
4554 in @internalsref{RemoveEmptyVerticalGroup}.
4556 Another application is making ossia sections, i.e. alternative
4557 melodies on a separate piece of staff, with help of a Frenched
4558 staff. See @inputfileref{input/test,ossia.ly} for an example.
4561 @node Different editions from one source
4562 @subsection Different editions from one source
4564 The @code{\tag} command marks music expressions with a name. These
4565 tagged expressions can be filtered out later. With this mechanism it
4566 is possible to make different versions of the same music source.
4568 In the following example, we see two versions of a piece of music, one
4569 for the full score, and one with cue notes for the instrumental part:
4585 The same can be applied to articulations, texts, etc.: they are
4588 -\tag #@var{your-tag}
4590 to an articulation, for example,
4595 This defines a note with a conditional fingering indication.
4597 By applying the @code{remove-tag} function, tagged expressions can be
4598 filtered. For example,
4602 \apply #(remove-tag 'score) @var{the music}
4603 \apply #(remove-tag 'part) @var{the music}
4608 @lilypondfile[]{tag-filter.ly}
4610 The argument of the @code{\tag} command should be a symbol, or a list
4611 of symbols, for example,
4613 \tag #'(original-part transposed-part) @dots{}
4618 Examples: @inputfileref{input/regression,tag-filter.ly}.
4621 @node Quoting other voices
4622 @subsection Quoting other voices
4624 With quotations, fragments of other parts can be inserted into a part
4625 directly. Before a part can be quoted, it must be marked especially as
4626 quotable. This is done with code @code{\addquote} command. The
4627 quotation may then be done with @code{\quote}
4630 \addquote @var{name} @var{music}
4631 \quote @var{name} @var{duration}
4636 Here, @var{name} is an identifying string. The @var{music} is any kind
4637 of music. This is an example of @code{\addquote}:
4640 \addquote clarinet \notes\relative c' {
4645 During a part, a piece of music can be quoted with the @code{\quote}
4652 This would cite 3 quarter notes (a dotted half note) of the previously
4653 added clarinet voice.
4655 Quotations take into account the transposition both source and target
4656 instruments, if they are specified using the @code{\transposition} command.
4658 @lilypond[verbatim,fragment]
4659 \addquote clarinet \notes\relative c' {
4665 e'8 f'8 \quote clarinet 2
4671 Only the contents of the first @internalsref{Voice} occurring in an
4672 @code{\addquote} command will be considered for quotation, so
4673 @var{music} can not contain @code{\new} and @code{\context Voice}
4674 statements that would switch to a different Voice.
4679 In this manual: @ref{Instrument transpositions}.
4681 Examples: @inputfileref{input/regression,quote.ly}
4682 @inputfileref{input/regression,quote-transposition.ly}
4684 Internals: @internalsref{QuoteMusic}.
4686 @node Ancient notation
4687 @section Ancient notation
4689 @cindex Vaticana, Editio
4690 @cindex Medicaea, Editio
4695 @c [TODO: write more comprehensive introduction on ancient notation]
4697 Support for ancient notation is still under heavy development.
4698 Regardless of all of the current limitations (see the bugs section
4699 below for details), it includes features for mensural
4700 notation and Gregorian Chant notation. There is also limited support
4701 for figured bass notation.
4703 Many graphical objects provide a @code{style} property, see
4704 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4705 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4706 signatures}. By manipulating such a grob property, the typographical
4707 appearance of the affected graphical objects can be accommodated for a
4708 specific notation flavor without need for introducing any new
4712 Other aspects of ancient notation can not that easily be expressed as
4713 in terms of just changing a style property of a graphical object.
4714 Therefore, some notational concepts are introduced specifically for
4715 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4716 @ref{Ligatures}, and @ref{Figured bass}.
4720 * Ancient note heads::
4721 * Ancient accidentals::
4725 * Ancient time signatures::
4730 * Vaticana style contexts::
4733 If this all is way too much of documentation for you, and you just
4734 want to dive into typesetting without worrying too much about the
4735 details on how to customize a context, then you may have a look at the
4736 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4737 set up predefined style-specific voice and staff contexts, and
4738 directly go ahead with the note entry.
4742 Ligatures need special spacing that has not yet been implemented. As
4743 a result, there is too much space between ligatures most of the time,
4744 and line breaking often is unsatisfactory. Also, lyrics do not
4745 correctly align with ligatures.
4747 Accidentals must not be printed within a ligature, but instead need to
4748 be collected and printed in front of it.
4750 Augmentum dots within ligatures are not handled correctly.
4753 @node Ancient note heads
4754 @subsection Ancient note heads
4759 For ancient notation, a note head style other than the @code{default}
4760 style may be chosen. This is accomplished by setting the @code{style}
4761 property of the NoteHead object to the desired value (@code{baroque},
4762 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4763 differs from the @code{default} style only in using a square shape for
4764 @code{\breve} note heads. The @code{neo_mensural} style differs from
4765 the @code{baroque} style in that it uses rhomboidal heads for whole
4766 notes and all smaller durations. Stems are centered on the note
4767 heads. This style is in particular useful when transcribing mensural
4768 music, e.g. for the incipit. The @code{mensural} style finally
4769 produces note heads that mimic the look of note heads in historic
4770 printings of the 16th century.
4772 The following example demonstrates the @code{neo_mensural} style:
4774 @lilypond[fragment,raggedright,verbatim]
4775 \override NoteHead #'style = #'neo_mensural
4776 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4779 When typesetting a piece in Gregorian Chant notation, a Gregorian
4780 ligature engraver will automatically select the proper note heads,
4781 such there is no need to explicitly set the note head style. Still,
4782 the note head style can be set e.g. to @code{vaticana_punctum} to
4783 produce punctum neumes. Similarly, a mensural ligature engraver is
4784 used to automatically assemble mensural ligatures. See
4785 @ref{Ligatures} for how ligature engravers work.
4790 @ref{Percussion staves} use note head styles of their own that are
4791 frequently used in contemporary music notation.
4793 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4794 overview over all available note head styles.
4797 @node Ancient accidentals
4798 @subsection Ancient accidentals
4803 Use the @code{style} property of grob @internalsref{Accidental} to
4804 select ancient accidentals. Supported styles are
4805 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4807 @lilypond[raggedright,staffsize=26]
4815 { " " \musicglyph #"accidentals-vaticana-1"
4816 " " \musicglyph #"accidentals-vaticana0" }
4820 { " " \musicglyph #"accidentals-medicaea-1" }
4824 { " " \musicglyph #"accidentals-hufnagel-1" }
4828 { " " \musicglyph #"accidentals-mensural-1"
4829 " " \musicglyph #"accidentals-mensural1" }
4838 \remove "Bar_number_engraver"
4842 \remove "Clef_engraver"
4843 \remove "Key_engraver"
4844 \remove "Time_signature_engraver"
4845 \remove "Staff_symbol_engraver"
4846 minimumVerticalExtent = ##f
4852 As shown, not all accidentals are supported by each style. When
4853 trying to access an unsupported accidental, LilyPond will switch to a
4854 different style, as demonstrated in
4855 @inputfileref{input/test,ancient-accidentals.ly}.
4857 Similarly to local accidentals, the style of the key signature can be
4858 controlled by the @code{style} property of the
4859 @internalsref{KeySignature} grob.
4863 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4864 @ref{Accidentals} give a general introduction into the use of
4865 accidentals. @ref{Key signature} gives a general introduction into
4866 the use of key signatures.
4868 Internals: @internalsref{KeySignature}.
4870 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4873 @subsection Ancient rests
4878 Use the @code{style} property of grob @internalsref{Rest} to select
4879 ancient accidentals. Supported styles are @code{classical},
4880 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4881 from the @code{default} style only in that the quarter rest looks like
4882 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4883 well for e.g. the incipit of a transcribed mensural piece of music.
4884 The @code{mensural} style finally mimics the appearance of rests as
4885 in historic prints of the 16th century.
4887 The following example demonstrates the @code{neo_mensural} style:
4889 @lilypond[fragment,raggedright,verbatim]
4890 \override Rest #'style = #'neo_mensural
4891 r\longa r\breve r1 r2 r4 r8 r16
4894 There are no 32th and 64th rests specifically for the mensural or
4895 neo-mensural style. Instead, the rests from the default style will be
4896 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4899 There are no rests in Gregorian Chant notation; instead, it uses
4904 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4908 @subsection Ancient clefs
4913 LilyPond supports a variety of clefs, many of them ancient.
4915 The following table shows all ancient clefs that are supported via the
4916 @code{\clef} command. Some of the clefs use the same glyph, but
4917 differ only with respect to the line they are printed on. In such
4918 cases, a trailing number in the name is used to enumerate these clefs.
4919 Still, you can manually force a clef glyph to be typeset on an
4920 arbitrary line, as described in @ref{Clef}. The note printed to the
4921 right side of each clef in the example column denotes the @code{c'}
4922 with respect to that clef.
4924 @multitable @columnfractions .3 .3 .3 .1
4928 @b{Description} @tab
4929 @b{Supported Clefs} @tab
4933 @code{clefs-neo_mensural_c} @tab
4934 modern style mensural C clef @tab
4935 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4936 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4937 @lilypond[relative,notime]
4938 \override Staff.TimeSignature #'transparent = ##t
4939 \clef "neo_mensural_c2" c
4943 @code{clefs-petrucci_c1}
4944 @code{clefs-petrucci_c2}
4945 @code{clefs-petrucci_c3}
4946 @code{clefs-petrucci_c4}
4947 @code{clefs-petrucci_c5}
4950 petrucci style mensural C clefs, for use on different staff lines
4951 (the examples shows the 2nd staff line C clef).
4961 @lilypond[relative,notime]
4962 \override Staff.TimeSignature #'transparent = ##t
4963 \clef "petrucci_c2" c
4967 @code{clefs-petrucci_f} @tab
4968 petrucci style mensural F clef @tab
4969 @code{petrucci_f} @tab
4970 @lilypond[relative,notime]
4971 \override Staff.TimeSignature #'transparent = ##t
4972 \clef "petrucci_f" c
4976 @code{clefs-petrucci_g} @tab
4977 petrucci style mensural G clef @tab
4978 @code{petrucci_g} @tab
4979 @lilypond[relative,notime]
4980 \override Staff.TimeSignature #'transparent = ##t
4981 \clef "petrucci_g" c
4985 @code{clefs-mensural_c} @tab
4986 historic style mensural C clef @tab
4987 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4988 @code{mensural_c4} @tab
4989 @lilypond[relative,notime]
4990 \override Staff.TimeSignature #'transparent = ##t
4991 \clef "mensural_c2" c
4995 @code{clefs-mensural_f} @tab
4996 historic style mensural F clef @tab
4997 @code{mensural_f} @tab
4998 @lilypond[relative,notime]
4999 \override Staff.TimeSignature #'transparent = ##t
5000 \clef "mensural_f" c
5004 @code{clefs-mensural_g} @tab
5005 historic style mensural G clef @tab
5006 @code{mensural_g} @tab
5007 @lilypond[relative,notime]
5008 \override Staff.TimeSignature #'transparent = ##t
5009 \clef "mensural_g" c
5013 @code{clefs-vaticana_do} @tab
5014 Editio Vaticana style do clef @tab
5015 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5016 @lilypond[relative,notime]
5017 \override Staff.StaffSymbol #'line-count = #4
5018 \override Staff.TimeSignature #'transparent = ##t
5019 \clef "vaticana_do2" c
5023 @code{clefs-vaticana_fa} @tab
5024 Editio Vaticana style fa clef @tab
5025 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5026 @lilypond[relative,notime]
5027 \override Staff.StaffSymbol #'line-count = #4
5028 \override Staff.TimeSignature #'transparent = ##t
5029 \clef "vaticana_fa2" c
5033 @code{clefs-medicaea_do} @tab
5034 Editio Medicaea style do clef @tab
5035 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5036 @lilypond[relative,notime]
5037 \override Staff.StaffSymbol #'line-count = #4
5038 \override Staff.TimeSignature #'transparent = ##t
5039 \clef "medicaea_do2" c
5043 @code{clefs-medicaea_fa} @tab
5044 Editio Medicaea style fa clef @tab
5045 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5046 @lilypond[relative,notime]
5047 \override Staff.StaffSymbol #'line-count = #4
5048 \override Staff.TimeSignature #'transparent = ##t
5049 \clef "medicaea_fa2" c
5053 @code{clefs-hufnagel_do} @tab
5054 historic style hufnagel do clef @tab
5055 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5056 @lilypond[relative,notime]
5057 \override Staff.StaffSymbol #'line-count = #4
5058 \override Staff.TimeSignature #'transparent = ##t
5059 \clef "hufnagel_do2" c
5063 @code{clefs-hufnagel_fa} @tab
5064 historic style hufnagel fa clef @tab
5065 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5066 @lilypond[relative,notime]
5067 \override Staff.StaffSymbol #'line-count = #4
5068 \override Staff.TimeSignature #'transparent = ##t
5069 \clef "hufnagel_fa2" c
5073 @code{clefs-hufnagel_do_fa} @tab
5074 historic style hufnagel combined do/fa clef @tab
5075 @code{hufnagel_do_fa} @tab
5076 @lilypond[relative,notime]
5077 \override Staff.TimeSignature #'transparent = ##t
5078 \clef "hufnagel_do_fa" c
5083 @c --- This should go somewhere else: ---
5084 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5087 @c @code{percussion}
5089 @c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
5091 @c @item modern style tab clef (glyph: @code{clefs-tab})
5096 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
5098 @emph{Modern style} means ``as is typeset in contemporary editions of
5099 transcribed mensural music''.
5101 @emph{Petrucci style} means ``inspired by printings published by the
5102 famous engraver Petrucci (1466-1539)''.
5104 @emph{Historic style} means ``as was typeset or written in historic
5105 editions (other than those of Petrucci)''.
5107 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5109 Petrucci used C clefs with differently balanced left-side vertical
5110 beams, depending on which staff line it is printed.
5114 In this manual: for the percussion clef, see @ref{Percussion staves}.
5115 For the @code{TAB} clef, see @ref{Tablatures}.
5117 Internals: for modern clefs, see @ref{Clef}.
5121 The mensural g clef is temporarily mapped to the Petrucci g clef,
5122 until a new mensural g clef will have been implemented.
5127 @subsection Ancient flags
5132 Use the @code{flag-style} property of grob @internalsref{Stem} to
5133 select ancient flags. Besides the @code{default} flag style,
5134 only @code{mensural} style is supported:
5136 @lilypond[fragment,raggedright,verbatim]
5137 \override Stem #'flag-style = #'mensural
5138 \override Stem #'thickness = #1.0
5139 \override NoteHead #'style = #'mensural
5141 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
5142 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5145 Note that the innermost flare of each mensural flag always is
5146 vertically aligned with a staff line. If you do not like this
5147 behavior, you can set the @code{adjust-if-on-staffline} property of
5148 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5149 of the end of each flare is different between notes on staff lines and
5150 notes between staff lines:
5152 @lilypond[fragment,raggedright]
5153 \override Stem #'flag-style = #'mensural
5154 \override Stem #'thickness = #1.0
5155 \override Stem #'adjust-if-on-staffline = ##f
5156 \override NoteHead #'style = #'mensural
5158 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
5159 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5162 There is no particular flag style for neo-mensural notation. Hence,
5163 when typesetting e.g. the incipit of a transcribed piece of mensural
5164 music, the default flag style should be used. There are no flags in
5165 Gregorian Chant notation.
5168 @node Ancient time signatures
5169 @subsection Ancient time signatures
5171 @cindex time signatures
5174 There is limited support for mensural time signatures. The
5175 glyphs are hard-wired to particular time fractions. In other words,
5176 to get a particular mensural signature glyph with the @code{\time n/m}
5177 command, @code{n} and @code{m} have to be chosen according to the
5183 \set Score.timing = ##f
5184 \set Score.barAlways = ##t
5185 s_\markup { "$\\backslash$time 4/4" }
5186 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5188 s_\markup { "$\\backslash$time 2/2" }
5189 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5191 s_\markup { "$\\backslash$time 6/4" }
5192 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5194 s_\markup { "$\\backslash$time 6/8" }
5195 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5197 s_\markup { "$\\backslash$time 3/2" }
5198 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5200 s_\markup { "$\\backslash$time 3/4" }
5201 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5203 s_\markup { "$\\backslash$time 9/4" }
5204 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5206 s_\markup { "$\\backslash$time 9/8" }
5207 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5209 s_\markup { "$\\backslash$time 4/8" }
5210 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5212 s_\markup { "$\\backslash$time 2/4" }
5213 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5221 \remove Staff_symbol_engraver
5222 \remove Clef_engraver
5223 \remove Time_signature_engraver
5229 Use the @code{style} property of grob @internalsref{TimeSignature} to
5230 select ancient time signatures. Supported styles are
5231 @code{neo_mensural} and @code{mensural}. The above table uses the
5232 @code{neo_mensural} style. This style is appropriate e.g. for the
5233 incipit of transcriptions of mensural pieces. The @code{mensural}
5234 style mimics the look of historical printings of the 16th century.
5236 @inputfileref{input/test,time.ly} gives an overview over all available
5237 ancient and modern styles.
5241 Internals: @ref{Time signature} gives a general introduction into the use of time
5246 Mensural signature glyphs are mapped to time fractions in a
5247 hard-wired way. This mapping is sensible, but still arbitrary: given
5248 a mensural time signature, the time fraction represents a modern meter
5249 that usually will be a good choice when transcribing a mensural piece
5250 of music. For a particular piece of mensural music, however, the
5251 mapping may be unsatisfactory. In particular, the mapping assumes a
5252 fixed transcription of durations (e.g. brevis = half note in 2/2,
5253 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5254 are not at all accessible through the @code{\time} command.
5256 Mensural time signatures are supported typographically, but not yet
5257 musically. The internal representation of durations is
5258 based on a purely binary system; a ternary division such as 1 brevis =
5259 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5260 prolatione maiori) is not correctly handled: event times in ternary
5261 modes will be badly computed, resulting e.g. in horizontally
5262 misaligned note heads, and bar checks are likely to erroneously fail.
5264 The syntax and semantics of the @code{\time} command for mensural
5265 music is subject to change.
5268 @subsection Custodes
5273 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5274 symbol that appears at the end of a staff. It anticipates the pitch
5275 of the first note(s) of the following line and thus helps the player
5276 or singer to manage line breaks during performance, thus enhancing
5277 readability of a score.
5279 Custodes were frequently used in music notation until the 17th
5280 century. Nowadays, they have survived only in a few particular forms
5281 of musical notation such as contemporary editions of Gregorian chant
5282 like the @emph{editio vaticana}. There are different custos glyphs
5283 used in different flavors of notational style.
5286 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5287 @internalsref{Staff} context when declaring the @code{\paper} block,
5288 as shown in the following example:
5294 \consists Custos_engraver
5295 Custos \override #'style = #'mensural
5300 The result looks like this:
5306 \override Staff.Custos #'style = #'mensural
5313 \consists Custos_engraver
5320 The custos glyph is selected by the @code{style} property. The styles
5321 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5322 @code{mensural}. They are demonstrated in the following fragment:
5332 { " " \musicglyph #"custodes-vaticana-u0" }
5336 { " " \musicglyph #"custodes-medicaea-u0" }
5340 { " " \musicglyph #"custodes-hufnagel-u0" }
5344 { " " \musicglyph #"custodes-mensural-u0" }
5353 \remove "Bar_number_engraver"
5357 \remove "Clef_engraver"
5358 \remove "Key_engraver"
5359 \remove "Time_signature_engraver"
5360 \remove "Staff_symbol_engraver"
5361 minimumVerticalExtent = ##f
5367 If the boolean property @code{adjust-if-on-staffline} is set to
5368 @code{#t} (which it is by default), lily typesets slightly different
5369 variants of the custos glyph, depending on whether the custos, is
5370 typeset on or between staff lines. The glyph will
5371 optically fit well into the staff, with the appendage on the right of
5372 the custos always ending at the same vertical position between two
5373 staff lines regardless of the pitch. If you set
5374 @code{adjust-if-on-staffline} to @code{#f}, then
5375 a compromise between both forms is used.
5377 Just like stems can be attached to note heads in two directions
5378 @emph{up} and @emph{down}, each custos glyph is available with its
5379 appendage pointing either up or down. If the pitch of a custos is
5380 above a selectable position, the appendage will point downwards; if
5381 the pitch is below this position, the appendage will point upwards.
5382 Use property @code{neutral-position} to select this position. By
5383 default, it is set to @code{0}, such that the neutral position is the
5384 center of the staff. Use property @code{neutral-direction} to control
5385 what happens if a custos is typeset on the neutral position itself.
5386 By default, this property is set to @code{-1}, such that the appendage
5387 will point downwards. If set to @code{1}, the appendage will point
5388 upwards. Other values such as @code{0} are reserved for future
5389 extensions and should not be used.
5393 Internals: @internalsref{Custos}.
5395 Examples: @inputfileref{input/regression,custos.ly}.
5399 @subsection Divisiones
5405 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5406 `division') is a staff context symbol that is used to structure
5407 Gregorian music into phrases and sections. The musical meaning of
5408 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5409 can be characterized as short, medium and long pause, somewhat like
5410 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5411 a chant, but is also frequently used within a single
5412 antiphonal/responsorial chant to mark the end of each section.
5415 To use divisiones, include the file @code{gregorian-init.ly}. It
5416 contains definitions that you can apply by just inserting
5417 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5418 and @code{\finalis} at proper places in the input. Some editions use
5419 @emph{virgula} or @emph{caesura} instead of divisio minima.
5420 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5423 @lilypondfile[]{divisiones.ly}
5427 @cindex @code{\virgula}
5429 @cindex @code{\caesura}
5431 @cindex @code{\divisioMinima}
5432 @code{\divisioMinima},
5433 @cindex @code{\divisioMaior}
5434 @code{\divisioMaior},
5435 @cindex @code{\divisioMaxima}
5436 @code{\divisioMaxima},
5437 @cindex @code{\finalis}
5442 In this manual: @ref{Breath marks}.
5444 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5446 Examples: @inputfileref{input/test,divisiones.ly}.
5449 @subsection Ligatures
5453 @c TODO: Should double check if I recalled things correctly when I wrote
5454 @c down the following paragraph by heart.
5456 In musical terminology, a ligature is a coherent graphical symbol that
5457 represents at least two distinct notes. Ligatures originally appeared
5458 in the manuscripts of Gregorian chant notation roughly since the 9th
5459 century as an allusion to the accent symbols of Greek lyric poetry to
5460 denote ascending or descending sequences of notes. Both, the shape
5461 and the exact meaning of ligatures changed tremendously during the
5462 following centuries: In early notation, ligatures were used for
5463 monophonic tunes (Gregorian chant) and very soon denoted also the way
5464 of performance in the sense of articulation. With upcoming
5465 multiphony, the need for a metric system arised, since multiple voices
5466 of a piece have to be synchronized some way. New notation systems
5467 were invented that used the manifold shapes of ligatures to now denote
5468 rhythmical patterns (e.g. black mensural notation, mannered notation,
5469 ars nova). With the invention of the metric system of the white
5470 mensural notation, the need for ligatures to denote such patterns
5471 disappeared. Nevertheless, ligatures were still in use in the
5472 mensural system for a couple of decades until they finally disappeared
5473 during the late 16th / early 17th century. Still, ligatures have
5474 survived in contemporary editions of Gregorian chant such as the
5475 Editio Vaticana from 1905/08.
5478 Syntactically, ligatures are simply enclosed by @code{\[} and
5479 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5480 additional input syntax specific for this particular type of ligature.
5481 By default, the @internalsref{LigatureBracket} engraver just puts a
5482 square bracket above the ligature:
5484 @lilypond[raggedright,verbatim]
5486 \notes \transpose c c' {
5494 To select a specific style of ligatures, a proper ligature engraver
5495 has to be added to the @internalsref{Voice} context, as explained in
5496 the following subsections. Only white mensural ligatures
5497 are supported with certain limitations. Support for Editio Vaticana
5498 will be added in the future.
5501 * White mensural ligatures::
5502 * Gregorian square neumes ligatures::
5505 @node White mensural ligatures
5506 @subsubsection White mensural ligatures
5508 @cindex Mensural ligatures
5509 @cindex White mensural ligatures
5511 There is limited support for white mensural ligatures. The
5512 implementation is still experimental; it may output strange
5513 warnings or even crash in some cases or produce weird results on more
5517 To engrave white mensural ligatures, in the paper block the
5518 @internalsref{Mensural_ligature_engraver} has to be put into the
5519 @internalsref{Voice} context, and remove the
5520 @internalsref{Ligature_bracket_engraver}:
5526 \remove Ligature_bracket_engraver
5527 \consists Mensural_ligature_engraver
5532 There is no additional input language to describe the shape of a
5533 white mensural ligature. The shape is rather determined solely from
5534 the pitch and duration of the enclosed notes. While this approach may
5535 take a new user a while to get accustomed, it has the great advantage
5536 that the full musical information of the ligature is known internally.
5537 This is not only required for correct MIDI output, but also allows for
5538 automatic transcription of the ligatures.
5543 \set Score.timing = ##f
5544 \set Score.defaultBarType = "empty"
5545 \override NoteHead #'style = #'neo_mensural
5546 \override Staff.TimeSignature #'style = #'neo_mensural
5548 \[ g\longa c\breve a\breve f\breve d'\longa \]
5550 \[ e1 f1 a\breve g\longa \]
5552 @lilypond[raggedright]
5554 \notes \transpose c c' {
5555 \set Score.timing = ##f
5556 \set Score.defaultBarType = "empty"
5557 \override NoteHead #'style = #'neo_mensural
5558 \override Staff.TimeSignature #'style = #'neo_mensural
5560 \[ g\longa c\breve a\breve f\breve d'\longa \]
5562 \[ e1 f1 a\breve g\longa \]
5567 \remove Ligature_bracket_engraver
5568 \consists Mensural_ligature_engraver
5574 Without replacing @internalsref{Ligature_bracket_engraver} with
5575 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5578 @lilypond[raggedright]
5580 \notes \transpose c c' {
5581 \set Score.timing = ##f
5582 \set Score.defaultBarType = "empty"
5583 \override NoteHead #'style = #'neo_mensural
5584 \override Staff.TimeSignature #'style = #'neo_mensural
5586 \[ g\longa c\breve a\breve f\breve d'\longa \]
5588 \[ e1 f1 a\breve g\longa \]
5594 @node Gregorian square neumes ligatures
5595 @subsubsection Gregorian square neumes ligatures
5597 @cindex Square neumes ligatures
5598 @cindex Gregorian square neumes ligatures
5600 Gregorian square neumes notation (following the style of the Editio
5601 Vaticana) is under heavy development, but not yet really usable for
5602 production purposes. Core ligatures can already be typeset, but
5603 essential issues for serious typesetting are still under development,
5604 such as (among others) horizontal alignment of multiple ligatures,
5605 lyrics alignment and proper accidentals handling. Still, this section
5606 gives a sneak preview of what Gregorian chant may look like once it
5609 The following table contains the extended neumes table of the 2nd
5610 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5611 1983 by the monks of Solesmes.
5613 @multitable @columnfractions .4 .2 .2 .2
5616 @b{Neuma aut@*Neumarum Elementa} @tab
5617 @b{Figurae@*Rectae} @tab
5618 @b{Figurae@*Liquescentes Auctae} @tab
5619 @b{Figurae@*Liquescentes Deminutae}
5621 @c TODO: \paper block is identical in all of the below examples.
5622 @c Therefore, it should somehow be included rather than duplicated all
5625 @c why not make identifiers in ly/engraver-init.ly? --hwn
5627 @c Because it's just used to typeset plain notes without
5628 @c a staff for demonstration purposes rather than something
5629 @c special of Gregorian chant notation. --jr
5634 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5635 \include "gregorian-init.ly"
5637 \notes \transpose c c' {
5640 \noBreak s^\markup {"a"} \noBreak
5642 % Punctum Inclinatum
5644 \noBreak s^\markup {"b"}
5650 \remove "Bar_number_engraver"
5654 \remove "Clef_engraver"
5655 \remove "Key_engraver"
5656 \override StaffSymbol #'transparent = ##t
5657 \remove "Time_signature_engraver"
5658 \remove "Bar_engraver"
5659 minimumVerticalExtent = ##f
5663 \remove Ligature_bracket_engraver
5664 \consists Vaticana_ligature_engraver
5665 \override NoteHead #'style = #'vaticana_punctum
5666 \override Stem #'transparent = ##t
5672 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5673 \include "gregorian-init.ly"
5675 \notes \transpose c c' {
5676 % Punctum Auctum Ascendens
5677 \[ \auctum \ascendens b \]
5678 \noBreak s^\markup {"c"} \noBreak
5680 % Punctum Auctum Descendens
5681 \[ \auctum \descendens b \]
5682 \noBreak s^\markup {"d"} \noBreak
5684 % Punctum Inclinatum Auctum
5685 \[ \inclinatum \auctum b \]
5686 \noBreak s^\markup {"e"}
5692 \remove "Bar_number_engraver"
5696 \remove "Clef_engraver"
5697 \remove "Key_engraver"
5698 \override StaffSymbol #'transparent = ##t
5699 \remove "Time_signature_engraver"
5700 \remove "Bar_engraver"
5701 minimumVerticalExtent = ##f
5705 \remove Ligature_bracket_engraver
5706 \consists Vaticana_ligature_engraver
5707 \override NoteHead #'style = #'vaticana_punctum
5708 \override Stem #'transparent = ##t
5714 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5715 \include "gregorian-init.ly"
5717 \notes \transpose c c' {
5718 % Punctum Inclinatum Parvum
5719 \[ \inclinatum \deminutum b \]
5720 \noBreak s^\markup {"f"}
5726 \remove "Bar_number_engraver"
5730 \remove "Clef_engraver"
5731 \remove "Key_engraver"
5732 \override StaffSymbol #'transparent = ##t
5733 \remove "Time_signature_engraver"
5734 \remove "Bar_engraver"
5735 minimumVerticalExtent = ##f
5739 \remove Ligature_bracket_engraver
5740 \consists Vaticana_ligature_engraver
5741 \override NoteHead #'style = #'vaticana_punctum
5742 \override Stem #'transparent = ##t
5751 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5752 \include "gregorian-init.ly"
5754 \notes \transpose c c' {
5757 \noBreak s^\markup {"g"}
5763 \remove "Bar_number_engraver"
5767 \remove "Clef_engraver"
5768 \remove "Key_engraver"
5769 \override StaffSymbol #'transparent = ##t
5770 \remove "Time_signature_engraver"
5771 \remove "Bar_engraver"
5772 minimumVerticalExtent = ##f
5776 \remove Ligature_bracket_engraver
5777 \consists Vaticana_ligature_engraver
5778 \override NoteHead #'style = #'vaticana_punctum
5779 \override Stem #'transparent = ##t
5788 @code{3. Apostropha vel Stropha}
5790 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5791 \include "gregorian-init.ly"
5793 \notes \transpose c c' {
5796 \noBreak s^\markup {"h"}
5802 \remove "Bar_number_engraver"
5806 \remove "Clef_engraver"
5807 \remove "Key_engraver"
5808 \override StaffSymbol #'transparent = ##t
5809 \remove "Time_signature_engraver"
5810 \remove "Bar_engraver"
5811 minimumVerticalExtent = ##f
5815 \remove Ligature_bracket_engraver
5816 \consists Vaticana_ligature_engraver
5817 \override NoteHead #'style = #'vaticana_punctum
5818 \override Stem #'transparent = ##t
5824 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5825 \include "gregorian-init.ly"
5827 \notes \transpose c c' {
5829 \[ \stropha \auctum b \]
5830 \noBreak s^\markup {"i"}
5836 \remove "Bar_number_engraver"
5840 \remove "Clef_engraver"
5841 \remove "Key_engraver"
5842 \override StaffSymbol #'transparent = ##t
5843 \remove "Time_signature_engraver"
5844 \remove "Bar_engraver"
5845 minimumVerticalExtent = ##f
5849 \remove Ligature_bracket_engraver
5850 \consists Vaticana_ligature_engraver
5851 \override NoteHead #'style = #'vaticana_punctum
5852 \override Stem #'transparent = ##t
5862 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5863 \include "gregorian-init.ly"
5865 \notes \transpose c c' {
5868 \noBreak s^\markup {"j"}
5874 \remove "Bar_number_engraver"
5878 \remove "Clef_engraver"
5879 \remove "Key_engraver"
5880 \override StaffSymbol #'transparent = ##t
5881 \remove "Time_signature_engraver"
5882 \remove "Bar_engraver"
5883 minimumVerticalExtent = ##f
5887 \remove Ligature_bracket_engraver
5888 \consists Vaticana_ligature_engraver
5889 \override NoteHead #'style = #'vaticana_punctum
5890 \override Stem #'transparent = ##t
5899 @code{5. Clivis vel Flexa}
5901 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5902 \include "gregorian-init.ly"
5904 \notes \transpose c c' {
5913 \remove "Bar_number_engraver"
5917 \remove "Clef_engraver"
5918 \remove "Key_engraver"
5919 \override StaffSymbol #'transparent = ##t
5920 \remove "Time_signature_engraver"
5921 \remove "Bar_engraver"
5922 minimumVerticalExtent = ##f
5926 \remove Ligature_bracket_engraver
5927 \consists Vaticana_ligature_engraver
5928 \override NoteHead #'style = #'vaticana_punctum
5929 \override Stem #'transparent = ##t
5935 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5936 \include "gregorian-init.ly"
5938 \notes \transpose c c' {
5939 % Clivis Aucta Descendens
5940 \[ b \flexa \auctum \descendens g \]
5941 \noBreak s^\markup {"l"} \noBreak
5943 % Clivis Aucta Ascendens
5944 \[ b \flexa \auctum \ascendens g \]
5945 \noBreak s^\markup {"m"}
5951 \remove "Bar_number_engraver"
5955 \remove "Clef_engraver"
5956 \remove "Key_engraver"
5957 \override StaffSymbol #'transparent = ##t
5958 \remove "Time_signature_engraver"
5959 \remove "Bar_engraver"
5960 minimumVerticalExtent = ##f
5964 \remove Ligature_bracket_engraver
5965 \consists Vaticana_ligature_engraver
5966 \override NoteHead #'style = #'vaticana_punctum
5967 \override Stem #'transparent = ##t
5973 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5974 \include "gregorian-init.ly"
5976 \notes \transpose c c' {
5978 \[ b \flexa \deminutum g \]
5985 \remove "Bar_number_engraver"
5989 \remove "Clef_engraver"
5990 \remove "Key_engraver"
5991 \override StaffSymbol #'transparent = ##t
5992 \remove "Time_signature_engraver"
5993 \remove "Bar_engraver"
5994 minimumVerticalExtent = ##f
5998 \remove Ligature_bracket_engraver
5999 \consists Vaticana_ligature_engraver
6000 \override NoteHead #'style = #'vaticana_punctum
6001 \override Stem #'transparent = ##t
6008 @code{6. Podatus vel Pes}
6010 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6011 \include "gregorian-init.ly"
6013 \notes \transpose c c' {
6022 \remove "Bar_number_engraver"
6026 \remove "Clef_engraver"
6027 \remove "Key_engraver"
6028 \override StaffSymbol #'transparent = ##t
6029 \remove "Time_signature_engraver"
6030 \remove "Bar_engraver"
6031 minimumVerticalExtent = ##f
6035 \remove Ligature_bracket_engraver
6036 \consists Vaticana_ligature_engraver
6037 \override NoteHead #'style = #'vaticana_punctum
6038 \override Stem #'transparent = ##t
6044 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6045 \include "gregorian-init.ly"
6047 \notes \transpose c c' {
6048 % Pes Auctus Descendens
6049 \[ g \pes \auctum \descendens b \]
6050 \noBreak s^\markup {"p"} \noBreak
6052 % Pes Auctus Ascendens
6053 \[ g \pes \auctum \ascendens b \]
6054 \noBreak s^\markup {"q"}
6060 \remove "Bar_number_engraver"
6064 \remove "Clef_engraver"
6065 \remove "Key_engraver"
6066 \override StaffSymbol #'transparent = ##t
6067 \remove "Time_signature_engraver"
6068 \remove "Bar_engraver"
6069 minimumVerticalExtent = ##f
6073 \remove Ligature_bracket_engraver
6074 \consists Vaticana_ligature_engraver
6075 \override NoteHead #'style = #'vaticana_punctum
6076 \override Stem #'transparent = ##t
6082 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6083 \include "gregorian-init.ly"
6085 \notes \transpose c c' {
6087 \[ g \pes \deminutum b \]
6094 \remove "Bar_number_engraver"
6098 \remove "Clef_engraver"
6099 \remove "Key_engraver"
6100 \override StaffSymbol #'transparent = ##t
6101 \remove "Time_signature_engraver"
6102 \remove "Bar_engraver"
6103 minimumVerticalExtent = ##f
6107 \remove Ligature_bracket_engraver
6108 \consists Vaticana_ligature_engraver
6109 \override NoteHead #'style = #'vaticana_punctum
6110 \override Stem #'transparent = ##t
6117 @code{7. Pes Quassus}
6119 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6120 \include "gregorian-init.ly"
6122 \notes \transpose c c' {
6124 \[ \oriscus g \pes \virga b \]
6131 \remove "Bar_number_engraver"
6135 \remove "Clef_engraver"
6136 \remove "Key_engraver"
6137 \override StaffSymbol #'transparent = ##t
6138 \remove "Time_signature_engraver"
6139 \remove "Bar_engraver"
6140 minimumVerticalExtent = ##f
6144 \remove Ligature_bracket_engraver
6145 \consists Vaticana_ligature_engraver
6146 \override NoteHead #'style = #'vaticana_punctum
6147 \override Stem #'transparent = ##t
6153 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6154 \include "gregorian-init.ly"
6156 \notes \transpose c c' {
6157 % Pes Quassus Auctus Descendens
6158 \[ \oriscus g \pes \auctum \descendens b \]
6165 \remove "Bar_number_engraver"
6169 \remove "Clef_engraver"
6170 \remove "Key_engraver"
6171 \override StaffSymbol #'transparent = ##t
6172 \remove "Time_signature_engraver"
6173 \remove "Bar_engraver"
6174 minimumVerticalExtent = ##f
6178 \remove Ligature_bracket_engraver
6179 \consists Vaticana_ligature_engraver
6180 \override NoteHead #'style = #'vaticana_punctum
6181 \override Stem #'transparent = ##t
6189 @code{8. Quilisma Pes}
6191 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6192 \include "gregorian-init.ly"
6194 \notes \transpose c c' {
6196 \[ \quilisma g \pes b \]
6203 \remove "Bar_number_engraver"
6207 \remove "Clef_engraver"
6208 \remove "Key_engraver"
6209 \override StaffSymbol #'transparent = ##t
6210 \remove "Time_signature_engraver"
6211 \remove "Bar_engraver"
6212 minimumVerticalExtent = ##f
6216 \remove Ligature_bracket_engraver
6217 \consists Vaticana_ligature_engraver
6218 \override NoteHead #'style = #'vaticana_punctum
6219 \override Stem #'transparent = ##t
6225 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6226 \include "gregorian-init.ly"
6228 \notes \transpose c c' {
6229 % Quilisma Pes Auctus Descendens
6230 \[ \quilisma g \pes \auctum \descendens b \]
6237 \remove "Bar_number_engraver"
6241 \remove "Clef_engraver"
6242 \remove "Key_engraver"
6243 \override StaffSymbol #'transparent = ##t
6244 \remove "Time_signature_engraver"
6245 \remove "Bar_engraver"
6246 minimumVerticalExtent = ##f
6250 \remove Ligature_bracket_engraver
6251 \consists Vaticana_ligature_engraver
6252 \override NoteHead #'style = #'vaticana_punctum
6253 \override Stem #'transparent = ##t
6261 @code{9. Podatus Initio Debilis}
6263 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6264 \include "gregorian-init.ly"
6266 \notes \transpose c c' {
6267 % Pes Initio Debilis
6268 \[ \deminutum g \pes b \]
6275 \remove "Bar_number_engraver"
6279 \remove "Clef_engraver"
6280 \remove "Key_engraver"
6281 \override StaffSymbol #'transparent = ##t
6282 \remove "Time_signature_engraver"
6283 \remove "Bar_engraver"
6284 minimumVerticalExtent = ##f
6288 \remove Ligature_bracket_engraver
6289 \consists Vaticana_ligature_engraver
6290 \override NoteHead #'style = #'vaticana_punctum
6291 \override Stem #'transparent = ##t
6297 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6298 \include "gregorian-init.ly"
6300 \notes \transpose c c' {
6301 % Pes Auctus Descendens Initio Debilis
6302 \[ \deminutum g \pes \auctum \descendens b \]
6309 \remove "Bar_number_engraver"
6313 \remove "Clef_engraver"
6314 \remove "Key_engraver"
6315 \override StaffSymbol #'transparent = ##t
6316 \remove "Time_signature_engraver"
6317 \remove "Bar_engraver"
6318 minimumVerticalExtent = ##f
6322 \remove Ligature_bracket_engraver
6323 \consists Vaticana_ligature_engraver
6324 \override NoteHead #'style = #'vaticana_punctum
6325 \override Stem #'transparent = ##t
6335 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6336 \include "gregorian-init.ly"
6338 \notes \transpose c c' {
6340 \[ a \pes b \flexa g \]
6347 \remove "Bar_number_engraver"
6351 \remove "Clef_engraver"
6352 \remove "Key_engraver"
6353 \override StaffSymbol #'transparent = ##t
6354 \remove "Time_signature_engraver"
6355 \remove "Bar_engraver"
6356 minimumVerticalExtent = ##f
6360 \remove Ligature_bracket_engraver
6361 \consists Vaticana_ligature_engraver
6362 \override NoteHead #'style = #'vaticana_punctum
6363 \override Stem #'transparent = ##t
6369 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6370 \include "gregorian-init.ly"
6372 \notes \transpose c c' {
6373 % Torculus Auctus Descendens
6374 \[ a \pes b \flexa \auctum \descendens g \]
6381 \remove "Bar_number_engraver"
6385 \remove "Clef_engraver"
6386 \remove "Key_engraver"
6387 \override StaffSymbol #'transparent = ##t
6388 \remove "Time_signature_engraver"
6389 \remove "Bar_engraver"
6390 minimumVerticalExtent = ##f
6394 \remove Ligature_bracket_engraver
6395 \consists Vaticana_ligature_engraver
6396 \override NoteHead #'style = #'vaticana_punctum
6397 \override Stem #'transparent = ##t
6403 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6404 \include "gregorian-init.ly"
6406 \notes \transpose c c' {
6407 % Torculus Deminutus
6408 \[ a \pes b \flexa \deminutum g \]
6415 \remove "Bar_number_engraver"
6419 \remove "Clef_engraver"
6420 \remove "Key_engraver"
6421 \override StaffSymbol #'transparent = ##t
6422 \remove "Time_signature_engraver"
6423 \remove "Bar_engraver"
6424 minimumVerticalExtent = ##f
6428 \remove Ligature_bracket_engraver
6429 \consists Vaticana_ligature_engraver
6430 \override NoteHead #'style = #'vaticana_punctum
6431 \override Stem #'transparent = ##t
6438 @code{11. Torculus Initio Debilis}
6440 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6441 \include "gregorian-init.ly"
6443 \notes \transpose c c' {
6444 % Torculus Initio Debilis
6445 \[ \deminutum a \pes b \flexa g \]
6452 \remove "Bar_number_engraver"
6456 \remove "Clef_engraver"
6457 \remove "Key_engraver"
6458 \override StaffSymbol #'transparent = ##t
6459 \remove "Time_signature_engraver"
6460 \remove "Bar_engraver"
6461 minimumVerticalExtent = ##f
6465 \remove Ligature_bracket_engraver
6466 \consists Vaticana_ligature_engraver
6467 \override NoteHead #'style = #'vaticana_punctum
6468 \override Stem #'transparent = ##t
6474 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6475 \include "gregorian-init.ly"
6477 \notes \transpose c c' {
6478 % Torculus Auctus Descendens Initio Debilis
6479 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6486 \remove "Bar_number_engraver"
6490 \remove "Clef_engraver"
6491 \remove "Key_engraver"
6492 \override StaffSymbol #'transparent = ##t
6493 \remove "Time_signature_engraver"
6494 \remove "Bar_engraver"
6495 minimumVerticalExtent = ##f
6499 \remove Ligature_bracket_engraver
6500 \consists Vaticana_ligature_engraver
6501 \override NoteHead #'style = #'vaticana_punctum
6502 \override Stem #'transparent = ##t
6508 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6509 \include "gregorian-init.ly"
6511 \notes \transpose c c' {
6512 % Torculus Deminutus Initio Debilis
6513 \[ \deminutum a \pes b \flexa \deminutum g \]
6520 \remove "Bar_number_engraver"
6524 \remove "Clef_engraver"
6525 \remove "Key_engraver"
6526 \override StaffSymbol #'transparent = ##t
6527 \remove "Time_signature_engraver"
6528 \remove "Bar_engraver"
6529 minimumVerticalExtent = ##f
6533 \remove Ligature_bracket_engraver
6534 \consists Vaticana_ligature_engraver
6535 \override NoteHead #'style = #'vaticana_punctum
6536 \override Stem #'transparent = ##t
6543 @code{12. Porrectus}
6545 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6546 \include "gregorian-init.ly"
6548 \notes \transpose c c' {
6550 \[ a \flexa g \pes b \]
6557 \remove "Bar_number_engraver"
6561 \remove "Clef_engraver"
6562 \remove "Key_engraver"
6563 \override StaffSymbol #'transparent = ##t
6564 \remove "Time_signature_engraver"
6565 \remove "Bar_engraver"
6566 minimumVerticalExtent = ##f
6570 \remove Ligature_bracket_engraver
6571 \consists Vaticana_ligature_engraver
6572 \override NoteHead #'style = #'vaticana_punctum
6573 \override Stem #'transparent = ##t
6579 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6580 \include "gregorian-init.ly"
6582 \notes \transpose c c' {
6583 % Porrectus Auctus Descendens
6584 \[ a \flexa g \pes \auctum \descendens b \]
6591 \remove "Bar_number_engraver"
6595 \remove "Clef_engraver"
6596 \remove "Key_engraver"
6597 \override StaffSymbol #'transparent = ##t
6598 \remove "Time_signature_engraver"
6599 \remove "Bar_engraver"
6600 minimumVerticalExtent = ##f
6604 \remove Ligature_bracket_engraver
6605 \consists Vaticana_ligature_engraver
6606 \override NoteHead #'style = #'vaticana_punctum
6607 \override Stem #'transparent = ##t
6613 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6614 \include "gregorian-init.ly"
6616 \notes \transpose c c' {
6617 % Porrectus Deminutus
6618 \[ a \flexa g \pes \deminutum b \]
6625 \remove "Bar_number_engraver"
6629 \remove "Clef_engraver"
6630 \remove "Key_engraver"
6631 \override StaffSymbol #'transparent = ##t
6632 \remove "Time_signature_engraver"
6633 \remove "Bar_engraver"
6634 minimumVerticalExtent = ##f
6638 \remove Ligature_bracket_engraver
6639 \consists Vaticana_ligature_engraver
6640 \override NoteHead #'style = #'vaticana_punctum
6641 \override Stem #'transparent = ##t
6650 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6651 \include "gregorian-init.ly"
6653 \notes \transpose c c' {
6655 \[ \virga b \inclinatum a \inclinatum g \]
6662 \remove "Bar_number_engraver"
6666 \remove "Clef_engraver"
6667 \remove "Key_engraver"
6668 \override StaffSymbol #'transparent = ##t
6669 \remove "Time_signature_engraver"
6670 \remove "Bar_engraver"
6671 minimumVerticalExtent = ##f
6675 \remove Ligature_bracket_engraver
6676 \consists Vaticana_ligature_engraver
6677 \override NoteHead #'style = #'vaticana_punctum
6678 \override Stem #'transparent = ##t
6684 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6685 \include "gregorian-init.ly"
6687 \notes \transpose c c' {
6689 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6696 \remove "Bar_number_engraver"
6700 \remove "Clef_engraver"
6701 \remove "Key_engraver"
6702 \override StaffSymbol #'transparent = ##t
6703 \remove "Time_signature_engraver"
6704 \remove "Bar_engraver"
6705 minimumVerticalExtent = ##f
6709 \remove Ligature_bracket_engraver
6710 \consists Vaticana_ligature_engraver
6711 \override NoteHead #'style = #'vaticana_punctum
6712 \override Stem #'transparent = ##t
6718 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6719 \include "gregorian-init.ly"
6721 \notes \transpose c c' {
6722 % Climacus Deminutus
6723 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6730 \remove "Bar_number_engraver"
6734 \remove "Clef_engraver"
6735 \remove "Key_engraver"
6736 \override StaffSymbol #'transparent = ##t
6737 \remove "Time_signature_engraver"
6738 \remove "Bar_engraver"
6739 minimumVerticalExtent = ##f
6743 \remove Ligature_bracket_engraver
6744 \consists Vaticana_ligature_engraver
6745 \override NoteHead #'style = #'vaticana_punctum
6746 \override Stem #'transparent = ##t
6753 @code{14. Scandicus}
6755 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6756 \include "gregorian-init.ly"
6758 \notes \transpose c c' {
6760 \[ g \pes a \virga b \]
6767 \remove "Bar_number_engraver"
6771 \remove "Clef_engraver"
6772 \remove "Key_engraver"
6773 \override StaffSymbol #'transparent = ##t
6774 \remove "Time_signature_engraver"
6775 \remove "Bar_engraver"
6776 minimumVerticalExtent = ##f
6780 \remove Ligature_bracket_engraver
6781 \consists Vaticana_ligature_engraver
6782 \override NoteHead #'style = #'vaticana_punctum
6783 \override Stem #'transparent = ##t
6789 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6790 \include "gregorian-init.ly"
6792 \notes \transpose c c' {
6793 % Scandicus Auctus Descendens
6794 \[ g \pes a \pes \auctum \descendens b \]
6801 \remove "Bar_number_engraver"
6805 \remove "Clef_engraver"
6806 \remove "Key_engraver"
6807 \override StaffSymbol #'transparent = ##t
6808 \remove "Time_signature_engraver"
6809 \remove "Bar_engraver"
6810 minimumVerticalExtent = ##f
6814 \remove Ligature_bracket_engraver
6815 \consists Vaticana_ligature_engraver
6816 \override NoteHead #'style = #'vaticana_punctum
6817 \override Stem #'transparent = ##t
6823 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6824 \include "gregorian-init.ly"
6826 \notes \transpose c c' {
6827 % Scandicus Deminutus
6828 \[ g \pes a \pes \deminutum b \]
6835 \remove "Bar_number_engraver"
6839 \remove "Clef_engraver"
6840 \remove "Key_engraver"
6841 \override StaffSymbol #'transparent = ##t
6842 \remove "Time_signature_engraver"
6843 \remove "Bar_engraver"
6844 minimumVerticalExtent = ##f
6848 \remove Ligature_bracket_engraver
6849 \consists Vaticana_ligature_engraver
6850 \override NoteHead #'style = #'vaticana_punctum
6851 \override Stem #'transparent = ##t
6860 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6861 \include "gregorian-init.ly"
6863 \notes \transpose c c' {
6865 \[ g \oriscus a \pes \virga b \]
6872 \remove "Bar_number_engraver"
6876 \remove "Clef_engraver"
6877 \remove "Key_engraver"
6878 \override StaffSymbol #'transparent = ##t
6879 \remove "Time_signature_engraver"
6880 \remove "Bar_engraver"
6881 minimumVerticalExtent = ##f
6885 \remove Ligature_bracket_engraver
6886 \consists Vaticana_ligature_engraver
6887 \override NoteHead #'style = #'vaticana_punctum
6888 \override Stem #'transparent = ##t
6894 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6895 \include "gregorian-init.ly"
6897 \notes \transpose c c' {
6898 % Salicus Auctus Descendens
6899 \[ g \oriscus a \pes \auctum \descendens b \]
6906 \remove "Bar_number_engraver"
6910 \remove "Clef_engraver"
6911 \remove "Key_engraver"
6912 \override StaffSymbol #'transparent = ##t
6913 \remove "Time_signature_engraver"
6914 \remove "Bar_engraver"
6915 minimumVerticalExtent = ##f
6919 \remove Ligature_bracket_engraver
6920 \consists Vaticana_ligature_engraver
6921 \override NoteHead #'style = #'vaticana_punctum
6922 \override Stem #'transparent = ##t
6932 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6933 \include "gregorian-init.ly"
6935 \notes \transpose c c' {
6937 \[ \stropha b \stropha b \stropha a \]
6944 \remove "Bar_number_engraver"
6948 \remove "Clef_engraver"
6949 \remove "Key_engraver"
6950 \override StaffSymbol #'transparent = ##t
6951 \remove "Time_signature_engraver"
6952 \remove "Bar_engraver"
6953 minimumVerticalExtent = ##f
6957 \remove Ligature_bracket_engraver
6958 \consists Vaticana_ligature_engraver
6959 \override NoteHead #'style = #'vaticana_punctum
6960 \override Stem #'transparent = ##t
6971 Unlike most other neumes notation systems, the input language for
6972 neumes does not necessarily reflect directly the typographical
6973 appearance, but is designed to solely focuse on musical meaning. For
6974 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6975 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6976 a Porrectus with a curved flexa shape and only a single Punctum head.
6977 There is no command to explicitly typeset the curved flexa shape; the
6978 decision of when to typeset a curved flexa shape is purely taken from
6979 the musical input. The idea of this approach is to separate the
6980 musical aspects of the input from the notation style of the output.
6981 This way, the same input can be reused to typeset the same music in a
6982 different style of Gregorian chant notation such as Hufnagel (also
6983 known as German gothic neumes) or Medicaea (kind of a very simple
6984 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6985 engraver and Medicaea ligature engraver will have been implemented, it
6986 will be as simple as replacing the ligature engraver in the
6987 @internalsref{Voice} context to get the desired notation style from
6990 The following table shows the code fragments that produce the
6991 ligatures in the above neumes table. The letter in the first column
6992 in each line of the below table indicates to which ligature in the
6993 above table it refers. The second column gives the name of the
6994 ligature. The third column shows the code fragment that produces this
6995 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6997 @multitable @columnfractions .1 .4 .5
7011 Punctum Inclinatum @tab
7012 @code{\[ \inclinatum b \]}
7016 Punctum Auctum Ascendens @tab
7017 @code{\[ \auctum \ascendens b \]}
7021 Punctum Auctum Descendens @tab
7022 @code{\[ \auctum \descendens b \]}
7026 Punctum Inclinatum Auctum @tab
7027 @code{\[ \inclinatum \auctum b \]}
7031 Punctum Inclinatum Parvum @tab
7032 @code{\[ \inclinatum \deminutum b \]}
7037 @code{\[ \virga b \]}
7042 @code{\[ \stropha b \]}
7047 @code{\[ \stropha \auctum b \]}
7052 @code{\[ \oriscus b \]}
7056 Clivis vel Flexa @tab
7057 @code{\[ b \flexa g \]}
7061 Clivis Aucta Descendens @tab
7062 @code{\[ b \flexa \auctum \descendens g \]}
7066 Clivis Aucta Ascendens @tab
7067 @code{\[ b \flexa \auctum \ascendens g \]}
7072 @code{\[ b \flexa \deminutum g \]}
7076 Podatus vel Pes @tab
7077 @code{\[ g \pes b \]}
7081 Pes Auctus Descendens @tab
7082 @code{\[ g \pes \auctum \descendens b \]}
7086 Pes Auctus Ascendens @tab
7087 @code{\[ g \pes \auctum \ascendens b \]}
7092 @code{\[ g \pes \deminutum b \]}
7097 @code{\[ \oriscus g \pes \virga b \]}
7101 Pes Quassus Auctus Descendens @tab
7102 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7107 @code{\[ \quilisma g \pes b \]}
7111 Quilisma Pes Auctus Descendens @tab
7112 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7116 Pes Initio Debilis @tab
7117 @code{\[ \deminutum g \pes b \]}
7121 Pes Auctus Descendens Initio Debilis @tab
7122 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7127 @code{\[ a \pes b \flexa g \]}
7131 Torculus Auctus Descendens @tab
7132 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7136 Torculus Deminutus @tab
7137 @code{\[ a \pes b \flexa \deminutum g \]}
7141 Torculus Initio Debilis @tab
7142 @code{\[ \deminutum a \pes b \flexa g \]}
7146 Torculus Auctus Descendens Initio Debilis @tab
7147 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7151 Torculus Deminutus Initio Debilis @tab
7152 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7157 @code{\[ a \flexa g \pes b \]}
7161 Porrectus Auctus Descendens @tab
7162 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7166 Porrectus Deminutus @tab
7167 @code{\[ a \flexa g \pes \deminutum b \]}
7172 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7176 Climacus Auctus @tab
7177 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7181 Climacus Deminutus @tab
7182 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7187 @code{\[ g \pes a \virga b \]}
7191 Scandicus Auctus Descendens @tab
7192 @code{\[ g \pes a \pes \auctum \descendens b \]}
7196 Scandicus Deminutus @tab
7197 @code{\[ g \pes a \pes \deminutum b \]}
7202 @code{\[ g \oriscus a \pes \virga b \]}
7206 Salicus Auctus Descendens @tab
7207 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7212 @code{\[ \stropha b \stropha b \stropha a \]}
7218 The following head prefixes are supported:
7220 @cindex @code{\virga}
7222 @cindex @code{\stropha}
7224 @cindex @code{\inclinatum}
7226 @cindex @code{\auctum}
7228 @cindex @code{\descendens}
7230 @cindex @code{\ascendens}
7232 @cindex @code{\oriscus}
7234 @cindex @code{\quilisma}
7236 @cindex @code{\deminutum}
7239 Head prefixes can be accumulated, though restrictions apply. For
7240 example, either @code{\descendens} or @code{\ascendens} can be applied
7241 to a head, but not both to the same head.
7244 @cindex @code{\flexa}
7245 Two adjacent heads can be tied together with the @code{\pes} and
7246 @code{\flexa} infix commands for a rising and falling line of melody,
7251 Trigonus: apply equal spacing, regardless of pitch.
7254 @subsection Figured bass
7256 @cindex Basso continuo
7258 @c TODO: musicological blurb about FB
7261 LilyPond has limited support for figured bass:
7263 @lilypond[verbatim,fragment]
7265 \context Voice \notes { \clef bass dis4 c d ais}
7266 \context FiguredBass
7268 < 6 >4 < 7 >8 < 6+ [_!] >
7274 The support for figured bass consists of two parts: there is an input
7275 mode, introduced by @code{\figures}, where you can enter bass figures
7276 as numbers, and there is a context called @internalsref{FiguredBass} that
7277 takes care of making @internalsref{BassFigure} objects.
7279 In figures input mode, a group of bass figures is delimited by
7280 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7285 \context FiguredBass
7289 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7296 \context FiguredBass
7297 \figures { <4- 6+ 7!> }
7300 Spaces or dashes may be inserted by using @code{_}. Brackets are
7301 introduced with @code{[} and @code{]}:
7307 \context FiguredBass
7308 \figures { < [4 6] 8 [_! 12]> }
7311 Although the support for figured bass may superficially resemble chord
7312 support, it works much simpler. The @code{\figures} mode simply
7313 stores the numbers , and @internalsref{FiguredBass} context prints
7314 them as entered. There is no conversion to pitches, and no
7315 realizations of the bass are played in the MIDI file.
7317 Internally, the code produces markup texts. You can use any of the
7318 markup text properties to override formatting. For example, the
7319 vertical spacing of the figures may be set with @code{baseline-skip}.
7323 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7324 and @internalsref{FiguredBass} context.
7328 Slash notation for alterations is not supported.
7331 @node Vaticana style contexts
7332 @subsection Vaticana style contexts
7334 @cindex VaticanaVoiceContext
7335 @cindex VaticanaStaffContext
7337 The predefined @code{VaticanaVoiceContext} and
7338 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7339 Gregorian Chant in the style of the Editio Vaticana. These contexts
7340 initialize all relevant context properties and grob properties to
7341 proper values. With these contexts, you can immediately go ahead
7342 entering the chant, as the following short excerpt demonstrates:
7344 @lilypond[raggedright,verbatim,noindent]
7345 \include "gregorian-init.ly"
7348 \context VaticanaVoice = "cantus" {
7349 \override Score.BarNumber #'transparent = ##t
7351 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7352 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7353 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7356 \lyricsto "cantus" \new Lyrics \lyrics {
7357 San- ctus, San- ctus, San- ctus
7364 @node Contemporary notation
7365 @section Contemporary notation
7367 In the 20th century, composers have greatly expanded the musical
7368 vocabulary. With this expansion, many innovations in musical notation
7369 have been tried. The book by Stone (1980) gives a comprehensive
7370 overview (see @ref{Literature list}). In general, the use of new,
7371 innovative notation makes a piece harder to understand and perform and
7372 its use should therefore be avoided if possible. For this reason,
7373 support for contemporary notation in LilyPond is limited.
7382 @subsection Clusters
7386 A cluster indicates a continuous range of pitches to be played. They
7387 can be denoted as the envelope of a set of notes. They are entered by
7388 applying the function @code{notes-to-clusters} to a sequence of
7391 @lilypond[relative=1,verbatim]
7392 \apply #notes-to-clusters { <c e > <b f'> }
7395 The following example (from
7396 @inputfileref{input/regression,cluster.ly}) shows what the result
7399 @lilypondfile[]{cluster.ly}
7401 By default, @internalsref{Cluster_spanner_engraver} is in the
7402 @internalsref{Voice} context. This allows putting ordinary notes and
7403 clusters together in the same staff, even simultaneously. In such a
7404 case no attempt is made to automatically avoid collisions between
7405 ordinary notes and clusters.
7409 Internals: @internalsref{ClusterSpanner},
7410 @internalsref{ClusterSpannerBeacon},
7411 @internalsref{Cluster_spanner_engraver}, and
7412 @internalsref{ClusterNoteEvent}.
7414 Examples: @inputfileref{input/regression,cluster.ly}.
7418 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7419 accurately. Use @code{<g a>8 <e a>8} instead.
7424 @subsection Fermatas
7430 Contemporary music notation frequently uses special fermata symbols to
7431 indicate fermatas of differing lengths.
7435 The following are supported
7437 @lilypond[raggedright]
7439 << \addlyrics \notes {
7459 \context Lyrics \lyrics {
7460 "shortfermata" "fermata" "longfermata" "verylongfermata"
7465 See @ref{Articulations} for general instructions how to apply scripts
7466 such as fermatas to a @code{\notes@{@}} block.
7469 @node Special notation
7470 @section Special notation
7474 * Easy Notation note heads::
7478 @subsection Balloon help
7480 Elements of notation can be marked and named with the help of a square
7481 balloon. The primary purpose of this feature is to explain notation.
7483 The following example demonstrates its use.
7485 @lilypond[verbatim,fragment,raggedright,relative=1]
7488 #(add-balloon-text 'NoteHead "heads, or tails?"
7494 The function @code{add-balloon-text} takes the name of a grob, the
7495 label to print and where to put the label relative to the object. In
7496 the above example, the text ``heads or tails?'' ends 3 spaces below
7500 @cindex notation, explaining
7504 Internals: @internalsref{text-balloon-interface}.
7506 Examples: @inputfileref{input/regression,balloon.ly}.
7508 @node Easy Notation note heads
7509 @subsection Easy Notation note heads
7511 @cindex easy notation
7514 The `easy play' note head includes a note name inside the head. It is
7515 used in music aimed at beginners:
7517 @lilypond[raggedright,verbatim,staffsize=26]
7519 \notes { c'2 e'4 f' | g'1 }
7520 \paper { \context { \EasyNotation } }
7524 The @code{EasyNotation} variable overrides a @internalsref{Score} @c
7525 context. To make the letters readable, it has to be printed in a
7526 large font size. To print with a larger font, see @ref{Font Size}.
7531 If you view the result with Xdvi, then staff lines may show through
7532 the letters. Printing the PostScript file obtained does produce the
7540 Entered music can also be converted to MIDI output. The performance
7541 is good enough for proof-hearing the music for errors.
7543 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7544 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7545 marks translate to a fixed fraction of the available MIDI volume
7546 range, crescendi and decrescendi make the volume vary linearly between
7547 their two extremities. The fractions can be adjusted by
7548 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7549 For each type of MIDI instrument, a volume range can be defined. This
7550 gives a basic equalizer control, which can enhance the quality of
7551 the MIDI output remarkably. The equalizer can be controlled by
7552 setting @code{instrumentEqualizer}.
7556 Many musically interesting effects, such as swing, articulation,
7557 slurring, etc., are not translated to MIDI.
7559 The MIDI output allocates a channel for each Staff, and one for global
7560 settings. Hence, the MIDI file should not have more than 15 staves
7561 (or 14 if you do not use drums).
7566 * MIDI instrument names::
7571 @subsection MIDI block
7575 The MIDI block is analogous to the paper block, but it is somewhat
7576 simpler. The @code{\midi} block can contain:
7580 @item a @code{\tempo} definition, and
7581 @item context definitions.
7584 Assignments in the @code{\midi} block are not allowed.
7586 A number followed by a period is interpreted as a real number, so
7587 for setting the tempo for dotted notes, an extra space should be
7588 inserted, for example:
7591 \midi @{ \tempo 4 . = 120 @}
7595 @cindex context definition
7597 Context definitions follow precisely the same syntax as within the
7598 \paper block. Translation modules for sound are called performers.
7599 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7602 @node MIDI instrument names
7603 @subsection MIDI instrument names
7605 @cindex instrument names
7606 @cindex @code{Staff.midiInstrument}
7608 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7609 property. The instrument name should be chosen from the list in
7610 @ref{MIDI instruments}.
7614 If the selected string does not exactly match, then the default is
7615 used, which is the Grand Piano.