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 Program reference: @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 Program reference: @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 Program reference: @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 Program reference: @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 Program reference: @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 Program reference: @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 that
529 were added solely to help entering music, finding and correcting
530 mistakes. There are also external tools that make debugging easier.
531 See @ref{Point and click} for more information.
533 It is also possible to enter and edit music using other programs. For
534 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
535 website for more information.
542 * Skipping corrected music::
543 * Automatic note splitting::
549 @node Relative octaves
550 @subsection Relative octaves
552 @cindex relative octave specification
554 Octaves are specified by adding @code{'} and @code{,} to pitch names.
555 When you copy existing music, it is easy to accidentally put a pitch
556 in the wrong octave and hard to find such an error. The relative
557 octave mode prevents these errors: a single error puts the rest of the
558 piece off by one octave:
560 @cindex @code{\relative}
562 \relative @var{startpitch} @var{musicexpr}
565 The octave of notes that appear in @var{musicexpr} are calculated as
566 follows: If no octave changing marks are used, the basic interval
567 between this and the last note is always taken to be a fourth or
568 less. This distance is determined without regarding alterations; a
569 @code{fisis} following a @code{ceses} will be put above the
572 The octave changing marks @code{'} and @code{,} can be added to raise
573 or lower the pitch by an extra octave. Upon entering relative mode,
574 an absolute starting pitch must be specified that will act as the
575 predecessor of the first note of @var{musicexpr}.
577 Here is the relative mode shown in action:
578 @lilypond[fragment,raggedright,verbatim]
584 Octave changing marks are used for intervals greater than a fourth:
585 @lilypond[fragment,verbatim]
590 If the preceding item is a chord, the first note of the chord is used
591 to determine the first note of the next chord:
593 @lilypond[fragment,verbatim]
600 @cindex @code{\notes}
602 The pitch after the @code{\relative} contains a note name. To parse
603 the note name as a pitch, it must surrounded by @code{\notes}
605 The relative conversion will not affect @code{\transpose},
606 @code{\chords} or @code{\relative} sections in its argument. If you
607 want to use relative within transposed music, you must place an
608 additional @code{\relative} inside the @code{\transpose}.
611 @subsection Octave check
614 Octave checks make octave errors easier to correct: a note may be
615 followed by @code{=}@var{quotes} which indicates what its absolute
616 octave should be. In the following example,
618 \relative c'' @{ c='' b=' d,='' @}
622 @c take care with @code, adds confusing quotes.
623 the d will generate a warning, because a d'' is expected, but a d' is
624 found. In the output, the octave is corrected for this and the
629 There is also a syntax that is separate from the notes.
634 This checks that @var{pitch} (without octave) yields @var{pitch} (with
635 octave) in \relative mode. If not, a warning is printed, and the
636 octave is corrected, for example, the first check is passed
637 successfully. The second check fails with an error message. The
638 octave is adjusted so the following notes are in the correct octave
649 The octave of a note following an octave check is determined with
650 respect to the note preceding it. In the next fragment, the last note
651 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
652 be deleted without changing the meaning of the piece.
654 @lilypond[verbatim,fragment]
663 @subsection Bar check
667 @cindex @code{barCheckSynchronize}
670 Bar checks help detect errors in the durations. A bar check is
671 entered using the bar symbol, `@code{|}'. Whenever it is encountered
672 during interpretation, it should fall on a measure boundary. If it
673 does not, a warning is printed. In the next example, the second bar
674 check will signal an error:
676 \time 3/4 c2 e4 | g2 |
679 Bar checks can also be used in lyrics, for example
684 Twin -- kle | Twin -- kle
689 @cindex skipTypesetting
691 Failed bar checks are caused by entering incorrect
692 durations. Incorrect durations often completely garble up the score,
693 especially if it is polyphonic, so you should start correcting the
694 score by scanning for failed bar checks and incorrect durations. To
695 speed up this process, you can use @code{skipTypesetting}, described
698 @node Skipping corrected music
699 @subsection Skipping corrected music
701 The property @code{Score.skipTypesetting} can be used to switch on and
702 off typesetting completely during the interpretation phase. When
703 typesetting is switched off, the music is processed much more quickly.
704 This can be used to skip over the parts of a score that have already
705 been checked for errors:
707 @lilypond[fragment,raggedright,verbatim]
709 \set Score.skipTypesetting = ##t
711 \set Score.skipTypesetting = ##f
715 @node Automatic note splitting
716 @subsection Automatic note splitting
718 Long notes can be converted automatically to tied notes. This is done
719 by replacing the @internalsref{Note_heads_engraver} by the
720 @internalsref{Completion_heads_engraver}.
721 In the following examples, notes crossing the bar line are split and tied.
724 @lilypond[noindent,verbatim,relative=1]
726 \remove "Note_heads_engraver"
727 \consists "Completion_heads_engraver"
729 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
733 This engraver splits all running notes at the bar line, and inserts
734 ties. One of its uses is to debug complex scores: if the measures are
735 not entirely filled, then the ties exactly show how much each measure
740 Not all durations (especially those containing tuplets) can be
741 represented exactly; the engraver will not insert tuplets.
745 Examples: @inputfileref{input/regression,completion-heads.ly}.
747 Program reference: @internalsref{Completion_heads_engraver}.
751 @section Staff notation
753 This section describes music notation that occurs on staff level,
754 such as keys, clefs and time signatures.
756 @cindex Staff notation
770 @subsection Staff symbol
772 @cindex adjusting staff symbol
774 Notes, dynamic signs, etc. are grouped
775 with a set of horizontal lines, into a staff (plural `staves'). In our
776 system, these lines are drawn using a separate layout object called
780 @cindex staff lines, setting number of
781 @cindex staff lines, setting thickness of
782 @cindex thickness of staff lines, setting
783 @cindex number of staff lines, setting
787 Program reference: @internalsref{StaffSymbol}.
789 Examples: @inputfileref{input/test,staff-lines.ly},
790 @inputfileref{input/test,staff-size.ly}.
794 If a staff is ended halfway a piece, the staff symbol may not end
795 exactly on the bar line.
799 @subsection Key signature
800 @cindex Key signature
804 The key signature indicates the scale in which a piece is played. It
805 is denoted by a set of alterations (flats or sharps) at the start of
809 Setting or changing the key signature is done with the @code{\key}
812 @code{\key} @var{pitch} @var{type}
815 @cindex @code{\minor}
816 @cindex @code{\major}
817 @cindex @code{\minor}
818 @cindex @code{\ionian}
819 @cindex @code{\locrian}
820 @cindex @code{\aeolian}
821 @cindex @code{\mixolydian}
822 @cindex @code{\lydian}
823 @cindex @code{\phrygian}
824 @cindex @code{\dorian}
826 Here, @var{type} should be @code{\major} or @code{\minor} to get
827 @var{pitch}-major or @var{pitch}-minor, respectively.
828 The standard mode names @code{\ionian},
829 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
830 @code{\phrygian}, and @code{\dorian} are also defined.
832 This command sets the context property
833 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
834 can be specified by setting this property directly.
836 Accidentals and key signatures often confuse new users, because
837 unaltered notes get natural signs depending on the key signature. For
838 more information, see @ref{More about pitches}.
842 The ordering of a key cancellation is wrong when it is combined with
843 repeat bar lines. The cancellation is also printed after a line break.
847 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
849 @cindex @code{keySignature}
856 The clef indicates which lines of the staff correspond to which
860 The clef can be set or changed with the @code{\clef} command:
861 @lilypond[fragment,verbatim]
862 \key f\major c''2 \clef alto g'2
865 Supported clef-names include:
866 @c Moved standard clefs to the top /MB
870 @item treble, violin, G, G2
883 G clef on 1st line, so-called French violin clef
888 @cindex mezzosoprano clef
891 @cindex baritone clef
894 @cindex varbaritone clef
905 By adding @code{_8} or @code{^8} to the clef name, the clef is
906 transposed one octave down or up, respectively, and @code{_15} and
907 @code{^15} transposes by two octaves. The argument @var{clefname}
908 must be enclosed in quotes when it contains underscores or digits. For
912 @cindex choral tenor clef
913 @lilypond[verbatim,fragment,relative]
917 This command is equivalent to setting @code{clefGlyph},
918 @code{clefPosition} (which controls the Y position of the clef),
919 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
920 when any of these properties are changed.
924 Program reference: the object for this symbol is @internalsref{Clef}.
928 @node Ottava brackets
929 @subsection Ottava brackets
931 ``Ottava'' brackets introduce an extra transposition of an octave for
932 the staff. They are created by invoking the function
933 @code{set-octavation}:
939 @lilypond[verbatim,fragment]
948 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
949 (for 15ma) as arguments. Internally the function sets the properties
950 @code{ottavation} (e.g. to @code{"8va"}) and
951 @code{centralCPosition}. For overriding the text of the bracket, set
952 @code{ottavation} after invoking @code{set-octavation}, i.e.,
956 \set Staff.ottavation = #"8"
961 Program reference: @internalsref{OttavaBracket}.
963 Examples: @inputfileref{input/regression,ottava.ly},
964 @inputfileref{input/regression,ottava-broken.ly}.
968 @code{set-octavation} will get confused when clef changes happen
969 during an octavation bracket.
972 @subsection Time signature
973 @cindex Time signature
977 Time signature indicates the metrum of a piece: a regular pattern of
978 strong and weak beats. It is denoted by a fraction at the start of the
982 The time signature is set or changed by the @code{\time}
984 @lilypond[fragment,verbatim]
985 \time 2/4 c'2 \time 3/4 c'2.
988 The symbol that is printed can be customized with the @code{style}
989 property. Setting it to @code{#'()} uses fraction style for 4/4 and
990 2/2 time. There are many more options for its layout. See
991 @inputfileref{input/test,time.ly} for more examples.
994 This command sets the property @code{timeSignatureFraction},
995 @code{beatLength} and @code{measureLength} in the @code{Timing}
996 context, which is normally aliased to @internalsref{Score}. The
997 property @code{measureLength} determines where bar lines should be
998 inserted, and how automatic beams should be generated. Changing the
999 value of @code{timeSignatureFraction} also causes the symbol to be
1002 More options are available through the Scheme function
1003 @code{set-time-signature}. In combination with the
1004 @internalsref{Measure_grouping_engraver}, it will create
1005 @internalsref{MeasureGrouping} signs. Such signs ease reading
1006 rhythmically complex modern music. In the following example, the 9/8
1007 measure is subdivided in 2, 2, 2 and 3. This is passed to
1008 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1011 \score { \notes \relative c'' {
1012 #(set-time-signature 9 8 '(2 2 2 3))
1013 g8[ g] d[ d] g[ g] a8[( bes g]) |
1014 #(set-time-signature 5 8 '(3 2))
1019 \context { \StaffContext
1020 \consists "Measure_grouping_engraver"
1026 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1031 Automatic beaming does not use the measure grouping specified with
1032 @code{set-time-signature}.
1034 @node Partial measures
1035 @subsection Partial measures
1038 @cindex partial measure
1039 @cindex measure, partial
1040 @cindex shorten measures
1041 @cindex @code{\partial}
1043 Partial measures, for example in upsteps, are entered using the
1044 @code{\partial} command:
1045 @lilypond[fragment,verbatim,relative=1]
1046 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1049 The syntax for this command is
1051 \partial @var{duration}
1053 This is internally translated into
1055 \set Timing.measurePosition = -@var{length of duration}
1058 The property @code{measurePosition} contains a rational number
1059 indicating how much of the measure has passed at this point.
1061 @node Unmetered music
1062 @subsection Unmetered music
1064 Bar lines and bar numbers are calculated automatically. For unmetered
1065 music (e.g. cadenzas), this is not desirable. By setting
1066 @code{Score.timing} to false, this automatic timing can be switched
1072 @cindex @code{\cadenzaOn}
1074 @cindex @code{\cadenzaOff}
1078 @subsection Bar lines
1082 @cindex measure lines
1086 Bar lines delimit measures, but are also used to indicate repeats.
1087 Normally, they are inserted automatically. Line breaks may only
1088 happen on bar lines.
1092 of bar lines can be forced with the @code{\bar} command:
1094 @lilypond[relative=1,fragment,verbatim]
1098 The following bar types are available:
1099 @lilypond[fragment,relative,raggedright,verbatim]
1112 For allowing line breaks, there is a special command,
1116 This will insert an invisible bar line, and allow line breaks at this
1119 In scores with many staves, a @code{\bar} command in one staff is
1120 automatically applied to all staves. The resulting bar lines are
1121 connected between different staves of a @internalsref{StaffGroup}:
1123 @lilypond[fragment,verbatim]
1124 << \context StaffGroup <<
1128 \new Staff { \clef bass c4 g e g } >>
1129 \new Staff { \clef bass c2 c2 } >>
1132 A bar line is created whenever the @code{whichBar} property is set.
1133 At the start of a measure it is set to the contents of
1134 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1135 to override default measure bars.
1137 The command @code{\bar }@var{bartype} is a short cut for doing
1138 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1139 is set to a string, a bar line of that type is created.
1142 @cindex repeatCommands
1143 @cindex defaultBarType
1145 You are encouraged to use @code{\repeat} for repetitions. See
1152 In this manual: @ref{Repeats}.
1155 Program reference: the bar line objects that are created at
1156 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1157 lines that span staves are @internalsref{SpanBar}s.
1159 @cindex bar lines at start of system
1160 @cindex start of system
1162 The bar lines at the start of each system are
1163 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1164 @internalsref{SystemStartBracket}. Only one of these types is created
1165 in every context, and that type is determined by the property
1166 @code{systemStartDelimiter}.
1168 Examples: @inputfileref{input/test,bar-lines.ly},
1174 The easiest way to enter fragments with more than one voice on a staff
1175 is to split chords using the separator @code{\\}. You can use it for
1176 small, short-lived voices or for single chords:
1178 @lilypond[verbatim,fragment]
1179 \context Staff \relative c'' {
1180 c4 << { f d e } \\ { b c2 } >>
1181 c4 << g' \\ b, \\ f' \\ d >>
1185 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1186 voices are sometimes called "layers" other notation packages}
1188 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1189 each of these contexts, vertical direction of slurs, stems, etc. is set
1192 @cindex @code{\voiceOne}
1193 @cindex @code{\voiceFour}
1195 This can also be done by instantiating @internalsref{Voice} contexts
1196 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1197 a stem directions and horizontal shift for each part:
1200 @lilypond[raggedright,verbatim]
1202 \context Staff << \new Voice { \voiceOne cis2 b }
1203 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1204 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1208 The command @code{\oneVoice} will revert back to the normal setting.
1209 @cindex @code{\oneVoice}
1212 Normally, note heads with a different number of dots are not merged, but
1213 when the object property @code{merge-differently-dotted} is set in
1214 the @internalsref{NoteCollision} object, they are merged:
1215 @lilypond[verbatim,fragment,raggedright]
1216 \relative c'' \context Voice << {
1218 \override Staff.NoteCollision
1219 #'merge-differently-dotted = ##t
1221 } \\ { g8.[ f16] g8.[ f16] }
1225 Similarly, you can merge half note heads with eighth notes, by setting
1226 @code{merge-differently-headed}:
1227 @lilypond[fragment,relative=2,verbatim]
1230 \override Staff.NoteCollision
1231 #'merge-differently-headed = ##t
1232 c8 c4. } \\ { c2 c2 } >>
1235 LilyPond also vertically shifts rests that are opposite of a stem:
1238 @lilypond[raggedright,fragment,verbatim]
1239 \context Voice << c''4 \\ r4 >>
1247 @cindex @code{\oneVoice}
1249 @cindex @code{\voiceOne}
1251 @cindex @code{\voiceTwo}
1253 @cindex @code{\voiceThree}
1255 @cindex @code{\voiceFour}
1259 The following commands specify in what chords of the current voice
1260 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1261 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1264 @cindex @code{\shiftOn}
1266 @cindex @code{\shiftOnn}
1268 @cindex @code{\shiftOnnn}
1270 @cindex @code{\shiftOff}
1277 Program reference: the objects responsible for resolving collisions are
1278 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1280 Examples: See also example files
1281 @inputfileref{input/regression,collision-dots.ly},
1282 @inputfileref{input/regression,collision-head-chords.ly},
1283 @inputfileref{input/regression,collision-heads.ly},
1284 @inputfileref{input/regression,collision-mesh.ly}, and
1285 @inputfileref{input/regression,collisions.ly}.
1290 Resolving collisions is a intricate subject, and only a few situations
1291 are handled. When LilyPond cannot cope, the @code{force-hshift}
1292 property of the @internalsref{NoteColumn} object and pitched rests can
1293 be used to override typesetting decisions.
1295 When using @code{merge-differently-headed} with an upstem eighth or a
1296 shorter note, and a downstem half note, the eighth note gets the wrong
1299 There is no support for clusters where the same note occurs with
1300 different accidentals in the same chord. In this case, it is
1301 recommended to use enharmonic transcription, or to use special cluster
1302 notation (see @ref{Clusters}).
1307 Beams are used to group short notes into chunks that are aligned with
1308 the metrum. They are inserted automatically
1310 @lilypond[fragment,verbatim,relative=2]
1311 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1314 When these automatic decisions are not good enough, beaming can be
1315 entered explicitly. It is also possible to define beaming patterns
1316 that differ from the defaults.
1318 Individual notes may be marked with @code{\noBeam}, to prevent them
1321 @lilypond[fragment,verbatim,relative=2]
1322 \time 2/4 c8 c\noBeam c c
1328 Program reference: @internalsref{Beam}.
1331 @cindex Automatic beams
1334 * Setting automatic beam behavior::
1338 @subsection Manual beams
1339 @cindex beams, manual
1343 In some cases it may be necessary to override the automatic beaming
1344 algorithm. For example, the autobeamer will not put beams over rests
1345 or bar lines. Such beams are specified by manually: the begin and end
1346 point are marked with @code{[} and @code{]}:
1348 @lilypond[fragment,relative,verbatim]
1350 r4 r8[ g' a r8] r8 g[ | a] r8
1354 @cindex @code{stemLeftBeamCount}
1356 Normally, beaming patterns within a beam are determined automatically.
1357 If necessary, the properties @code{stemLeftBeamCount} and
1358 @code{stemRightBeamCount} can be used to override the defaults. If
1359 either property is set, its value will be used only once, and then it
1362 @lilypond[fragment,relative,verbatim]
1365 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1368 @cindex @code{stemRightBeamCount}
1371 The property @code{subdivideBeams} can be set in order to subdivide
1372 all 16th or shorter beams at beat positions, as defined by the
1373 @code{beatLength} property.
1376 @lilypond[relative=1,verbatim,noindent]
1378 \set subdivideBeams = ##t
1380 \set Score.beatLength = #(ly:make-moment 1 8)
1383 @cindex subdivideBeams
1385 Kneed beams are inserted automatically, when a large gap is detected
1386 between the note heads. This behavior can be tuned through the object
1387 property @code{auto-knee-gap}.
1389 Normally, line breaks are forbidden when beams cross bar lines. This
1390 behavior can be changed by setting @code{allowBeamBreak}.
1392 @cindex @code{allowBeamBreak}
1393 @cindex beams and line breaks
1395 @cindex beams, kneed
1397 @cindex auto-knee-gap
1403 @cindex Frenched staves
1405 Automatically kneed cross-staff beams cannot be used together with
1411 @node Setting automatic beam behavior
1412 @subsection Setting automatic beam behavior
1414 @cindex @code{autoBeamSettings}
1415 @cindex @code{(end * * * *)}
1416 @cindex @code{(begin * * * *)}
1417 @cindex automatic beams, tuning
1418 @cindex tuning automatic beaming
1420 @c [TODO: use \applycontext]
1422 In normal time signatures, automatic beams can start on any note but can
1423 only end in a few positions within the measure: beams can end on a beat,
1424 or at durations specified by the properties in
1425 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1426 are defined in @file{scm/auto-beam.scm}.
1428 The value of @code{autoBeamSettings} is changed with two functions,
1430 #(override-auto-beam-setting
1431 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1433 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1435 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1436 @var{context} is an optional context (default: @code{'Voice}). It
1437 determines whether the rule applies to begin or end-points. The
1438 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1439 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1440 to a time signature (wildcards `@code{* *}' may be entered to
1441 designate all time signatures), @var{a}/@var{b} is a duration. By
1442 default, this command changes settings for the current voice. It is
1443 also possible to adjust settings at higher contexts, by adding a
1444 @var{context} argument.
1446 For example, if automatic beams should end on every quarter note, use
1449 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1451 Since the duration of a quarter note is 1/4 of a whole note, it is
1452 entered as @code{(ly:make-moment 1 4)}.
1454 The same syntax can be used to specify beam starting points. In this
1455 example, automatic beams can only end on a dotted quarter note:
1457 #(override-auto-beam-setting '(end * * * *) 3 8)
1459 In 4/4 time signature, this means that automatic beams could end only on
1460 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1461 3/8, has passed within the measure).
1463 Rules can also be restricted to specific time signatures. A rule that
1464 should only be applied in @var{N}/@var{M} time signature is formed by
1465 replacing the second asterisks by @var{N} and @var{M}. For example, a
1466 rule for 6/8 time exclusively looks like
1468 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1471 If a rule should be to applied only to certain types of beams, use the
1472 first pair of asterisks. Beams are classified according to the
1473 shortest note they contain. For a beam ending rule that only applies
1474 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1477 If a score ends while an automatic beam has not been ended and is still
1478 accepting notes, this last beam will not be typeset at all.
1480 @cindex automatic beam generation
1482 @cindex @code{autoBeaming}
1485 If beams are used to indicate melismata in songs, then automatic
1486 beaming should be switched off. This is done by setting
1487 @code{autoBeaming} to @code{#f}.
1491 @cindex @code{\autoBeamOff}
1492 @code{\autoBeamOff},
1493 @cindex @code{\autoBeamOn}
1499 The rules for ending a beam depend on the shortest note in a beam.
1500 So, while it is possible to have different ending rules for eight
1501 beams and sixteenth beams, a beam that contains both eight and
1502 sixteenth notes will use the rules for the sixteenth beam.
1504 In the example below, the autobeamer makes eight beams and sixteenth
1505 end at 3 eights; the third beam can only be corrected by specifying
1508 @lilypond[raggedright,fragment,relative]
1509 #(override-auto-beam-setting '(end * * * *) 3 8)
1510 % rather show case where it goes wrong
1511 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1512 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1514 It is not possible to specify beaming parameters that act differently in
1515 different parts of a measure. This means that it is not possible to use
1516 automatic beaming in irregular meters such as @code{5/8}.
1519 @section Accidentals
1522 This section describes how to change the way that accidentals are
1523 inserted automatically before the running notes.
1525 Common rules for typesetting accidentals have been canned in a
1526 function. This function is called as follows:
1528 @cindex @code{set-accidental-style}
1530 #(set-accidental-style 'modern 'Voice)
1533 The function takes two arguments: a symbol that denotes the style (in
1534 the example, @code{modern}), and another symbol that denotes the
1535 context name (in this example, @code{Voice}). If no context name is
1536 supplied, @code{Staff} is the default.
1538 The following styles are supported:
1541 This is the default typesetting behavior. It should correspond
1542 to 18th century common practice: Accidentals are
1543 remembered to the end of the measure in which they occur and
1544 only on their own octave.
1548 The normal behavior is to remember the accidentals on
1549 Staff-level. This variable, however, typesets accidentals
1550 individually for each voice. Apart from that, the rule is similar to
1553 This leads to some weird and often unwanted results
1554 because accidentals from one voice do not get canceled in other
1556 @lilypond[raggedright,relative,fragment,verbatim]
1558 #(set-accidental-style 'voice)
1564 Hence you should only use @code{voice} if the voices
1565 are to be read solely by individual musicians. If the staff is to be
1566 used by one musician (e.g. a conductor) then you use
1567 @code{modern} or @code{modern-cautionary}
1571 @cindex @code{modern} style accidentals
1572 This rule corresponds to the common practice in the 20th
1574 This rule prints the same accidentals as @code{default}, but temporary
1575 accidentals also are canceled in other octaves. Furthermore,
1576 in the same octave, they also get canceled in the following
1579 @lilypond[raggedright,fragment,verbatim]
1580 #(set-accidental-style 'modern)
1581 cis' c'' cis'2 | c'' c'
1584 @item @code{modern-cautionary}
1585 @cindex @code{modern-cautionary}
1586 This rule is similar to @code{modern}, but the
1587 ``extra'' accidentals (the ones not typeset by
1588 @code{default}) are typeset as cautionary accidentals.
1589 They are printed in reduced size or with parentheses:
1590 @lilypond[raggedright,fragment,verbatim]
1591 #(set-accidental-style 'modern-cautionary)
1592 cis' c'' cis'2 | c'' c'
1595 @cindex @code{modern-voice}
1597 This rule is used for multivoice accidentals to be read both by musicians
1598 playing one voice and musicians playing all voices. Accidentals are
1599 typeset for each voice, but they @emph{are} canceled across voices in
1600 the same @internalsref{Staff}.
1602 @cindex @code{modern-voice-cautionary}
1603 @item modern-voice-cautionary
1604 This rule is the same as @code{modern-voice}, but with the extra
1605 accidentals (the ones not typeset by @code{voice}) typeset
1606 as cautionaries. Even though all accidentals typeset by
1607 @code{default} @emph{are} typeset by this variable then
1608 some of them are typeset as cautionaries.
1611 @cindex @code{piano} accidentals
1612 This rule reflects 20th century practice for piano notation. Very similar to
1613 @code{modern} but accidentals also get canceled
1614 across the staves in the same @internalsref{GrandStaff} or
1615 @internalsref{PianoStaff}.
1617 @item piano-cautionary
1618 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1619 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1620 typeset as cautionaries.
1623 @cindex @code{no-reset} accidental style
1625 This is the same as @code{default} but with accidentals lasting
1626 ``forever'' and not only until the next measure:
1627 @lilypond[raggedright,fragment,verbatim,relative]
1628 #(set-accidental-style 'no-reset)
1633 This is sort of the opposite of @code{no-reset}: Accidentals
1634 are not remembered at all---and hence all accidentals are
1635 typeset relative to the key signature, regardless of what was
1636 before in the music:
1638 @lilypond[raggedright,fragment,verbatim,relative]
1639 #(set-accidental-style 'forget)
1640 \key d\major c4 c cis cis d d dis dis
1647 Program reference: @internalsref{Accidental_engraver},
1648 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1653 Simultaneous notes are considered to be entered in sequential
1654 mode. This means that in a chord the accidentals are typeset as if the
1655 notes in the chord happened once at a time - in the order in which
1656 they appear in the input file.
1658 This is only a problem when accidentals in a chord depend on each
1659 other. This problem can be solved by manually inserting @code{!} and
1660 @code{?} for the problematic notes.
1662 In the default scheme, accidentals only depend on other
1663 accidentals with the same pitch on the same staff, so no conflicts are
1666 @node Expressive marks
1667 @section Expressive marks
1670 @c todo: should change ordering
1671 @c where to put text spanners, metronome marks,
1680 * Analysis brackets::
1682 * Fingering instructions::
1693 A slur indicates that notes are to be played bound or @emph{legato}.
1696 They are entered using parentheses:
1697 @lilypond[relative=1,fragment,verbatim]
1698 f( g)( a) a8 b( a4 g2 f4)
1703 @c TODO: should explain that ^( and _( set directions
1704 @c should set attachments with ^ and _ ?
1706 Slurs avoid crossing stems, and are generally attached to note heads.
1707 However, in some situations with beams, slurs may be attached to stem
1708 ends. If you want to override this layout you can do this through the
1709 object property @code{attachment} of @internalsref{Slur}. Its value
1710 is a pair of symbols, specifying the attachment type of the left and
1713 @lilypond[fragment,relative,verbatim]
1715 \override Stem #'length = #5.5
1717 \override Slur #'attachment = #'(stem . stem)
1721 If a slur would strike through a stem or beam, the slur will be moved
1722 away upward or downward. If this happens, attaching the slur to the
1723 stems might look better:
1725 @lilypond[fragment,relative,verbatim]
1728 \override Slur #'attachment = #'(stem . stem)
1735 @cindex @code{\slurUp}
1737 @cindex @code{\slurDown}
1739 @cindex @code{\slurBoth}
1741 @cindex @code{\slurDotted}
1743 @cindex @code{\slurSolid}
1748 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1753 Producing nice slurs is a difficult problem, and LilyPond
1754 uses a simple, empiric method to produce slurs. In some cases, its
1758 @cindex Adjusting slurs
1760 @node Phrasing slurs
1761 @subsection Phrasing slurs
1763 @cindex phrasing slurs
1764 @cindex phrasing marks
1766 A phrasing slur (or phrasing mark) connects chords and is used to
1767 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1770 @lilypond[fragment,verbatim,relative]
1771 \time 6/4 c'\( d( e) f( e) d\)
1774 Typographically, the phrasing slur behaves almost exactly like a
1775 normal slur. However, they are treated as different objects. A
1776 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1777 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1778 @code{\phrasingSlurBoth}.
1780 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1781 will only affect normal slurs and not phrasing slurs.
1785 @cindex @code{\phrasingSlurUp}
1786 @code{\phrasingSlurUp},
1787 @cindex @code{\phrasingSlurDown}
1788 @code{\phrasingSlurDown},
1789 @cindex @code{\phrasingSlurBoth}
1790 @code{\phrasingSlurBoth}.
1794 Program reference: see also @internalsref{PhrasingSlur}, and
1795 @internalsref{PhrasingSlurEvent}.
1799 Phrasing slurs have the same limitations in their formatting as normal
1800 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1803 @subsection Breath marks
1805 Breath marks are entered using @code{\breathe}:
1808 @lilypond[fragment,relative,verbatim]
1812 The glyph of the breath mark can be tuned by overriding the
1813 @code{text} property of the @code{BreathingSign} layout object with
1814 any markup text. For example,
1815 @lilypond[fragment,verbatim,relative]
1817 \override BreathingSign #'text
1818 = #(make-musicglyph-markup "scripts-rvarcomma")
1825 Program reference: @internalsref{BreathingSign},
1826 @internalsref{BreathingSignEvent}.
1828 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1831 @node Metronome marks
1832 @subsection Metronome marks
1835 @cindex beats per minute
1836 @cindex metronome marking
1838 Metronome settings can be entered as follows:
1840 \tempo @var{duration} = @var{per-minute}
1843 In the MIDI output, they are interpreted as a tempo change, and in the
1844 paper output, a metronome marking is printed:
1845 @cindex @code{\tempo}
1846 @lilypond[fragment,verbatim]
1852 Program reference: @internalsref{MetronomeChangeEvent}.
1857 @subsection Text spanners
1858 @cindex Text spanners
1860 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1861 are written as texts, and extended over many measures with dotted
1862 lines. You can create such texts using text spanners: attach
1863 @code{\startTextSpan} and @code{\stopTextSpan} to the
1864 start and ending note of the spanner.
1866 The string to be printed, as well as the style, is set through object
1869 @lilypond[fragment,relative,verbatim]
1871 \override TextSpanner #'direction = #-1
1872 \override TextSpanner #'edge-text = #'("rall " . "")
1873 c2\startTextSpan b c\stopTextSpan a }
1879 Internals @internalsref{TextSpanEvent},
1880 @internalsref{TextSpanner}.
1882 Examples: @inputfileref{input/regression,text-spanner.ly}.
1885 @node Analysis brackets
1886 @subsection Analysis brackets
1888 @cindex phrasing brackets
1889 @cindex musicological analysis
1890 @cindex note grouping bracket
1892 Brackets are used in musical analysis to indicate structure in musical
1893 pieces. LilyPond supports a simple form of nested horizontal brackets.
1894 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1895 @internalsref{Staff} context. A bracket is started with
1896 @code{\startGroup} and closed with @code{\stopGroup}:
1898 @lilypond[raggedright,verbatim]
1899 \score { \notes \relative c'' {
1900 c4\startGroup\startGroup
1903 c4\stopGroup\stopGroup
1906 \StaffContext \consists "Horizontal_bracket_engraver"
1912 Program reference: @internalsref{HorizontalBracket},
1913 @internalsref{NoteGroupingEvent}.
1915 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1919 @subsection Articulations
1920 @cindex Articulations
1922 @cindex articulations
1926 A variety of symbols can appear above and below notes to indicate
1927 different characteristics of the performance. They are added to a note
1928 by adding a dash and the character signifying the
1929 articulation. They are demonstrated here:
1931 @lilypondfile[]{script-abbreviations.ly}
1933 The meanings of these shorthands can be changed. See
1934 @file{ly/script-init.ly} for examples.
1937 The script is automatically placed, but if you need to force
1938 directions, you can use @code{_} to force them down, or @code{^} to
1940 @lilypond[fragment,verbatim]
1944 Other symbols can be added using the syntax
1945 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1946 can be forced up or down using @code{^} and @code{_},
1949 @lilypond[verbatim,fragment,relative=2]
1950 c\fermata c^\fermata c_\fermata
1957 @cindex staccatissimo
1966 @cindex organ pedal marks
1975 @cindex prallmordent
1979 @cindex thumb marking
1984 @lilypondfile[]{script-chart.ly}
1989 @cindex @code{\scriptUp}
1991 @cindex @code{\scriptDown}
1993 @cindex @code{\scriptBoth}
1998 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2002 These note ornaments appear in the printed output but have no
2003 effect on the MIDI rendering of the music.
2006 @node Fingering instructions
2007 @subsection Fingering instructions
2011 Fingering instructions can be entered using
2013 @var{note}-@var{digit}
2015 For finger changes, use markup texts:
2017 @lilypond[verbatim,raggedright,fragment]
2018 c'4-1 c'4-2 c'4-3 c'4-4
2019 c'^\markup { \finger "2-3" }
2022 @cindex finger change
2027 You can use the thumb-script to indicate that a note should be
2028 played with the thumb (e.g. in cello music):
2030 @lilypond[verbatim,raggedright,fragment]
2031 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2034 Fingerings for chords can also be added to individual notes
2035 of the chord by adding them after the pitches:
2036 @lilypond[verbatim,raggedright,fragment,relative=1]
2037 < c-1 e-2 g-3 b-5 > 4
2041 In this case, setting @code{fingeringOrientations} will put fingerings next
2044 @lilypond[verbatim,raggedright,fragment,relative=1]
2045 \set fingeringOrientations = #'(left down)
2046 <c-1 es-2 g-4 bes-5 > 4
2047 \set fingeringOrientations = #'(up right down)
2048 <c-1 es-2 g-4 bes-5 > 4
2049 \set fingeringOrientations = #'(right)
2053 The last note demonstrates how fingering instructions can be put close
2054 to note heads in monophonic music, using this feature.
2058 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2060 Examples: @inputfileref{input/regression,finger-chords.ly}.
2063 @subsection Text scripts
2064 @cindex Text scripts
2066 @cindex text items, non-empty
2067 @cindex non-empty texts
2069 It is possible to place arbitrary strings of text or markup text (see
2070 @ref{Text markup}) above or below notes by using a string:
2071 @code{c^"text"}. By default, these indications do not influence the
2072 note spacing, but by using the command @code{\fatText}, the widths
2073 will be taken into account:
2075 @lilypond[fragment,raggedright,verbatim] \relative c' {
2076 c4^"longtext" \fatText c4_"longlongtext" c4 }
2079 It is possible to use @TeX{} commands in the strings, but this should
2080 be avoided because the exact dimensions of the string can then no
2085 @cindex @code{\fatText}
2087 @cindex @code{\emptyText}
2092 In this manual: @ref{Text markup}.
2094 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2100 @subsection Grace notes
2103 @c should have blurb about accaciatura / appogiatura
2105 @cindex @code{\grace}
2109 Grace notes are ornaments that are written out. The most common ones
2110 are acciaccatura, which should be played as very short. It is denoted
2111 by a slurred small note with a slashed stem. The appoggiatura is a
2112 grace note that takes a fixed fraction of the main note, is and
2113 denoted as a slurred note in small print without a slash.
2114 They are entered with the commands @code{\acciaccatura} and
2115 @code{\appoggiatura}, as demonstrated in the following example:
2118 @cindex appoggiatura
2119 @cindex acciaccatura
2121 @lilypond[relative=2,verbatim,fragment]
2122 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2123 \acciaccatura { g16[ f] } e4
2126 Both are special forms of the @code{\grace} command. By prefixing this
2127 keyword to a music expression, a new one is formed, which will be
2128 printed in a smaller font and takes up no logical time in a measure.
2129 @lilypond[relative=2,verbatim,fragment]
2131 \grace { c16[ d16] } c2 c4
2135 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2136 @code{\grace} command does not start a slur.
2138 Internally, timing for grace notes is done using a second, `grace'
2139 time. Every point in time consists of two rational numbers: one
2140 denotes the logical time, one denotes the grace timing. The above
2141 example is shown here with timing tuples:
2143 @lilypond[raggedright]
2146 c4 \grace c16 c4 \grace {
2149 \new Lyrics \lyrics {
2152 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2153 \markup { (\fraction 1 4 , 0 ) } 4
2155 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2156 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2158 \markup { ( \fraction 2 4 , 0 ) }
2163 The placement of grace notes is synchronized between different staves.
2164 In the following example, there are two sixteenth graces notes for
2165 every eighth grace note:
2167 @lilypond[relative=2,verbatim,fragment]
2168 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2169 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2174 If you want to end a note with a grace, then the standard trick
2175 is to put the grace notes after a ``space note'', e.g.
2176 @lilypond[fragment,verbatim,relative=2]
2179 { s2 \grace { c16[ d] } } >>
2185 By adjusting the duration of the skip note (here it is a half-note),
2186 the space between the main-note and the grace is adjusted.
2189 A @code{\grace} section will introduce special typesetting settings,
2190 for example, to produce smaller type, and set directions. Hence, when
2191 introducing layout tweaks, they should be inside the grace section,
2193 @lilypond[fragment,verbatim,relative=1]
2196 \override Stem #'direction = #-1
2198 \revert Stem #'direction
2205 The overrides should also be reverted inside the grace section.
2207 If the layout of grace sections must be changed throughout the music,
2208 then this can be accomplished through the function
2209 @code{add-grace-property}. The following example undefines the Stem
2210 direction for this grace, so stems do not always point up.
2214 #(add-grace-property "Voice" Stem direction '())
2220 Another option is to change the variables @code{startGraceMusic},
2221 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2222 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2223 @code{stopAppoggiaturaMusic}. More information is in the file
2224 @file{ly/grace-init.ly}.
2229 Program reference: @internalsref{GraceMusic}.
2233 A score that starts with an @code{\grace} section needs an explicit
2234 @code{\context Voice} declaration, otherwise the main note and grace
2235 note end up on different staves.
2237 Grace note synchronization can also lead to surprises. Staff notation,
2238 such as key signatures, bar lines, etc. are also synchronized. Take
2239 care when you mix staves with grace notes and staves without, for example,
2241 @lilypond[relative=2,verbatim,fragment]
2242 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2243 \new Staff { c4 \bar "|:" d4 } >>
2246 Grace sections should only be used within sequential music
2247 expressions. Nesting or juxtaposing grace sections is not supported,
2248 and might produce crashes or other errors.
2252 @subsection Glissando
2255 @cindex @code{\glissando}
2257 A glissando is a smooth change in pitch. It is denoted by a line or a
2258 wavy line between two notes.
2261 A glissando line can be requested by attaching a @code{\glissando} to
2264 @lilypond[fragment,relative,verbatim]
2270 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2272 Example files: @file{input/regression,glissando.ly}
2278 Printing text over the line (such as @emph{gliss.}) is not supported.
2282 @subsection Dynamics
2295 @cindex @code{\ffff}
2305 Absolute dynamic marks are specified using a command after a note:
2306 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2307 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2308 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2309 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2311 @lilypond[verbatim,raggedright,fragment,relative]
2312 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2322 A crescendo mark is started with @code{\<} and terminated with
2323 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2324 with @code{\!}. Because these marks are bound to notes, if you must
2325 use spacer notes if multiple marks during one note are needed:
2327 @lilypond[fragment,verbatim]
2328 c''\< c''\! d''\> e''\!
2329 << f''1 { s4 s4\< s4\! \> s4\! } >>
2331 This may give rise to very short hairpins. Use @code{minimum-length}
2332 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2336 \override Staff.Hairpin #'minimum-length = #5
2339 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2340 is an example how to do it:
2342 @lilypond[fragment,relative=2,verbatim]
2352 You can also supply your own texts:
2353 @lilypond[fragment,relative,verbatim]
2355 \set crescendoText = \markup { \italic "cresc. poco" }
2356 \set crescendoSpanner = #'dashed-line
2366 @cindex @code{\dynamicUp}
2368 @cindex @code{\dynamicDown}
2369 @code{\dynamicDown},
2370 @cindex @code{\dynamicBoth}
2371 @code{\dynamicBoth}.
2373 @cindex direction, of dynamics
2377 Program reference: @internalsref{CrescendoEvent},
2378 @internalsref{DecrescendoEvent}, and
2379 @internalsref{AbsoluteDynamicEvent}.
2381 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2382 objects. Vertical positioning of these symbols is handled by the
2383 @internalsref{DynamicLineSpanner} object.
2391 @cindex @code{\repeat}
2394 Repetition is a central concept in music, and multiple notations exist
2395 for repetitions. In LilyPond, most of these notations can be captured
2396 in a uniform syntax. One of the advantages is that they can be
2397 rendered in MIDI accurately.
2399 The following types of repetition are supported:
2403 Repeated music is fully written (played) out. Useful for MIDI
2404 output, and entering repetitive music.
2407 This is the normal notation: Repeats are not written out, but
2408 alternative endings (volte) are printed, left to right.
2412 Alternative endings are written stacked. This has limited use but may be
2413 used to typeset two lines of lyrics in songs with repeats, see
2414 @inputfileref{input,star-spangled-banner.ly}.
2422 Make beat or measure repeats. These look like percent signs.
2428 * Repeats and MIDI::
2429 * Manual repeat commands::
2431 * Tremolo subdivisions::
2436 @subsection Repeat syntax
2439 LilyPond has one syntactic construct for specifying different types of
2440 repeats. The syntax is
2443 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2446 If you have alternative endings, you may add
2447 @cindex @code{\alternative}
2449 \alternative @code{@{} @var{alternative1}
2451 @var{alternative3} @dots{} @code{@}}
2453 where each @var{alternative} is a music expression. If you do not
2454 give enough alternatives for all of the repeats, then the first
2455 alternative is assumed to be played more than once.
2457 Normal notation repeats are used like this:
2458 @lilypond[fragment,verbatim,relative=1]
2460 \repeat volta 2 { c4 d e f }
2461 \repeat volta 2 { f e d c }
2464 With alternative endings:
2465 @lilypond[fragment,verbatim,relative=1]
2467 \repeat volta 2 {c4 d e f}
2468 \alternative { {d2 d} {f f,} }
2472 @lilypond[fragment,verbatim,relative=1]
2475 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2476 \alternative { { g4 g g } { a | a a a a | b2. } }
2482 If you do a nested repeat like
2491 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2492 belongs. This ambiguity is resolved by always having the
2493 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2494 it is advisable to use braces in such situations.
2497 @node Repeats and MIDI
2498 @subsection Repeats and MIDI
2500 @cindex expanding repeats
2502 For instructions on how to expand repeats for MIDI output, see the
2503 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2508 Timing information is not remembered at the start of an alternative,
2509 so after a repeat timing information must be reset by hand, for
2510 example by setting @code{Score.measurePosition} or entering
2511 @code{\partial}. Similarly, slurs or ties are also not repeated.
2514 @node Manual repeat commands
2515 @subsection Manual repeat commands
2517 @cindex @code{repeatCommands}
2519 The property @code{repeatCommands} can be used to control the layout of
2520 repeats. Its value is a Scheme list of repeat commands, where each repeat
2524 @item the symbol @code{start-repeat},
2525 which prints a @code{|:} bar line,
2526 @item the symbol @code{end-repeat},
2527 which prints a @code{:|} bar line,
2528 @item the list @code{(volta @var{text})},
2529 which prints a volta bracket saying @var{text}: The text can be specified as
2530 a text string or as a markup text, see @ref{Text markup}. Do not
2531 forget to change the font, as the default number font does not contain
2532 alphabetic characters. Or,
2533 @item the list @code{(volta #f)}, which
2534 stops a running volta bracket:
2537 @lilypond[verbatim,fragment,relative=2]
2539 \set Score.repeatCommands = #'((volta "93") end-repeat)
2541 \set Score.repeatCommands = #'((volta #f))
2548 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2549 @internalsref{VoltaRepeatedMusic},
2550 @internalsref{UnfoldedRepeatedMusic}, and
2551 @internalsref{FoldedRepeatedMusic}.
2553 @node Tremolo repeats
2554 @subsection Tremolo repeats
2555 @cindex tremolo beams
2557 To place tremolo marks between notes, use @code{\repeat} with tremolo
2559 @lilypond[verbatim,raggedright]
2561 \context Voice \notes\relative c' {
2562 \repeat "tremolo" 8 { c16 d16 }
2563 \repeat "tremolo" 4 { c16 d16 }
2564 \repeat "tremolo" 2 { c16 d16 }
2569 Tremolo marks can also be put on a single note. In this case, the
2570 note should not be surrounded by braces.
2571 @lilypond[verbatim,raggedright]
2572 \repeat "tremolo" 4 c'16
2575 A similar mechanism is the tremolo subdivision, described in
2576 @ref{Tremolo subdivisions}.
2580 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2582 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2583 tremolos are @internalsref{StemTremolo} objects. The music expression is
2584 @internalsref{TremoloEvent}.
2586 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2587 @inputfileref{input/regression,stem-tremolo.ly}.
2589 @node Tremolo subdivisions
2590 @subsection Tremolo subdivisions
2591 @cindex tremolo marks
2592 @cindex @code{tremoloFlags}
2594 Tremolo marks can be printed on a single note by adding
2595 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2596 A @var{length} value of 8 gives one line across the note stem. If the
2597 length is omitted, then then the last value (stored in
2598 @code{tremoloFlags}) is used:
2600 @lilypond[verbatim,fragment]
2601 c'2:8 c':32 | c': c': |
2604 @c [TODO : stok is te kort bij 32en]
2608 Tremolos entered in this way do not carry over into the MIDI output.
2612 In this manual: @ref{Tremolo repeats}.
2614 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2616 @node Measure repeats
2617 @subsection Measure repeats
2619 @cindex percent repeats
2620 @cindex measure repeats
2622 In the @code{percent} style, a note pattern can be repeated. It is
2623 printed once, and then the pattern is replaced with a special sign.
2624 Patterns of a one and two measures are replaced by percent-like signs,
2625 patterns that divide the measure length are replaced by slashes:
2627 @lilypond[verbatim,raggedright]
2628 \context Voice { \repeat "percent" 4 { c'4 }
2629 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2635 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2636 @internalsref{PercentRepeatedMusic}, and
2637 @internalsref{DoublePercentRepeat}.
2641 @node Rhythmic music
2642 @section Rhythmic music
2646 * Showing melody rhythms::
2647 * Entering percussion::
2648 * Percussion staves::
2652 @node Showing melody rhythms
2653 @subsection Showing melody rhythms
2655 Sometimes you might want to show only the rhythm of a melody. This
2656 can be done with the rhythmic staff. All pitches of notes on such a
2657 staff are squashed, and the staff itself has a single line:
2659 @lilypond[fragment,relative,verbatim]
2660 \context RhythmicStaff {
2662 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2668 Program reference: @internalsref{RhythmicStaff}.
2670 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2673 @node Entering percussion
2674 @subsection Entering percussion
2680 Percussion notes may be entered in @code{\drums} mode, which is
2681 similar to @code{notes}. Each piece of percussion has a full name and
2682 an abbreviated name, and both be used in input files:
2685 hihat hh bassdrum bd
2687 @lilypond[raggedright]
2688 \new DrumStaff \drums { hihat hh bassdrum bd
2692 The complete list of drum names is in the init file
2693 @file{ly/drumpitch-init.ly}.
2694 @c TODO: properly document this.
2698 Program reference: @internalsref{DrumNoteEvent}.
2700 @node Percussion staves
2701 @subsection Percussion staves
2705 A percussion part for more than one instrument typically uses a
2706 multiline staff where each position in the staff refers to one piece
2710 To typeset the music, the notes must be interpreted in a
2711 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2714 @lilypond[raggedright,verbatim]
2715 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2716 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2719 << \new DrumVoice { \voiceOne \up }
2720 \new DrumVoice { \voiceTwo \down }
2724 The above example shows verbose polyphonic notation. The short
2725 polyphonic notation, described in @ref{Polyphony}, can also be used if
2726 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2728 @lilypond[fragment,verbatim]
2729 \drums \new DrumStaff <<
2730 \context DrumVoice = "1" { s1 *2 }
2731 \context DrumVoice = "2" { s1 *2 }
2735 { \repeat unfold 16 hh16 }
2744 There are also other layout possibilities. To use these, set the
2745 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2746 The following variables have been predefined:
2750 is the default. It typesets a typical drum kit on a five-line staff
2753 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2754 bd sn ss tomh tommh tomml toml tomfh tomfl }
2755 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2756 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2758 << \new DrumStaff\with {
2759 \remove Bar_engraver
2760 \remove Time_signature_engraver
2761 \override Stem #'transparent = ##t
2762 \override Stem #'Y-extent-callback = ##f
2763 minimumVerticalExtent = #'(-4.0 . 5.0)
2765 \context Lyrics \nam
2768 %% need to do this, because of indented @itemize
2770 \context { \ScoreContext
2771 \override LyricText #'font-family = #'typewriter
2772 \override BarNumber #'transparent =##T
2776 The drum scheme supports six different toms. When there fewer toms, simply
2777 select the toms that produce the desired result, i.e. to get toms on
2778 the three middle lines you use @code{tommh}, @code{tomml} and
2781 @item timbales-style
2782 to typeset timbales on a two line staff:
2784 @lilypond[raggedright]
2785 nam = \lyrics { timh ssh timl ssl cb }
2786 mus = \drums { timh ssh timl ssl cb s16 }
2789 \context DrumStaff \with {
2790 \remove Bar_engraver
2791 \remove Time_signature_engraver
2792 \override Stem #'transparent = ##t
2793 \override Stem #'Y-extent-callback = ##f
2794 \override StaffSymbol #'line-count = #2
2795 \override StaffSymbol #'staff-space = #2
2796 minimumVerticalExtent = #'(-3.0 . 4.0)
2797 drumStyleTable = #timbales-style
2800 \override LyricText #'font-family = #'typewriter
2807 to typeset congas on a two line staff:
2809 @lilypond[raggedright]
2810 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2811 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2814 \context DrumStaff\with {
2815 \remove Bar_engraver
2816 \remove Time_signature_engraver
2817 drumStyleTable = #congas-style
2818 \override StaffSymbol #'line-count = #2
2820 %% this sucks; it will lengthen stems.
2821 \override StaffSymbol #'staff-space = #2
2822 \override Stem #'transparent = ##t
2823 \override Stem #'Y-extent-callback = ##f
2826 \override LyricText #'font-family = #'typewriter
2832 to typeset bongos on a two line staff:
2834 @lilypond[raggedright]
2835 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2836 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2839 \context DrumStaff\with {
2840 \remove Bar_engraver
2841 \remove Time_signature_engraver
2842 \override StaffSymbol #'line-count = #2
2843 drumStyleTable = #bongos-style
2845 %% this sucks; it will lengthen stems.
2846 \override StaffSymbol #'staff-space = #2
2847 \override Stem #'transparent = ##t
2848 \override Stem #'Y-extent-callback = ##f
2851 \override LyricText #'font-family = #'typewriter
2857 @item percussion-style
2858 to typeset all kinds of simple percussion on one line staves:
2859 @lilypond[raggedright]
2860 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2861 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2864 \context DrumStaff\with{
2865 \remove Bar_engraver
2866 drumStyleTable = #percussion-style
2867 \override StaffSymbol #'line-count = #1
2868 \remove Time_signature_engraver
2869 \override Stem #'transparent = ##t
2870 \override Stem #'Y-extent-callback = ##f
2874 \override LyricText #'font-family = #'typewriter
2881 If you do not like any of the predefined lists you can define your own
2882 list at the top of your file:
2884 @lilypond[raggedright,verbatim]
2886 (bassdrum default #f -1)
2887 (snare default #f 0)
2889 (pedalhihat xcircle "stopped" 2)
2890 (lowtom diamond #f 3)
2892 up = \drums { hh8 hh hh hh hhp4 hhp }
2893 down = \drums { bd4 sn bd toml8 toml }
2896 \set DrumStaff.drumStyleTable
2897 = #(alist->hash-table mydrums)
2898 \new DrumVoice { \voiceOne \up }
2899 \new DrumVoice { \voiceTwo \down }
2907 Init files: @file{ly/drumpitch-init.ly}.
2909 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2913 Because general MIDI does not contain rim shots, the sidestick is used
2914 for this purpose instead.
2917 @section Piano music
2919 Piano staves are two normal staves coupled with a brace. The staves
2920 are largely independent, but sometimes voices can cross between the
2921 two staves. The same notation is also used for harps and other key
2922 instruments. The @internalsref{PianoStaff} is especially built to
2923 handle this cross-staffing behavior. In this section we discuss the
2924 @internalsref{PianoStaff} and some other pianistic peculiarities.
2928 * Automatic staff changes::
2929 * Manual staff switches::
2932 * Staff switch lines::
2937 There is no support for putting chords across staves. You can get
2938 this result by increasing the length of the stem in the lower stave so
2939 it reaches the stem in the upper stave, or vice versa. An example is
2940 included with the distribution as
2941 @inputfileref{input/test,stem-cross-staff.ly}.
2943 Dynamics are not centered, but kludges do exist. See
2944 @inputfileref{input/template,piano-dynamics.ly}.
2946 @cindex cross staff stem
2947 @cindex stem, cross staff
2949 The distance between the two staves is normally fixed across the
2950 entire score. It is possible to tune this per system, but it does
2951 require arcane command incantations. See
2952 @inputfileref{input/test,piano-staff-distance.ly}.
2959 @node Automatic staff changes
2960 @subsection Automatic staff changes
2961 @cindex Automatic staff changes
2963 Voices can switch automatically between the top and the bottom
2964 staff. The syntax for this is
2966 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
2968 The two staves of the piano staff must be named @code{up} and
2971 The autochanger switches on basis of pitch (middle C is the turning
2972 point), and it looks ahead skipping over rests to switch in
2973 advance. Here is a practical example:
2975 @lilypond[verbatim,raggedright]
2976 \score { \notes \context PianoStaff <<
2977 \context Staff = "up" {
2978 \autochange \new Voice \relative c' {
2979 g4 a b c d r4 a g } }
2980 \context Staff = "down" {
2987 In this example, spacer rests are used to prevent the bottom staff from
2988 terminating too soon.
2993 In this manual: @ref{Manual staff switches}.
2995 Program reference: @internalsref{AutoChangeMusic}.
3001 The staff switches often do not end up in optimal places. For high
3002 quality output, staff switches should be specified manually.
3006 @node Manual staff switches
3007 @subsection Manual staff switches
3009 @cindex manual staff switches
3010 @cindex staff switch, manual
3012 Voices can be switched between staves manually, using the following command:
3014 \change Staff = @var{staffname} @var{music}
3018 The string @var{staffname} is the name of the staff. It switches the
3019 current voice from its current staff to the Staff called
3020 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3029 Pianos have pedals that alter the way sound are produced. Generally, a
3030 piano has three pedals, sustain, una corda, and sostenuto.
3033 Piano pedal instruction can be expressed by attaching
3034 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3035 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3038 @lilypond[fragment,verbatim]
3039 c'4\sustainDown c'4\sustainUp
3042 What is printed can be modified by setting @code{pedal@var{X}Strings},
3043 where @var{X} is one of the pedal types: @code{Sustain},
3044 @code{Sostenuto} or @code{UnaCorda}. Refer to
3045 @internalsref{SustainPedal} in the program reference for more
3048 Pedals can also be indicated by a sequence of brackets, by setting the
3049 @code{pedalSustainStyle} property to @code{bracket} objects:
3051 @lilypond[fragment,verbatim,relative=2]
3052 \set Staff.pedalSustainStyle = #'bracket
3054 b\sustainUp\sustainDown
3055 b g \sustainUp a \sustainDown \bar "|."
3058 A third style of pedal notation is a mixture of text and brackets,
3059 obtained by setting the @code{pedalSustainStyle} style property to
3062 @lilypond[fragment,verbatim,relative=2]
3063 \set Staff.pedalSustainStyle = #'mixed
3065 b\sustainUp\sustainDown
3066 b g \sustainUp a \sustainDown \bar "|."
3069 The default `*Ped.' style for sustain and damper pedals corresponds to
3070 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3073 @lilypond[fragment,verbatim,relative=2]
3074 c\sostenutoDown d e c, f g a\sostenutoUp
3077 For fine-tuning of the appearance of a pedal bracket, the properties
3078 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3079 @code{PianoPedalBracket} objects (see
3080 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3081 bracket may be extended to the end of the note head:
3083 @lilypond[fragment,verbatim]
3084 \override Staff.PianoPedalBracket
3085 #'shorten-pair = #'(0 . -1.0)
3086 c\sostenutoDown d e c, f g a\sostenutoUp
3090 @subsection Arpeggio
3093 @cindex broken arpeggio
3094 @cindex @code{\arpeggio}
3096 You can specify an arpeggio sign on a chord by attaching an
3097 @code{\arpeggio} to a chord:
3100 @lilypond[fragment,relative,verbatim]
3104 When an arpeggio crosses staves, you attach an arpeggio to the chords
3105 in both staves, and set
3106 @internalsref{PianoStaff}.@code{connectArpeggios}:
3108 @lilypond[fragment,relative,verbatim]
3109 \context PianoStaff <<
3110 \set PianoStaff.connectArpeggios = ##t
3111 \new Staff { <c' e g c>\arpeggio }
3112 \new Staff { \clef bass <c,, e g>\arpeggio }
3116 The direction of the arpeggio is sometimes denoted by adding an
3117 arrowhead to the wiggly line:
3119 @lilypond[fragment,relative,verbatim]
3128 A square bracket on the left indicates that the player should not
3129 arpeggiate the chord:
3131 @lilypond[fragment,relative,verbatim]
3138 @cindex @code{\arpeggio}
3140 @cindex @code{\arpeggioUp}
3142 @cindex @code{\arpeggioDown}
3144 @cindex @code{\arpeggioBoth}
3145 @code{\arpeggioBoth},
3146 @cindex @code{\arpeggioBracket}
3147 @code{\arpeggioBracket}.
3151 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3152 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3153 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3157 It is not possible to mix connected arpeggios and unconnected
3158 arpeggios in one @internalsref{PianoStaff} at the same time.
3160 @node Staff switch lines
3161 @subsection Staff switch lines
3164 @cindex follow voice
3165 @cindex staff switching
3168 @cindex @code{followVoice}
3170 Whenever a voice switches to another staff a line connecting the notes
3171 can be printed automatically. This is enabled if the property
3172 @code{PianoStaff.followVoice} is set to true:
3174 @lilypond[fragment,relative,verbatim]
3175 \context PianoStaff <<
3176 \set PianoStaff.followVoice = ##t
3177 \context Staff \context Voice {
3182 \context Staff=two { \clef bass \skip 1*2 }
3188 The associated object is @internalsref{VoiceFollower}.
3192 @cindex @code{\showStaffSwitch}
3193 @code{\showStaffSwitch},
3194 @cindex @code{\hideStaffSwitch}
3195 @code{\hideStaffSwitch}.
3199 @section Vocal music
3201 This section discusses how to enter and print lyrics.
3205 * The Lyrics context::
3210 @node Entering lyrics
3211 @subsection Entering lyrics
3215 @cindex @code{\lyrics}
3218 Lyrics are entered in a special input mode. This mode is is introduced
3219 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3220 punctuation and accents without any hassle. Syllables are entered like
3221 notes, but with pitches replaced by text. For example,
3223 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3226 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3227 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3228 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3229 any 8-bit character with ASCII code over 127, or a two-character
3230 combination of a backslash followed by one of @code{`}, @code{'},
3231 @code{"}, or @code{^}.
3233 Subsequent characters of a word can be any character that is not a digit
3234 and not white space. One important consequence of this is that a word
3235 can end with @code{@}}. The following example is usually a bug. The
3236 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3238 \lyrics @{ twinkle@}
3241 @cindex @code{\property}, in @code{\lyrics}
3242 Similarly, a period following a alphabetic sequence, is included in
3243 the resulting string. As a consequence, spaces must be inserted around
3246 \override Score . LyricText #'font-shape = #'italic
3250 @cindex spaces, in lyrics
3251 @cindex quotes, in lyrics
3253 Any @code{_} character which appears in an unquoted word is converted
3254 to a space. This provides a mechanism for introducing spaces into words
3255 without using quotes. Quoted words can also be used in Lyrics mode to
3256 specify words that cannot be written with the above rules:
3259 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3264 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3265 The hyphen will have variable length depending on the space between
3266 the syllables and it will be centered between the syllables.
3271 When a lyric is sung over many notes (this is called a melisma), this is
3272 indicated with a horizontal line centered between a syllable and the
3273 next one. Such a line is called an extender line, and it is entered as
3278 Program reference: events @internalsref{LyricEvent},
3279 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects:
3280 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3281 @internalsref{LyricText}.
3283 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3287 The definition of lyrics mode is too complex.
3291 @node The Lyrics context
3292 @subsection The Lyrics context
3294 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3296 \context Lyrics \lyrics @dots{}
3299 @cindex automatic syllable durations
3300 @cindex @code{\lyricsto}
3301 @cindex lyrics and melodies
3303 This will place the lyrics according to the durations that were
3304 entered. The lyrics can also be aligned under a given melody
3305 automatically. In this case, it is no longer necessary to enter the
3306 correct duration for each syllable. This is achieved by combining the
3307 melody and the lyrics with the @code{\lyricsto} expression:
3309 \lyricsto @var{name} \new Lyrics @dots{}
3312 This aligns the lyrics to the
3314 notes of the @internalsref{Voice} context called @var{name}, which has
3315 to exist. Therefore, normally the @code{Voice} is specified first, and
3316 then the lyrics are specified with @code{\lyricsto}.
3318 For different or more complex orderings, the best way is to setup the
3319 hierarchy of staves and lyrics first, e.g.
3321 \context ChoirStaff \notes <<
3322 \context Lyrics = sopranoLyrics @{ s1 @}
3323 \context Voice = soprano @{ @emph{music} @}
3324 \context Lyrics = tenorLyrics @{ s1 @}
3325 \context Voice = tenor @{ @emph{music} @}
3328 and then combine the appropriate melodies and lyric lines:
3330 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3335 The final input would resemble
3338 << \context ChoirStaff \notes << @emph{setup the music} >>
3339 \lyricsto "soprano" @emph{etc}
3340 \lyricsto "alto" @emph{etc}
3346 The @code{\lyricsto} command detects melismata: it only puts one
3347 syllable under a tied or slurred group of notes. If you want to force
3348 an unslurred group of notes to be a melisma, then insert
3349 @code{\melisma} after the first note of the group, and
3350 @code{\melismaEnd} after the last one, e.g.
3352 @lilypond[relative=1,raggedright,fragment,verbatim]
3353 << \context Voice = "lala" { \time 3/4
3359 \lyricsto "lala" \new Lyrics \lyrics {
3364 In addition, notes are considered a melisma if they are manually
3365 beamed, and automatic beaming (see @ref{Setting automatic beam
3366 behavior}) is switched off. The criteria for deciding melismata can
3367 be tuned with the property @code{melismaBusyProperties}. See
3368 @internalsref{Melisma_translator} in the program reference for more
3371 When multiple stanzas are put on the same melody, it can happen that
3372 two stanzas have melismata in different locations. This can be
3373 remedied by switching off melismata for one
3374 @internalsref{Lyrics}. This is achieved by setting
3375 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3376 in @inputfileref{input/regression,lyric-combine-new.ly}.
3379 @cindex choral score
3381 A complete example of a SATB score setup is in the file
3382 @inputfileref{input/template,satb.ly}.
3387 @code{\melisma}, @code{\melismaEnd}
3388 @cindex @code{\melismaEnd}
3389 @cindex @code{\melisma}
3393 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3394 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3396 Examples: @inputfileref{input/template,satb.ly},
3397 @inputfileref{input/regression,lyric-combine-new.ly}.
3401 Melismata are not detected automatically, and extender lines must be
3405 For proper processing of extender lines, the
3406 @internalsref{Lyrics} and @internalsref{Voice} should be
3407 linked. This can be achieved either by using @code{\lyricsto} or by
3408 setting corresponding names for both contexts. The latter is explained
3409 in @ref{More stanzas}.
3412 @subsection More stanzas
3414 @cindex phrasing, in lyrics
3417 The lyrics should be aligned with the note heads of the melody. To
3418 achieve this, each line of lyrics should be marked to correspond with
3419 the melodic line. This is done automatically when @code{\lyricsto},
3420 but it can also be done manually.
3422 To this end, give the @internalsref{Voice} context an identity:
3424 \context Voice = duet @{
3429 Then set the @internalsref{Lyrics} contexts to names starting with
3430 that identity followed by a dash. In the preceding example, the
3431 @internalsref{Voice} identity is @code{duet}, so the identities of the
3432 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3434 \context Lyrics = "duet-1" @{
3435 Hi, my name is bert. @}
3436 \context Lyrics = "duet-2" @{
3437 Ooooo, ch\'e -- ri, je t'aime. @}
3440 The complete example is shown here:
3441 @lilypond[raggedright,verbatim]
3443 << \notes \relative c'' \context Voice = duet { \time 3/4
3445 \lyrics << \lyricsto "duet" \new Lyrics {
3446 \set vocNam = "Bert"
3447 Hi, my name is bert. }
3448 \lyricsto "duet" \new Lyrics {
3449 \set vocNam = "Ernie"
3450 Ooooo, ch\'e -- ri, je t'aime.
3456 @cindex stanza number
3457 @cindex singer's names
3458 @cindex name of singer
3460 Stanza numbers can be added by setting @code{stanza}, e.g.
3463 << \context Voice = duet { \time 3/4
3465 \lyrics \lyricsto "duet" \new Lyrics {
3467 Hi, my name is bert.
3472 This example also demonstrates how names of the singers can be added
3473 using @code{vocalName} analogous to instrument annotations for staves.
3474 A short version may be entered as @code{vocNam}.
3476 To make empty spaces in lyrics, use @code{\skip}.
3481 Program reference: Layout objects @internalsref{LyricText} and
3482 @internalsref{VocalName}. Music expressions:
3483 @internalsref{LyricEvent}.
3489 Input for lyrics introduces a syntactical ambiguity:
3496 is interpreted as assigning a string identifier @code{\foo} such that
3497 it contains @code{"bar"}. However, it could also be interpreted as
3498 making or a music identifier @code{\foo} containing the syllable
3499 `bar'. The force the latter interpretation, use
3509 The term @emph{ambitus} denotes a range of pitches for a given voice
3510 in a part of music. It also may denote the pitch range that a musical
3511 instrument is capable of playing. Ambituses are printed on vocal
3512 parts, so singers can easily determine if it meets his or her
3515 It denoted at the beginning of a piece near the initial clef. The
3516 range is graphically specified by two note heads, that represent the
3517 minimum and maximum pitch. To print such ambituses, add the
3518 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3525 \consists Ambitus_engraver
3530 This results in the following output:
3532 @lilypond[raggedright]
3535 \notes \relative c'' <<
3546 \consists Ambitus_engraver
3552 If you have multiple voices in a single staff, and you want a single
3553 ambitus per staff rather than per each voice, then add the
3554 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3555 rather than to the @internalsref{Voice} context.
3557 It is possible to tune individual ambituses for multiple voices on a
3558 single staff, for example by erasing or shifting them horizontally. An
3559 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3563 Program reference: @internalsref{Ambitus}.
3565 Examples: @inputfileref{input/regression,ambitus.ly},
3566 @inputfileref{input/test,ambitus-mixed.ly}.
3570 There is no collision handling in the case of multiple per-voice
3576 Tablature notation is used for notating music for plucked string
3577 instruments. It notates pitches not by using note heads, but by
3578 indicating on which string and fret a note must be played. LilyPond
3579 offers limited support for tablature.
3582 * Tablatures basic::
3583 * Non-guitar tablatures::
3586 @node Tablatures basic
3587 @subsection Tablatures basic
3588 @cindex Tablatures basic
3590 The string number associated to a note is given as a backslash
3591 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3592 string. By default, string 1 is the highest one, and the tuning
3593 defaults to the standard guitar tuning (with 6 strings). The notes
3594 are printed as tablature, by using @internalsref{TabStaff} and
3595 @internalsref{TabVoice} contexts:
3597 @lilypond[fragment,verbatim]
3598 \notes \context TabStaff {
3606 When no string is specified, the first string that does not give a
3607 fret number less than @code{minimumFret} is selected. The default
3608 value for @code{minimumFret} is 0:
3613 \set TabStaff.minimumFret = #8
3616 @lilypond[noindent,raggedright]
3620 \set TabStaff.minimumFret = #8
3624 \context StaffGroup <<
3625 \context Staff { \clef "G_8" \frag }
3626 \context TabStaff { \frag }
3633 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3634 @internalsref{StringNumberEvent}.
3638 Chords are not handled in a special way, and hence the automatic
3639 string selector may easily select the same string to two notes in a
3643 @node Non-guitar tablatures
3644 @subsection Non-guitar tablatures
3645 @cindex Non-guitar tablatures
3647 You can change the number of strings, by setting the number of lines
3648 in the @internalsref{TabStaff}.
3650 You can change the tuning of the strings. A string tuning is given as
3651 a Scheme list with one integer number for each string, the number
3652 being the pitch (measured in semitones relative to middle C) of an
3653 open string. The numbers specified for @code{stringTuning} are the
3654 numbers of semitones to subtract or add, starting the specified pitch
3655 by default middle C, in string order. Thus, the notes are e, a, d, and
3658 @lilypond[fragment,verbatim]
3659 \context TabStaff <<
3660 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3663 a,4 c' a e' e c' a e'
3670 No guitar special effects have been implemented.
3674 Program reference: @internalsref{Tab_note_heads_engraver}.
3678 @section Chord names
3681 LilyPond has support for both printing chord names. Chords may be
3682 entered in musical chord notation, i.e. @code{< .. >}, but they can
3683 also be entered by name. Internally, the chords are represented as a
3684 set of pitches, so they can be transposed:
3687 @lilypond[verbatim,raggedright]
3688 twoWays = \notes \transpose c c' {
3698 << \context ChordNames \twoWays
3699 \context Voice \twoWays >> }
3702 This example also shows that the chord printing routines do not try to
3703 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3709 * Printing chord names::
3714 @subsection Chords mode
3717 Chord mode is a mode where you can input sets of pitches using common
3718 names. It is introduced by the keyword @code{\chords}.
3719 In chords mode, a chord is entered by the root, which is entered
3720 like a common pitch:
3721 @lilypond[fragment,verbatim,relative=1]
3722 \chords { es4. d8 c2 }
3727 Other chords may be entered by suffixing a colon, and introducing a
3728 modifier, and optionally, a number:
3730 @lilypond[fragment,verbatim]
3731 \chords { e1:m e1:7 e1:m7 }
3733 The first number following the root is taken to be the `type' of the
3734 chord, thirds are added to the root until it reaches the specified
3736 @lilypond[fragment,verbatim]
3737 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3740 @cindex root of chord
3741 @cindex additions, in chords
3742 @cindex removals, in chords
3744 More complex chords may also be constructed adding separate steps
3745 to a chord. Additions are added after the number following
3746 the colon, and are separated by dots:
3748 @lilypond[verbatim,fragment]
3749 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3751 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3753 @lilypond[verbatim,fragment]
3754 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3756 Removals are specified similarly, and are introduced by a caret. They
3757 must come after the additions:
3758 @lilypond[verbatim,fragment]
3759 \chords { c^3 c:7^5 c:9^3.5 }
3762 Modifiers can be used to change pitches. The following modifiers are
3766 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3768 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3771 is the augmented chord. This modifier raises the 5th step.
3773 is the major 7th chord. This modifier raises the 7th step if present.
3775 is the suspended 4th or 2nd. This modifier removes the 3rd
3776 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3779 Modifiers can be mixed with additions:
3780 @lilypond[verbatim,fragment]
3781 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3784 @cindex modifiers, in chords.
3791 Since an unaltered 11 does not sound good when combined with an
3792 unaltered 13, the 11 is removed in this case (unless it is added
3795 @lilypond[fragment,verbatim]
3796 \chords { c:13 c:13.11 c:m13 }
3801 An inversion (putting one pitch of the chord on the bottom), as well
3802 as bass notes, can be specified by appending
3803 @code{/}@var{pitch} to the chord:
3804 @lilypond[fragment,verbatim]
3805 \chords { c1 c/g c/f }
3809 A bass note can be added instead of transposed out of the chord,
3810 by using @code{/+}@var{pitch}.
3812 @lilypond[fragment,verbatim]
3813 \chords { c1 c/+g c/+f }
3816 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3817 of the commands continue to work, for example, @code{r} and
3818 @code{\skip} can be used to insert rests and spaces, and property
3819 commands may be used to change various settings.
3825 Each step can only be present in a chord once. The following
3826 simply produces the augmented chord, since @code{5+} is interpreted
3829 @lilypond[verbatim,fragment]
3830 \chords { c:5.5-.5+ }
3834 @node Printing chord names
3835 @subsection Printing chord names
3837 @cindex printing chord names
3841 For displaying printed chord names, use the @internalsref{ChordNames} context.
3842 The chords may be entered either using the notation
3843 described above, or directly using @code{<} and @code{>}:
3845 @lilypond[verbatim,raggedright]
3847 \chords {a1 b c} <d' f' a'> <e' g' b'>
3851 \context ChordNames \scheme
3852 \context Staff \scheme
3857 You can make the chord changes stand out by setting
3858 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3859 display chord names when there is a change in the chords scheme and at
3860 the start of a new line:
3862 @lilypond[verbatim,linewidth=9\cm]
3864 c1:m c:m \break c:m c:m d
3868 \context ChordNames {
3869 \set chordChanges = ##t
3871 \context Staff \transpose c c' \scheme
3876 The default chord name layout is a system for Jazz music, proposed by
3877 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3878 following properties:
3881 @cindex chordNameExceptions
3882 @item chordNameExceptions
3883 This is a list that contains the chords that have special formatting.
3885 @inputfileref{input/regression,chord-name-exceptions.ly}.
3886 @cindex exceptions, chord names.
3889 @cindex majorSevenSymbol
3890 @item majorSevenSymbol
3891 This property contains the markup object used for the 7th step, when
3892 it is major. Predefined options are @code{whiteTriangleMarkup} and
3893 @code{blackTriangleMarkup}. See
3894 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3896 @cindex chordNameSeparator
3897 @item chordNameSeparator
3898 Different parts of a chord name are normally separated by a
3899 slash. By setting @code{chordNameSeparator}, you can specify other
3901 @lilypond[fragment,verbatim]
3902 \context ChordNames \chords {
3904 \set chordNameSeparator
3905 = \markup { \typewriter "|" }
3909 @cindex chordRootNamer
3910 @item chordRootNamer
3911 The root of a chord is usually printed as a letter with an optional
3912 alteration. The transformation from pitch to letter is done by this
3913 function. Special note names (for example, the German ``H'' for a
3914 B-chord) can be produced by storing a new function in this property.
3916 The predefined variables @code{\germanChords},
3917 @code{\semiGermanChords} set these variables.
3920 @cindex chordNoteNamer
3921 @item chordNoteNamer
3922 The default is to print single pitch, e.g. the bass note, using the
3923 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3924 to a specialized function to change this behavior. For example, the
3925 base can be printed in lower case.
3930 There are also two other chord name schemes implemented: an alternate
3931 Jazz chord notation, and a systematic scheme called Banter chords. The
3932 alternate jazz notation is also shown on the chart in @ref{Chord name
3933 chart}. Turning on these styles is described in the input file
3934 @inputfileref{input/test,chord-names-jazz.ly}.
3938 @cindex chords, jazz
3943 @cindex @code{\germanChords}
3944 @code{\germanChords},
3945 @cindex @code{\semiGermanChords}
3946 @code{\semiGermanChords}.
3953 Examples: @inputfileref{input/regression,chord-name-major7.ly},
3954 @inputfileref{input/regression,chord-name-exceptions.ly},
3955 @inputfileref{input/test,chord-names-jazz.ly},
3956 @inputfileref{input/test,chord-names-german.ly}.
3958 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3963 Chord names are determined solely from the list of pitches. Chord
3964 inversions are not identified, and neither are added bass notes. This
3965 may result in strange chord names when chords are entered with the
3966 @code{< .. >} syntax.
3971 @node Orchestral music
3972 @section Orchestral music
3974 @cindex Writing parts
3976 Orchestral music involves some special notation, both in the full
3977 score and the individual parts. This section explains how to tackle
3978 some common problems in orchestral music.
3983 * Multiple staff contexts::
3986 * Instrument names::
3988 * Instrument transpositions::
3989 * Multi measure rests::
3990 * Automatic part combining::
3992 * Different editions from one source::
3993 * Quoting other voices::
3996 @node Multiple staff contexts
3997 @subsection Multiple staff contexts
3999 Polyphonic scores consist of many staves. These staves can be
4000 constructed in three different ways:
4002 @item The group is started with a brace at the left, and bar lines are
4003 connected. This is done with the @internalsref{GrandStaff} context.
4005 @item The group is started with a bracket, and bar lines are connected. This is done with the
4006 @internalsref{StaffGroup} context
4009 @item The group is started with a vertical line. Bar lines are not
4010 connected. This is the default for the score.
4014 @cindex Staff, multiple
4015 @cindex bracket, vertical
4016 @cindex brace, vertical
4023 @node Rehearsal marks
4024 @subsection Rehearsal marks
4025 @cindex Rehearsal marks
4027 @cindex @code{\mark}
4029 To print a rehearsal mark, use the @code{\mark} command:
4030 @lilypond[fragment,verbatim]
4041 (The letter I is skipped in accordance with engraving traditions.)
4043 The mark is incremented automatically if you use @code{\mark
4044 \default}, but you can also use an integer argument to set the mark
4045 manually. The value to use is stored in the property
4046 @code{rehearsalMark}.
4048 The style is defined by the property @code{markFormatter}. It is a
4049 function taking the current mark (an integer) and the current context
4050 as argument. It should return a markup object. In the following
4051 example, @code{markFormatter} is set to a canned procedure. After a
4052 few measures, it is set to function that produces a boxed number.
4054 @lilypond[verbatim,fragment,relative=1]
4055 \set Score.markFormatter = #format-mark-numbers
4058 \set Score.markFormatter
4059 = #(lambda (mark context)
4060 (make-bold-markup (make-box-markup (number->string mark))))
4065 The file @file{scm/translation-functions.scm} contains the definitions
4066 of @code{format-mark-numbers} (the default format) and
4067 @code{format-mark-letters}. They can be used as inspiration for other
4068 formatting functions.
4071 @cindex coda on bar line
4072 @cindex segno on bar line
4073 @cindex fermata on bar line
4074 @cindex bar lines, symbols on
4076 The @code{\mark} command can also be used to put signs like coda,
4077 segno and fermatas on a bar line. Use @code{\markup} to
4078 to access the appropriate symbol:
4080 @lilypond[fragment,verbatim,relative=1]
4081 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4085 In the case of a line break, marks must also be printed at the end of
4086 the line, and not at the beginning. Use the following to force that
4089 \override Score.RehearsalMark
4090 #'break-visibility = #begin-of-line-invisible
4096 @cindex bar lines, putting symbols on
4100 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4102 Init files: @file{scm/translation-functions.scm} contains the
4103 definition of @code{format-mark-numbers} and
4104 @code{format-mark-letters}. They can be used as inspiration for other
4105 formatting functions.
4107 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4108 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4112 @subsection Bar numbers
4116 @cindex measure numbers
4117 @cindex currentBarNumber
4119 Bar numbers are printed by default at the start of the line. The
4120 number itself is stored in the
4121 @code{currentBarNumber} property,
4122 which is normally updated automatically for every measure.
4124 Bar numbers can be typeset at regular intervals instead of at the
4125 beginning of each line. This is illustrated in the following example,
4126 whose source is available as
4127 @inputfileref{input/test,bar-number-regular-interval.ly}:
4129 @lilypondfile[]{bar-number-regular-interval.ly}
4134 Program reference: @internalsref{BarNumber}.
4136 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4137 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4141 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4142 there is one at the top. To solve this, the
4143 @code{padding} property of @internalsref{BarNumber} can be
4144 used to position the number correctly.
4146 @node Instrument names
4147 @subsection Instrument names
4149 In an orchestral score, instrument names are printed left side of the
4152 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4153 and @internalsref{Staff}.@code{instr}. This will print a string before
4154 the start of the staff. For the first start, @code{instrument} is
4155 used, for the next ones @code{instr} is used.
4158 @lilypond[verbatim,raggedright,relative=2]
4159 \set Staff.instrument = "Ploink "
4160 \set Staff.instr = "Plk "
4167 You can also use markup texts to construct more complicated instrument
4171 @lilypond[fragment,verbatim,raggedright]
4173 \set Staff.instrument = \markup {
4174 \column < "Clarinetti"
4187 Program reference: @internalsref{InstrumentName}.
4191 When you put a name on a grand staff or piano staff the width of the
4192 brace is not taken into account. You must add extra spaces to the end of
4193 the name to avoid a collision.
4196 @subsection Transpose
4198 @cindex transposition of pitches
4199 @cindex @code{\transpose}
4201 A music expression can be transposed with @code{\transpose}. The syntax
4204 \transpose @var{from} @var{to} @var{musicexpr}
4207 This means that @var{musicexpr} is transposed by the interval between
4208 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4209 is changed to @code{to}.
4212 For example, consider a piece written in the key of D major. If
4213 this piece is a little too low for its performer, it can be
4214 transposed up to E major with
4216 \transpose d e @dots{}
4219 Consider a part written for violin (a C instrument). If
4220 this part is to be played on the A clarinet, the following
4221 transposition will produce the appropriate part
4224 \transpose a c @dots{}
4227 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4228 inside a @code{\notes} section. @code{\transpose} distinguishes
4229 between enharmonic pitches: both @code{\transpose c cis} or
4230 @code{\transpose c des} will transpose up half a tone. The first
4231 version will print sharps and the second version will print flats:
4233 @lilypond[raggedright,verbatim]
4234 mus =\notes { \key d \major cis d fis g }
4235 \score { \notes \context Staff {
4238 \transpose c g' \mus
4239 \transpose c f' \mus
4246 Program reference: @internalsref{TransposedMusic}, and
4247 @internalsref{UntransposableMusic}.
4251 If you want to use both @code{\transpose} and @code{\relative}, then
4252 you must put @code{\transpose} outside of @code{\relative}, since
4253 @code{\relative} will have no effect music that appears inside a
4256 @node Instrument transpositions
4257 @subsection Instrument transpositions
4259 The key of a transposing instrument can also be specified. This
4260 applies to many wind instruments, for example, clarinets (B-flat, A and
4261 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4264 The transposition is entered after the keyword @code{\transposition}:
4267 \transposition bes %% B-flat clarinet
4270 This command sets the property @code{instrumentTuning}. The value of
4271 this property is used for MIDI output and quotations. It does not
4272 affect how notes are printed in the current staff.
4274 @cindex transposition, MIDI
4275 @cindex transposition, instrument
4278 @node Multi measure rests
4279 @subsection Multi measure rests
4280 @cindex multi measure rests
4281 @cindex Rests, multi measure
4285 Multi measure rests are entered using `@code{R}'. It is specifically
4286 meant for full bar rests and for entering parts: the rest can expand
4287 to fill a score with rests, or it can be printed as a single
4288 multimeasure rest. This expansion is controlled by the property
4289 @code{Score.skipBars}. If this is set to true, empty measures will not
4290 be expanded, and the appropriate number is added automatically:
4292 @lilypond[fragment,verbatim]
4293 \time 4/4 r1 | R1 | R1*2
4294 \set Score.skipBars = ##t R1*17 R1*4
4297 The @code{1} in @code{R1} is similar to the duration notation used for
4298 notes. Hence, for time signatures other than 4/4, you must enter other
4299 durations. This can be done with augmentation dots or fractions:
4301 @lilypond[fragment,verbatim]
4302 \set Score.skipBars = ##t
4310 An @code{R} spanning a single measure is printed as either a whole rest
4311 or a breve, centered in the measure regardless of the time signature.
4313 @cindex text on multi-measure rest
4314 @cindex script on multi-measure rest
4315 @cindex fermata on multi-measure rest
4317 Texts can be added to multi-measure rests by using the
4318 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4319 replaced. If you need both texts and the number, you must add the
4320 number by hand. A variable (@code{\fermataMarkup}) is provided for
4324 @lilypond[verbatim,fragment]
4326 R2._\markup { "Ad lib" }
4330 If you want to have a text on the left end of a multi-measure rest,
4331 attach the text to a zero-length skip note, i.e.
4339 @cindex whole rests for a full measure
4343 Program reference: @internalsref{MultiMeasureRestEvent},
4344 @internalsref{MultiMeasureTextEvent},
4345 @internalsref{MultiMeasureRestMusicGroup}, and
4346 @internalsref{MultiMeasureRest}.
4348 The layout object @internalsref{MultiMeasureRestNumber} is for the
4349 default number, and @internalsref{MultiMeasureRestText} for user
4354 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4355 over multi-measure rests.
4357 @cindex condensing rests
4359 There is no way to automatically condense multiple rests into a single
4360 multimeasure rest. Multi measure rests do not take part in rest
4363 Be careful when entering multimeasure rests followed by whole
4364 notes. The following will enter two notes lasting four measures each:
4368 When @code{skipBars} is set, then the result will look OK, but the
4369 bar numbering will be off.
4371 @node Automatic part combining
4372 @subsection Automatic part combining
4373 @cindex automatic part combining
4374 @cindex part combiner
4377 Automatic part combining is used to merge two parts of music onto a
4378 staff. It is aimed at typesetting orchestral scores. When the two
4379 parts are identical for a period of time, only one is shown. In
4380 places where the two parts differ, they are typeset as separate
4381 voices, and stem directions are set automatically. Also, solo and
4382 @emph{a due} parts are identified and can be marked.
4385 The syntax for part combining is
4388 \partcombine @var{musicexpr1} @var{musicexpr2}
4391 The music expressions will be interpreted as @internalsref{Voice} contexts.
4393 The following example demonstrates the basic functionality of the part
4394 combiner: putting parts on one staff, and setting stem directions and
4397 @lilypond[verbatim,raggedright,fragment,relative=1]
4398 \new Staff \partcombine
4407 The first @code{g} appears only once, although it was
4408 specified twice (once in each part). Stem, slur and tie directions are
4409 set automatically, depending whether there is a solo or unisono. The
4410 first part (with context called @code{one}) always gets up stems, and
4411 `solo', while the second (called @code{two}) always gets down stems and
4414 If you just want the merging parts, and not the textual markings, you
4415 may set the property @var{soloADue} to false:
4417 @lilypond[verbatim,raggedright,fragment,relative=1]
4419 \set Staff.soloADue = ##f
4431 Program reference: @internalsref{PartCombineMusic},
4432 @internalsref{SoloOneEvent}, and
4433 @internalsref{SoloTwoEvent}, and
4434 @internalsref{UnisonoEvent}.
4438 In @code{soloADue} mode, when the two voices play the same notes on and
4439 off, the part combiner may typeset @code{a2} more than once in a
4442 @code{\partcombine} can not be inside @code{\times}.
4444 Internally, the @code{\partcombine} interprets both arguments as
4445 @code{Voice}s named @code{one} and @code{two}, and then decides when
4446 the parts can be combined. Consequently, if the arguments switch to
4447 differently named @internalsref{Voice} contexts, then the events in
4448 those will be ignored.
4451 @subsection Hiding staves
4453 @cindex Frenched scores
4454 @cindex Hiding staves
4456 In orchestral scores, staff lines that only have rests are usually
4457 removed. This saves some space. This style is called `French Score'.
4458 For @internalsref{Lyrics},
4459 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4460 switched on by default. When these line of these contexts turn out
4461 empty after the line-breaking process, they are removed.
4463 For normal staves, a specialized @internalsref{Staff} context is
4464 available, which does the same: staves containing nothing (or only
4465 multi measure rests) are removed. The context definition is stored in
4466 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4467 in this example disappears in the second line:
4472 \notes \relative c' <<
4473 \new Staff { e4 f g a \break c1 }
4474 \new Staff { c4 d e f \break R1 }
4478 \context { \RemoveEmptyStaffContext }
4483 The first page shows all staves in full. If empty staves should be
4484 removed from the first page too, set @code{remove-first} to false in
4485 @internalsref{RemoveEmptyVerticalGroup}.
4487 Another application is making ossia sections, i.e. alternative
4488 melodies on a separate piece of staff, with help of a Frenched
4489 staff. See @inputfileref{input/test,ossia.ly} for an example.
4492 @node Different editions from one source
4493 @subsection Different editions from one source
4495 The @code{\tag} command marks music expressions with a name. These
4496 tagged expressions can be filtered out later. With this mechanism it
4497 is possible to make different versions of the same music source.
4499 In the following example, we see two versions of a piece of music, one
4500 for the full score, and one with cue notes for the instrumental part:
4516 The same can be applied to articulations, texts, etc.: they are
4519 -\tag #@var{your-tag}
4521 to an articulation, for example,
4526 This defines a note with a conditional fingering indication.
4528 By applying the @code{remove-tag} function, tagged expressions can be
4529 filtered. For example,
4533 \apply #(remove-tag 'score) @var{the music}
4534 \apply #(remove-tag 'part) @var{the music}
4539 @lilypondfile[]{tag-filter.ly}
4541 The argument of the @code{\tag} command should be a symbol, or a list
4542 of symbols, for example,
4544 \tag #'(original-part transposed-part) @dots{}
4549 Examples: @inputfileref{input/regression,tag-filter.ly}.
4552 @node Quoting other voices
4553 @subsection Quoting other voices
4555 With quotations, fragments of other parts can be inserted into a part
4556 directly. Before a part can be quoted, it must be marked especially as
4557 quotable. This is done with code @code{\addquote} command. The
4558 quotation may then be done with @code{\quote}
4561 \addquote @var{name} @var{music}
4562 \quote @var{name} @var{duration}
4567 Here, @var{name} is an identifying string. The @var{music} is any kind
4568 of music. This is an example of @code{\addquote}:
4571 \addquote clarinet \notes\relative c' {
4576 During a part, a piece of music can be quoted with the @code{\quote}
4583 This would cite 3 quarter notes (a dotted half note) of the previously
4584 added clarinet voice.
4586 Quotations take into account the transposition both source and target
4587 instruments, if they are specified using the @code{\transposition} command.
4589 @lilypond[verbatim,fragment]
4590 \addquote clarinet \notes\relative c' {
4596 e'8 f'8 \quote clarinet 2
4602 Only the contents of the first @internalsref{Voice} occurring in an
4603 @code{\addquote} command will be considered for quotation, so
4604 @var{music} can not contain @code{\new} and @code{\context Voice}
4605 statements that would switch to a different Voice.
4610 In this manual: @ref{Instrument transpositions}.
4612 Examples: @inputfileref{input/regression,quote.ly}
4613 @inputfileref{input/regression,quote-transposition.ly}
4615 Program reference: @internalsref{QuoteMusic}.
4617 @node Ancient notation
4618 @section Ancient notation
4620 @cindex Vaticana, Editio
4621 @cindex Medicaea, Editio
4626 Support for ancient notation includes features for mensural notation
4627 and Gregorian Chant notation. There is also limited support for
4628 figured bass notation.
4630 Many graphical objects provide a @code{style} property, see
4631 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4632 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4633 signatures}. By manipulating such a grob property, the typographical
4634 appearance of the affected graphical objects can be accommodated for a
4635 specific notation flavor without need for introducing any new
4638 Other aspects of ancient notation can not that easily be expressed as
4639 in terms of just changing a style property of a graphical object.
4640 Therefore, some notational concepts are introduced specifically for
4641 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4642 @ref{Ligatures}, and @ref{Figured bass}.
4646 * Ancient note heads::
4647 * Ancient accidentals::
4651 * Ancient time signatures::
4656 * Vaticana style contexts::
4659 If this all is way too much of documentation for you, and you just
4660 want to dive into typesetting without worrying too much about the
4661 details on how to customize a context, then you may have a look at the
4662 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4663 set up predefined style-specific voice and staff contexts, and
4664 directly go ahead with the note entry.
4668 Ligatures need special spacing that has not yet been implemented. As
4669 a result, there is too much space between ligatures most of the time,
4670 and line breaking often is unsatisfactory. Also, lyrics do not
4671 correctly align with ligatures.
4673 Accidentals must not be printed within a ligature, but instead need to
4674 be collected and printed in front of it.
4676 Augmentum dots within ligatures are not handled correctly.
4679 @node Ancient note heads
4680 @subsection Ancient note heads
4685 For ancient notation, a note head style other than the @code{default}
4686 style may be chosen. This is accomplished by setting the @code{style}
4687 property of the NoteHead object to the desired value (@code{baroque},
4688 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4689 differs from the @code{default} style only in using a square shape for
4690 @code{\breve} note heads. The @code{neo_mensural} style differs from
4691 the @code{baroque} style in that it uses rhomboidal heads for whole
4692 notes and all smaller durations. Stems are centered on the note
4693 heads. This style is in particular useful when transcribing mensural
4694 music, e.g. for the incipit. The @code{mensural} style finally
4695 produces note heads that mimic the look of note heads in historic
4696 printings of the 16th century.
4698 The following example demonstrates the @code{neo_mensural} style:
4700 @lilypond[fragment,raggedright,verbatim]
4701 \override NoteHead #'style = #'neo_mensural
4702 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4705 When typesetting a piece in Gregorian Chant notation, a Gregorian
4706 ligature engraver will automatically select the proper note heads,
4707 such there is no need to explicitly set the note head style. Still,
4708 the note head style can be set e.g. to @code{vaticana_punctum} to
4709 produce punctum neumes. Similarly, a mensural ligature engraver is
4710 used to automatically assemble mensural ligatures. See
4711 @ref{Ligatures} for how ligature engravers work.
4716 @ref{Percussion staves} use note head styles of their own that are
4717 frequently used in contemporary music notation.
4719 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4720 overview over all available note head styles.
4723 @node Ancient accidentals
4724 @subsection Ancient accidentals
4729 Use the @code{style} property of grob @internalsref{Accidental} to
4730 select ancient accidentals. Supported styles are
4731 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4733 @lilypond[raggedright,staffsize=26]
4741 { " " \musicglyph #"accidentals-vaticana-1"
4742 " " \musicglyph #"accidentals-vaticana0" }
4746 { " " \musicglyph #"accidentals-medicaea-1" }
4750 { " " \musicglyph #"accidentals-hufnagel-1" }
4754 { " " \musicglyph #"accidentals-mensural-1"
4755 " " \musicglyph #"accidentals-mensural1" }
4764 \remove "Bar_number_engraver"
4768 \remove "Clef_engraver"
4769 \remove "Key_engraver"
4770 \remove "Time_signature_engraver"
4771 \remove "Staff_symbol_engraver"
4772 minimumVerticalExtent = ##f
4778 As shown, not all accidentals are supported by each style. When
4779 trying to access an unsupported accidental, LilyPond will switch to a
4780 different style, as demonstrated in
4781 @inputfileref{input/test,ancient-accidentals.ly}.
4783 Similarly to local accidentals, the style of the key signature can be
4784 controlled by the @code{style} property of the
4785 @internalsref{KeySignature} grob.
4789 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4790 @ref{Accidentals} give a general introduction into the use of
4791 accidentals. @ref{Key signature} gives a general introduction into
4792 the use of key signatures.
4794 Program reference: @internalsref{KeySignature}.
4796 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4799 @subsection Ancient rests
4804 Use the @code{style} property of grob @internalsref{Rest} to select
4805 ancient accidentals. Supported styles are @code{classical},
4806 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4807 from the @code{default} style only in that the quarter rest looks like
4808 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4809 well for e.g. the incipit of a transcribed mensural piece of music.
4810 The @code{mensural} style finally mimics the appearance of rests as
4811 in historic prints of the 16th century.
4813 The following example demonstrates the @code{neo_mensural} style:
4815 @lilypond[fragment,raggedright,verbatim]
4816 \override Rest #'style = #'neo_mensural
4817 r\longa r\breve r1 r2 r4 r8 r16
4820 There are no 32th and 64th rests specifically for the mensural or
4821 neo-mensural style. Instead, the rests from the default style will be
4822 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4825 There are no rests in Gregorian Chant notation; instead, it uses
4830 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4834 @subsection Ancient clefs
4839 LilyPond supports a variety of clefs, many of them ancient.
4841 The following table shows all ancient clefs that are supported via the
4842 @code{\clef} command. Some of the clefs use the same glyph, but
4843 differ only with respect to the line they are printed on. In such
4844 cases, a trailing number in the name is used to enumerate these clefs.
4845 Still, you can manually force a clef glyph to be typeset on an
4846 arbitrary line, as described in @ref{Clef}. The note printed to the
4847 right side of each clef in the example column denotes the @code{c'}
4848 with respect to that clef.
4850 @multitable @columnfractions .3 .3 .3 .1
4854 @b{Description} @tab
4855 @b{Supported Clefs} @tab
4859 @code{clefs-neo_mensural_c} @tab
4860 modern style mensural C clef @tab
4861 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4862 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4863 @lilypond[relative,notime]
4864 \override Staff.TimeSignature #'transparent = ##t
4865 \clef "neo_mensural_c2" c
4869 @code{clefs-petrucci_c1}
4870 @code{clefs-petrucci_c2}
4871 @code{clefs-petrucci_c3}
4872 @code{clefs-petrucci_c4}
4873 @code{clefs-petrucci_c5}
4876 petrucci style mensural C clefs, for use on different staff lines
4877 (the examples shows the 2nd staff line C clef).
4887 @lilypond[relative,notime]
4888 \override Staff.TimeSignature #'transparent = ##t
4889 \clef "petrucci_c2" c
4893 @code{clefs-petrucci_f} @tab
4894 petrucci style mensural F clef @tab
4895 @code{petrucci_f} @tab
4896 @lilypond[relative,notime]
4897 \override Staff.TimeSignature #'transparent = ##t
4898 \clef "petrucci_f" c
4902 @code{clefs-petrucci_g} @tab
4903 petrucci style mensural G clef @tab
4904 @code{petrucci_g} @tab
4905 @lilypond[relative,notime]
4906 \override Staff.TimeSignature #'transparent = ##t
4907 \clef "petrucci_g" c
4911 @code{clefs-mensural_c} @tab
4912 historic style mensural C clef @tab
4913 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4914 @code{mensural_c4} @tab
4915 @lilypond[relative,notime]
4916 \override Staff.TimeSignature #'transparent = ##t
4917 \clef "mensural_c2" c
4921 @code{clefs-mensural_f} @tab
4922 historic style mensural F clef @tab
4923 @code{mensural_f} @tab
4924 @lilypond[relative,notime]
4925 \override Staff.TimeSignature #'transparent = ##t
4926 \clef "mensural_f" c
4930 @code{clefs-mensural_g} @tab
4931 historic style mensural G clef @tab
4932 @code{mensural_g} @tab
4933 @lilypond[relative,notime]
4934 \override Staff.TimeSignature #'transparent = ##t
4935 \clef "mensural_g" c
4939 @code{clefs-vaticana_do} @tab
4940 Editio Vaticana style do clef @tab
4941 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4942 @lilypond[relative,notime]
4943 \override Staff.StaffSymbol #'line-count = #4
4944 \override Staff.TimeSignature #'transparent = ##t
4945 \clef "vaticana_do2" c
4949 @code{clefs-vaticana_fa} @tab
4950 Editio Vaticana style fa clef @tab
4951 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4952 @lilypond[relative,notime]
4953 \override Staff.StaffSymbol #'line-count = #4
4954 \override Staff.TimeSignature #'transparent = ##t
4955 \clef "vaticana_fa2" c
4959 @code{clefs-medicaea_do} @tab
4960 Editio Medicaea style do clef @tab
4961 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4962 @lilypond[relative,notime]
4963 \override Staff.StaffSymbol #'line-count = #4
4964 \override Staff.TimeSignature #'transparent = ##t
4965 \clef "medicaea_do2" c
4969 @code{clefs-medicaea_fa} @tab
4970 Editio Medicaea style fa clef @tab
4971 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4972 @lilypond[relative,notime]
4973 \override Staff.StaffSymbol #'line-count = #4
4974 \override Staff.TimeSignature #'transparent = ##t
4975 \clef "medicaea_fa2" c
4979 @code{clefs-hufnagel_do} @tab
4980 historic style hufnagel do clef @tab
4981 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4982 @lilypond[relative,notime]
4983 \override Staff.StaffSymbol #'line-count = #4
4984 \override Staff.TimeSignature #'transparent = ##t
4985 \clef "hufnagel_do2" c
4989 @code{clefs-hufnagel_fa} @tab
4990 historic style hufnagel fa clef @tab
4991 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4992 @lilypond[relative,notime]
4993 \override Staff.StaffSymbol #'line-count = #4
4994 \override Staff.TimeSignature #'transparent = ##t
4995 \clef "hufnagel_fa2" c
4999 @code{clefs-hufnagel_do_fa} @tab
5000 historic style hufnagel combined do/fa clef @tab
5001 @code{hufnagel_do_fa} @tab
5002 @lilypond[relative,notime]
5003 \override Staff.TimeSignature #'transparent = ##t
5004 \clef "hufnagel_do_fa" c
5011 @emph{Modern style} means ``as is typeset in contemporary editions of
5012 transcribed mensural music''.
5014 @emph{Petrucci style} means ``inspired by printings published by the
5015 famous engraver Petrucci (1466-1539)''.
5017 @emph{Historic style} means ``as was typeset or written in historic
5018 editions (other than those of Petrucci)''.
5020 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5022 Petrucci used C clefs with differently balanced left-side vertical
5023 beams, depending on which staff line it is printed.
5027 In this manual: see @ref{Clef}.
5031 The mensural g clef is mapped to the Petrucci g clef, until a new
5032 mensural g clef is implemented.
5037 @subsection Ancient flags
5042 Use the @code{flag-style} property of grob @internalsref{Stem} to
5043 select ancient flags. Besides the @code{default} flag style,
5044 only @code{mensural} style is supported:
5046 @lilypond[fragment,raggedright,verbatim]
5047 \override Stem #'flag-style = #'mensural
5048 \override Stem #'thickness = #1.0
5049 \override NoteHead #'style = #'mensural
5051 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
5052 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5055 Note that the innermost flare of each mensural flag always is
5056 vertically aligned with a staff line. If you do not like this
5057 behavior, you can set the @code{adjust-if-on-staffline} property of
5058 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5059 of the end of each flare is different between notes on staff lines and
5060 notes between staff lines:
5062 @lilypond[fragment,raggedright]
5063 \override Stem #'flag-style = #'mensural
5064 \override Stem #'thickness = #1.0
5065 \override Stem #'adjust-if-on-staffline = ##f
5066 \override NoteHead #'style = #'mensural
5068 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
5069 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5072 There is no particular flag style for neo-mensural notation. Hence,
5073 when typesetting e.g. the incipit of a transcribed piece of mensural
5074 music, the default flag style should be used. There are no flags in
5075 Gregorian Chant notation.
5078 @node Ancient time signatures
5079 @subsection Ancient time signatures
5081 @cindex time signatures
5084 There is limited support for mensural time signatures. The
5085 glyphs are hard-wired to particular time fractions. In other words,
5086 to get a particular mensural signature glyph with the @code{\time n/m}
5087 command, @code{n} and @code{m} have to be chosen according to the
5093 \set Score.timing = ##f
5094 \set Score.barAlways = ##t
5095 s_\markup { "$\\backslash$time 4/4" }
5096 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5098 s_\markup { "$\\backslash$time 2/2" }
5099 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5101 s_\markup { "$\\backslash$time 6/4" }
5102 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5104 s_\markup { "$\\backslash$time 6/8" }
5105 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5107 s_\markup { "$\\backslash$time 3/2" }
5108 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5110 s_\markup { "$\\backslash$time 3/4" }
5111 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5113 s_\markup { "$\\backslash$time 9/4" }
5114 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5116 s_\markup { "$\\backslash$time 9/8" }
5117 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5119 s_\markup { "$\\backslash$time 4/8" }
5120 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5122 s_\markup { "$\\backslash$time 2/4" }
5123 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5131 \remove Staff_symbol_engraver
5132 \remove Clef_engraver
5133 \remove Time_signature_engraver
5139 Use the @code{style} property of grob @internalsref{TimeSignature} to
5140 select ancient time signatures. Supported styles are
5141 @code{neo_mensural} and @code{mensural}. The above table uses the
5142 @code{neo_mensural} style. This style is appropriate e.g. for the
5143 incipit of transcriptions of mensural pieces. The @code{mensural}
5144 style mimics the look of historical printings of the 16th century.
5146 @inputfileref{input/test,time.ly} gives an overview over all available
5147 ancient and modern styles.
5151 Program reference: @ref{Time signature} gives a general introduction into the use of time
5156 Mensural signature glyphs are mapped to time fractions in a hard-wired
5157 way. This mapping is sensible, but still arbitrary: given a mensural
5158 time signature, the time fraction represents a modern meter that
5159 usually will be a good choice when transcribing a mensural piece of
5160 music. For a particular piece of mensural music, however, the mapping
5161 may be unsatisfactory. In particular, the mapping assumes a fixed
5162 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5163 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5164 accessible through the @code{\time} command.
5166 Mensural time signatures are supported typographically, but not yet
5167 musically. The internal representation of durations is
5168 based on a purely binary system; a ternary division such as 1 brevis =
5169 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5170 prolatione maiori) is not correctly handled: event times in ternary
5171 modes will be badly computed, resulting e.g. in horizontally
5172 misaligned note heads, and bar checks are likely to erroneously fail.
5174 The syntax and semantics of the @code{\time} command for mensural
5175 music is subject to change.
5178 @subsection Custodes
5183 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5184 symbol that appears at the end of a staff. It anticipates the pitch
5185 of the first note(s) of the following line and thus helps the player
5186 or singer to manage line breaks during performance, thus enhancing
5187 readability of a score.
5189 Custodes were frequently used in music notation until the 17th
5190 century. Nowadays, they have survived only in a few particular forms
5191 of musical notation such as contemporary editions of Gregorian chant
5192 like the @emph{editio vaticana}. There are different custos glyphs
5193 used in different flavors of notational style.
5195 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5196 @internalsref{Staff} context when declaring the @code{\paper} block,
5197 as shown in the following example:
5203 \consists Custos_engraver
5204 Custos \override #'style = #'mensural
5209 The result looks like this:
5211 @lilypond[raggedright]
5215 \override Staff.Custos #'style = #'mensural
5222 \consists Custos_engraver
5228 The custos glyph is selected by the @code{style} property. The styles
5229 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5230 @code{mensural}. They are demonstrated in the following fragment:
5234 \new Lyrics \lyrics {
5238 { " " \musicglyph #"custodes-vaticana-u0" }
5242 { " " \musicglyph #"custodes-medicaea-u0" }
5247 { " " \musicglyph #"custodes-hufnagel-u0" }
5252 { " " \musicglyph #"custodes-mensural-u0" }
5264 Program reference: @internalsref{Custos}.
5266 Examples: @inputfileref{input/regression,custos.ly}.
5270 @subsection Divisiones
5276 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5277 `division') is a staff context symbol that is used to structure
5278 Gregorian music into phrases and sections. The musical meaning of
5279 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5280 can be characterized as short, medium and long pause, somewhat like
5281 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5282 a chant, but is also frequently used within a single
5283 antiphonal/responsorial chant to mark the end of each section.
5286 To use divisiones, include the file @code{gregorian-init.ly}. It
5287 contains definitions that you can apply by just inserting
5288 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5289 and @code{\finalis} at proper places in the input. Some editions use
5290 @emph{virgula} or @emph{caesura} instead of divisio minima.
5291 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5294 @lilypondfile[]{divisiones.ly}
5298 @cindex @code{\virgula}
5300 @cindex @code{\caesura}
5302 @cindex @code{\divisioMinima}
5303 @code{\divisioMinima},
5304 @cindex @code{\divisioMaior}
5305 @code{\divisioMaior},
5306 @cindex @code{\divisioMaxima}
5307 @code{\divisioMaxima},
5308 @cindex @code{\finalis}
5313 In this manual: @ref{Breath marks}.
5315 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5317 Examples: @inputfileref{input/test,divisiones.ly}.
5320 @subsection Ligatures
5324 @c TODO: Should double check if I recalled things correctly when I wrote
5325 @c down the following paragraph by heart.
5327 A ligature is a coherent graphical symbol that represents at least two
5328 distinct notes. Ligatures originally appeared in the manuscripts of
5329 Gregorian chant notation roughly since the 9th century to denote
5330 ascending or descending sequences of notes.
5332 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5333 Some ligature styles may need additional input syntax specific for
5334 this particular type of ligature. By default, the
5335 @internalsref{LigatureBracket} engraver just puts a square bracket
5338 @lilypond[raggedright,verbatim]
5340 \notes \transpose c c' {
5348 To select a specific style of ligatures, a proper ligature engraver
5349 has to be added to the @internalsref{Voice} context, as explained in
5350 the following subsections. Only white mensural ligatures
5351 are supported with certain limitations.
5354 * White mensural ligatures::
5355 * Gregorian square neumes ligatures::
5358 @node White mensural ligatures
5359 @subsubsection White mensural ligatures
5361 @cindex Mensural ligatures
5362 @cindex White mensural ligatures
5364 There is limited support for white mensural ligatures.
5366 To engrave white mensural ligatures, in the paper block the
5367 @internalsref{Mensural_ligature_engraver} has to be put into the
5368 @internalsref{Voice} context, and remove the
5369 @internalsref{Ligature_bracket_engraver}:
5375 \remove Ligature_bracket_engraver
5376 \consists Mensural_ligature_engraver
5381 There is no additional input language to describe the shape of a
5382 white mensural ligature. The shape is rather determined solely from
5383 the pitch and duration of the enclosed notes. While this approach may
5384 take a new user a while to get accustomed, it has the great advantage
5385 that the full musical information of the ligature is known internally.
5386 This is not only required for correct MIDI output, but also allows for
5387 automatic transcription of the ligatures.
5392 \set Score.timing = ##f
5393 \set Score.defaultBarType = "empty"
5394 \override NoteHead #'style = #'neo_mensural
5395 \override Staff.TimeSignature #'style = #'neo_mensural
5397 \[ g\longa c\breve a\breve f\breve d'\longa \]
5399 \[ e1 f1 a\breve g\longa \]
5401 @lilypond[raggedright]
5403 \notes \transpose c c' {
5404 \set Score.timing = ##f
5405 \set Score.defaultBarType = "empty"
5406 \override NoteHead #'style = #'neo_mensural
5407 \override Staff.TimeSignature #'style = #'neo_mensural
5409 \[ g\longa c\breve a\breve f\breve d'\longa \]
5411 \[ e1 f1 a\breve g\longa \]
5416 \remove Ligature_bracket_engraver
5417 \consists Mensural_ligature_engraver
5423 Without replacing @internalsref{Ligature_bracket_engraver} with
5424 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5427 @lilypond[raggedright]
5429 \notes \transpose c c' {
5430 \set Score.timing = ##f
5431 \set Score.defaultBarType = "empty"
5432 \override NoteHead #'style = #'neo_mensural
5433 \override Staff.TimeSignature #'style = #'neo_mensural
5435 \[ g\longa c\breve a\breve f\breve d'\longa \]
5437 \[ e1 f1 a\breve g\longa \]
5444 The implementation is experimental; it may output strange warnings or
5445 even crash in some cases or produce weird results on more complex
5448 @node Gregorian square neumes ligatures
5449 @subsubsection Gregorian square neumes ligatures
5451 @cindex Square neumes ligatures
5452 @cindex Gregorian square neumes ligatures
5454 Gregorian square neumes notation (following the style of the Editio
5455 Vaticana) is under heavy development, but not yet really usable for
5456 production purposes. Core ligatures can already be typeset, but
5457 essential issues for serious typesetting are still under development,
5458 such as (among others) horizontal alignment of multiple ligatures,
5459 lyrics alignment and proper accidentals handling. Still, this section
5460 gives a sneak preview of what Gregorian chant may look like once it
5463 The following table contains the extended neumes table of the 2nd
5464 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5465 1983 by the monks of Solesmes.
5467 @multitable @columnfractions .4 .2 .2 .2
5470 @b{Neuma aut@*Neumarum Elementa} @tab
5471 @b{Figurae@*Rectae} @tab
5472 @b{Figurae@*Liquescentes Auctae} @tab
5473 @b{Figurae@*Liquescentes Deminutae}
5475 @c TODO: \paper block is identical in all of the below examples.
5476 @c Therefore, it should somehow be included rather than duplicated all
5479 @c why not make identifiers in ly/engraver-init.ly? --hwn
5481 @c Because it's just used to typeset plain notes without
5482 @c a staff for demonstration purposes rather than something
5483 @c special of Gregorian chant notation. --jr
5488 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5489 \include "gregorian-init.ly"
5491 \notes \transpose c c' {
5494 \noBreak s^\markup {"a"} \noBreak
5496 % Punctum Inclinatum
5498 \noBreak s^\markup {"b"}
5504 \remove "Bar_number_engraver"
5508 \remove "Clef_engraver"
5509 \remove "Key_engraver"
5510 \override StaffSymbol #'transparent = ##t
5511 \remove "Time_signature_engraver"
5512 \remove "Bar_engraver"
5513 minimumVerticalExtent = ##f
5517 \remove Ligature_bracket_engraver
5518 \consists Vaticana_ligature_engraver
5519 \override NoteHead #'style = #'vaticana_punctum
5520 \override Stem #'transparent = ##t
5526 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5527 \include "gregorian-init.ly"
5529 \notes \transpose c c' {
5530 % Punctum Auctum Ascendens
5531 \[ \auctum \ascendens b \]
5532 \noBreak s^\markup {"c"} \noBreak
5534 % Punctum Auctum Descendens
5535 \[ \auctum \descendens b \]
5536 \noBreak s^\markup {"d"} \noBreak
5538 % Punctum Inclinatum Auctum
5539 \[ \inclinatum \auctum b \]
5540 \noBreak s^\markup {"e"}
5546 \remove "Bar_number_engraver"
5550 \remove "Clef_engraver"
5551 \remove "Key_engraver"
5552 \override StaffSymbol #'transparent = ##t
5553 \remove "Time_signature_engraver"
5554 \remove "Bar_engraver"
5555 minimumVerticalExtent = ##f
5559 \remove Ligature_bracket_engraver
5560 \consists Vaticana_ligature_engraver
5561 \override NoteHead #'style = #'vaticana_punctum
5562 \override Stem #'transparent = ##t
5568 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5569 \include "gregorian-init.ly"
5571 \notes \transpose c c' {
5572 % Punctum Inclinatum Parvum
5573 \[ \inclinatum \deminutum b \]
5574 \noBreak s^\markup {"f"}
5580 \remove "Bar_number_engraver"
5584 \remove "Clef_engraver"
5585 \remove "Key_engraver"
5586 \override StaffSymbol #'transparent = ##t
5587 \remove "Time_signature_engraver"
5588 \remove "Bar_engraver"
5589 minimumVerticalExtent = ##f
5593 \remove Ligature_bracket_engraver
5594 \consists Vaticana_ligature_engraver
5595 \override NoteHead #'style = #'vaticana_punctum
5596 \override Stem #'transparent = ##t
5605 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5606 \include "gregorian-init.ly"
5608 \notes \transpose c c' {
5611 \noBreak s^\markup {"g"}
5617 \remove "Bar_number_engraver"
5621 \remove "Clef_engraver"
5622 \remove "Key_engraver"
5623 \override StaffSymbol #'transparent = ##t
5624 \remove "Time_signature_engraver"
5625 \remove "Bar_engraver"
5626 minimumVerticalExtent = ##f
5630 \remove Ligature_bracket_engraver
5631 \consists Vaticana_ligature_engraver
5632 \override NoteHead #'style = #'vaticana_punctum
5633 \override Stem #'transparent = ##t
5642 @code{3. Apostropha vel Stropha}
5644 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5645 \include "gregorian-init.ly"
5647 \notes \transpose c c' {
5650 \noBreak s^\markup {"h"}
5656 \remove "Bar_number_engraver"
5660 \remove "Clef_engraver"
5661 \remove "Key_engraver"
5662 \override StaffSymbol #'transparent = ##t
5663 \remove "Time_signature_engraver"
5664 \remove "Bar_engraver"
5665 minimumVerticalExtent = ##f
5669 \remove Ligature_bracket_engraver
5670 \consists Vaticana_ligature_engraver
5671 \override NoteHead #'style = #'vaticana_punctum
5672 \override Stem #'transparent = ##t
5678 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5679 \include "gregorian-init.ly"
5681 \notes \transpose c c' {
5683 \[ \stropha \auctum b \]
5684 \noBreak s^\markup {"i"}
5690 \remove "Bar_number_engraver"
5694 \remove "Clef_engraver"
5695 \remove "Key_engraver"
5696 \override StaffSymbol #'transparent = ##t
5697 \remove "Time_signature_engraver"
5698 \remove "Bar_engraver"
5699 minimumVerticalExtent = ##f
5703 \remove Ligature_bracket_engraver
5704 \consists Vaticana_ligature_engraver
5705 \override NoteHead #'style = #'vaticana_punctum
5706 \override Stem #'transparent = ##t
5716 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5717 \include "gregorian-init.ly"
5719 \notes \transpose c c' {
5722 \noBreak s^\markup {"j"}
5728 \remove "Bar_number_engraver"
5732 \remove "Clef_engraver"
5733 \remove "Key_engraver"
5734 \override StaffSymbol #'transparent = ##t
5735 \remove "Time_signature_engraver"
5736 \remove "Bar_engraver"
5737 minimumVerticalExtent = ##f
5741 \remove Ligature_bracket_engraver
5742 \consists Vaticana_ligature_engraver
5743 \override NoteHead #'style = #'vaticana_punctum
5744 \override Stem #'transparent = ##t
5753 @code{5. Clivis vel Flexa}
5755 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5756 \include "gregorian-init.ly"
5758 \notes \transpose c c' {
5767 \remove "Bar_number_engraver"
5771 \remove "Clef_engraver"
5772 \remove "Key_engraver"
5773 \override StaffSymbol #'transparent = ##t
5774 \remove "Time_signature_engraver"
5775 \remove "Bar_engraver"
5776 minimumVerticalExtent = ##f
5780 \remove Ligature_bracket_engraver
5781 \consists Vaticana_ligature_engraver
5782 \override NoteHead #'style = #'vaticana_punctum
5783 \override Stem #'transparent = ##t
5789 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5790 \include "gregorian-init.ly"
5792 \notes \transpose c c' {
5793 % Clivis Aucta Descendens
5794 \[ b \flexa \auctum \descendens g \]
5795 \noBreak s^\markup {"l"} \noBreak
5797 % Clivis Aucta Ascendens
5798 \[ b \flexa \auctum \ascendens g \]
5799 \noBreak s^\markup {"m"}
5805 \remove "Bar_number_engraver"
5809 \remove "Clef_engraver"
5810 \remove "Key_engraver"
5811 \override StaffSymbol #'transparent = ##t
5812 \remove "Time_signature_engraver"
5813 \remove "Bar_engraver"
5814 minimumVerticalExtent = ##f
5818 \remove Ligature_bracket_engraver
5819 \consists Vaticana_ligature_engraver
5820 \override NoteHead #'style = #'vaticana_punctum
5821 \override Stem #'transparent = ##t
5827 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5828 \include "gregorian-init.ly"
5830 \notes \transpose c c' {
5832 \[ b \flexa \deminutum g \]
5839 \remove "Bar_number_engraver"
5843 \remove "Clef_engraver"
5844 \remove "Key_engraver"
5845 \override StaffSymbol #'transparent = ##t
5846 \remove "Time_signature_engraver"
5847 \remove "Bar_engraver"
5848 minimumVerticalExtent = ##f
5852 \remove Ligature_bracket_engraver
5853 \consists Vaticana_ligature_engraver
5854 \override NoteHead #'style = #'vaticana_punctum
5855 \override Stem #'transparent = ##t
5862 @code{6. Podatus vel Pes}
5864 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5865 \include "gregorian-init.ly"
5867 \notes \transpose c c' {
5876 \remove "Bar_number_engraver"
5880 \remove "Clef_engraver"
5881 \remove "Key_engraver"
5882 \override StaffSymbol #'transparent = ##t
5883 \remove "Time_signature_engraver"
5884 \remove "Bar_engraver"
5885 minimumVerticalExtent = ##f
5889 \remove Ligature_bracket_engraver
5890 \consists Vaticana_ligature_engraver
5891 \override NoteHead #'style = #'vaticana_punctum
5892 \override Stem #'transparent = ##t
5898 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5899 \include "gregorian-init.ly"
5901 \notes \transpose c c' {
5902 % Pes Auctus Descendens
5903 \[ g \pes \auctum \descendens b \]
5904 \noBreak s^\markup {"p"} \noBreak
5906 % Pes Auctus Ascendens
5907 \[ g \pes \auctum \ascendens b \]
5908 \noBreak s^\markup {"q"}
5914 \remove "Bar_number_engraver"
5918 \remove "Clef_engraver"
5919 \remove "Key_engraver"
5920 \override StaffSymbol #'transparent = ##t
5921 \remove "Time_signature_engraver"
5922 \remove "Bar_engraver"
5923 minimumVerticalExtent = ##f
5927 \remove Ligature_bracket_engraver
5928 \consists Vaticana_ligature_engraver
5929 \override NoteHead #'style = #'vaticana_punctum
5930 \override Stem #'transparent = ##t
5936 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5937 \include "gregorian-init.ly"
5939 \notes \transpose c c' {
5941 \[ g \pes \deminutum b \]
5948 \remove "Bar_number_engraver"
5952 \remove "Clef_engraver"
5953 \remove "Key_engraver"
5954 \override StaffSymbol #'transparent = ##t
5955 \remove "Time_signature_engraver"
5956 \remove "Bar_engraver"
5957 minimumVerticalExtent = ##f
5961 \remove Ligature_bracket_engraver
5962 \consists Vaticana_ligature_engraver
5963 \override NoteHead #'style = #'vaticana_punctum
5964 \override Stem #'transparent = ##t
5971 @code{7. Pes Quassus}
5973 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5974 \include "gregorian-init.ly"
5976 \notes \transpose c c' {
5978 \[ \oriscus g \pes \virga b \]
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
6007 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6008 \include "gregorian-init.ly"
6010 \notes \transpose c c' {
6011 % Pes Quassus Auctus Descendens
6012 \[ \oriscus g \pes \auctum \descendens b \]
6019 \remove "Bar_number_engraver"
6023 \remove "Clef_engraver"
6024 \remove "Key_engraver"
6025 \override StaffSymbol #'transparent = ##t
6026 \remove "Time_signature_engraver"
6027 \remove "Bar_engraver"
6028 minimumVerticalExtent = ##f
6032 \remove Ligature_bracket_engraver
6033 \consists Vaticana_ligature_engraver
6034 \override NoteHead #'style = #'vaticana_punctum
6035 \override Stem #'transparent = ##t
6043 @code{8. Quilisma Pes}
6045 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6046 \include "gregorian-init.ly"
6048 \notes \transpose c c' {
6050 \[ \quilisma g \pes b \]
6057 \remove "Bar_number_engraver"
6061 \remove "Clef_engraver"
6062 \remove "Key_engraver"
6063 \override StaffSymbol #'transparent = ##t
6064 \remove "Time_signature_engraver"
6065 \remove "Bar_engraver"
6066 minimumVerticalExtent = ##f
6070 \remove Ligature_bracket_engraver
6071 \consists Vaticana_ligature_engraver
6072 \override NoteHead #'style = #'vaticana_punctum
6073 \override Stem #'transparent = ##t
6079 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6080 \include "gregorian-init.ly"
6082 \notes \transpose c c' {
6083 % Quilisma Pes Auctus Descendens
6084 \[ \quilisma g \pes \auctum \descendens b \]
6091 \remove "Bar_number_engraver"
6095 \remove "Clef_engraver"
6096 \remove "Key_engraver"
6097 \override StaffSymbol #'transparent = ##t
6098 \remove "Time_signature_engraver"
6099 \remove "Bar_engraver"
6100 minimumVerticalExtent = ##f
6104 \remove Ligature_bracket_engraver
6105 \consists Vaticana_ligature_engraver
6106 \override NoteHead #'style = #'vaticana_punctum
6107 \override Stem #'transparent = ##t
6115 @code{9. Podatus Initio Debilis}
6117 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6118 \include "gregorian-init.ly"
6120 \notes \transpose c c' {
6121 % Pes Initio Debilis
6122 \[ \deminutum g \pes b \]
6129 \remove "Bar_number_engraver"
6133 \remove "Clef_engraver"
6134 \remove "Key_engraver"
6135 \override StaffSymbol #'transparent = ##t
6136 \remove "Time_signature_engraver"
6137 \remove "Bar_engraver"
6138 minimumVerticalExtent = ##f
6142 \remove Ligature_bracket_engraver
6143 \consists Vaticana_ligature_engraver
6144 \override NoteHead #'style = #'vaticana_punctum
6145 \override Stem #'transparent = ##t
6151 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6152 \include "gregorian-init.ly"
6154 \notes \transpose c c' {
6155 % Pes Auctus Descendens Initio Debilis
6156 \[ \deminutum g \pes \auctum \descendens b \]
6163 \remove "Bar_number_engraver"
6167 \remove "Clef_engraver"
6168 \remove "Key_engraver"
6169 \override StaffSymbol #'transparent = ##t
6170 \remove "Time_signature_engraver"
6171 \remove "Bar_engraver"
6172 minimumVerticalExtent = ##f
6176 \remove Ligature_bracket_engraver
6177 \consists Vaticana_ligature_engraver
6178 \override NoteHead #'style = #'vaticana_punctum
6179 \override Stem #'transparent = ##t
6189 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6190 \include "gregorian-init.ly"
6192 \notes \transpose c c' {
6194 \[ a \pes b \flexa g \]
6201 \remove "Bar_number_engraver"
6205 \remove "Clef_engraver"
6206 \remove "Key_engraver"
6207 \override StaffSymbol #'transparent = ##t
6208 \remove "Time_signature_engraver"
6209 \remove "Bar_engraver"
6210 minimumVerticalExtent = ##f
6214 \remove Ligature_bracket_engraver
6215 \consists Vaticana_ligature_engraver
6216 \override NoteHead #'style = #'vaticana_punctum
6217 \override Stem #'transparent = ##t
6223 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6224 \include "gregorian-init.ly"
6226 \notes \transpose c c' {
6227 % Torculus Auctus Descendens
6228 \[ a \pes b \flexa \auctum \descendens g \]
6235 \remove "Bar_number_engraver"
6239 \remove "Clef_engraver"
6240 \remove "Key_engraver"
6241 \override StaffSymbol #'transparent = ##t
6242 \remove "Time_signature_engraver"
6243 \remove "Bar_engraver"
6244 minimumVerticalExtent = ##f
6248 \remove Ligature_bracket_engraver
6249 \consists Vaticana_ligature_engraver
6250 \override NoteHead #'style = #'vaticana_punctum
6251 \override Stem #'transparent = ##t
6257 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6258 \include "gregorian-init.ly"
6260 \notes \transpose c c' {
6261 % Torculus Deminutus
6262 \[ a \pes b \flexa \deminutum g \]
6269 \remove "Bar_number_engraver"
6273 \remove "Clef_engraver"
6274 \remove "Key_engraver"
6275 \override StaffSymbol #'transparent = ##t
6276 \remove "Time_signature_engraver"
6277 \remove "Bar_engraver"
6278 minimumVerticalExtent = ##f
6282 \remove Ligature_bracket_engraver
6283 \consists Vaticana_ligature_engraver
6284 \override NoteHead #'style = #'vaticana_punctum
6285 \override Stem #'transparent = ##t
6292 @code{11. Torculus Initio Debilis}
6294 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6295 \include "gregorian-init.ly"
6297 \notes \transpose c c' {
6298 % Torculus Initio Debilis
6299 \[ \deminutum a \pes b \flexa g \]
6306 \remove "Bar_number_engraver"
6310 \remove "Clef_engraver"
6311 \remove "Key_engraver"
6312 \override StaffSymbol #'transparent = ##t
6313 \remove "Time_signature_engraver"
6314 \remove "Bar_engraver"
6315 minimumVerticalExtent = ##f
6319 \remove Ligature_bracket_engraver
6320 \consists Vaticana_ligature_engraver
6321 \override NoteHead #'style = #'vaticana_punctum
6322 \override Stem #'transparent = ##t
6328 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6329 \include "gregorian-init.ly"
6331 \notes \transpose c c' {
6332 % Torculus Auctus Descendens Initio Debilis
6333 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6340 \remove "Bar_number_engraver"
6344 \remove "Clef_engraver"
6345 \remove "Key_engraver"
6346 \override StaffSymbol #'transparent = ##t
6347 \remove "Time_signature_engraver"
6348 \remove "Bar_engraver"
6349 minimumVerticalExtent = ##f
6353 \remove Ligature_bracket_engraver
6354 \consists Vaticana_ligature_engraver
6355 \override NoteHead #'style = #'vaticana_punctum
6356 \override Stem #'transparent = ##t
6362 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6363 \include "gregorian-init.ly"
6365 \notes \transpose c c' {
6366 % Torculus Deminutus Initio Debilis
6367 \[ \deminutum a \pes b \flexa \deminutum g \]
6374 \remove "Bar_number_engraver"
6378 \remove "Clef_engraver"
6379 \remove "Key_engraver"
6380 \override StaffSymbol #'transparent = ##t
6381 \remove "Time_signature_engraver"
6382 \remove "Bar_engraver"
6383 minimumVerticalExtent = ##f
6387 \remove Ligature_bracket_engraver
6388 \consists Vaticana_ligature_engraver
6389 \override NoteHead #'style = #'vaticana_punctum
6390 \override Stem #'transparent = ##t
6397 @code{12. Porrectus}
6399 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6400 \include "gregorian-init.ly"
6402 \notes \transpose c c' {
6404 \[ a \flexa g \pes b \]
6411 \remove "Bar_number_engraver"
6415 \remove "Clef_engraver"
6416 \remove "Key_engraver"
6417 \override StaffSymbol #'transparent = ##t
6418 \remove "Time_signature_engraver"
6419 \remove "Bar_engraver"
6420 minimumVerticalExtent = ##f
6424 \remove Ligature_bracket_engraver
6425 \consists Vaticana_ligature_engraver
6426 \override NoteHead #'style = #'vaticana_punctum
6427 \override Stem #'transparent = ##t
6433 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6434 \include "gregorian-init.ly"
6436 \notes \transpose c c' {
6437 % Porrectus Auctus Descendens
6438 \[ a \flexa g \pes \auctum \descendens b \]
6445 \remove "Bar_number_engraver"
6449 \remove "Clef_engraver"
6450 \remove "Key_engraver"
6451 \override StaffSymbol #'transparent = ##t
6452 \remove "Time_signature_engraver"
6453 \remove "Bar_engraver"
6454 minimumVerticalExtent = ##f
6458 \remove Ligature_bracket_engraver
6459 \consists Vaticana_ligature_engraver
6460 \override NoteHead #'style = #'vaticana_punctum
6461 \override Stem #'transparent = ##t
6467 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6468 \include "gregorian-init.ly"
6470 \notes \transpose c c' {
6471 % Porrectus Deminutus
6472 \[ a \flexa g \pes \deminutum b \]
6479 \remove "Bar_number_engraver"
6483 \remove "Clef_engraver"
6484 \remove "Key_engraver"
6485 \override StaffSymbol #'transparent = ##t
6486 \remove "Time_signature_engraver"
6487 \remove "Bar_engraver"
6488 minimumVerticalExtent = ##f
6492 \remove Ligature_bracket_engraver
6493 \consists Vaticana_ligature_engraver
6494 \override NoteHead #'style = #'vaticana_punctum
6495 \override Stem #'transparent = ##t
6504 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6505 \include "gregorian-init.ly"
6507 \notes \transpose c c' {
6509 \[ \virga b \inclinatum a \inclinatum g \]
6516 \remove "Bar_number_engraver"
6520 \remove "Clef_engraver"
6521 \remove "Key_engraver"
6522 \override StaffSymbol #'transparent = ##t
6523 \remove "Time_signature_engraver"
6524 \remove "Bar_engraver"
6525 minimumVerticalExtent = ##f
6529 \remove Ligature_bracket_engraver
6530 \consists Vaticana_ligature_engraver
6531 \override NoteHead #'style = #'vaticana_punctum
6532 \override Stem #'transparent = ##t
6538 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6539 \include "gregorian-init.ly"
6541 \notes \transpose c c' {
6543 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6550 \remove "Bar_number_engraver"
6554 \remove "Clef_engraver"
6555 \remove "Key_engraver"
6556 \override StaffSymbol #'transparent = ##t
6557 \remove "Time_signature_engraver"
6558 \remove "Bar_engraver"
6559 minimumVerticalExtent = ##f
6563 \remove Ligature_bracket_engraver
6564 \consists Vaticana_ligature_engraver
6565 \override NoteHead #'style = #'vaticana_punctum
6566 \override Stem #'transparent = ##t
6572 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6573 \include "gregorian-init.ly"
6575 \notes \transpose c c' {
6576 % Climacus Deminutus
6577 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6584 \remove "Bar_number_engraver"
6588 \remove "Clef_engraver"
6589 \remove "Key_engraver"
6590 \override StaffSymbol #'transparent = ##t
6591 \remove "Time_signature_engraver"
6592 \remove "Bar_engraver"
6593 minimumVerticalExtent = ##f
6597 \remove Ligature_bracket_engraver
6598 \consists Vaticana_ligature_engraver
6599 \override NoteHead #'style = #'vaticana_punctum
6600 \override Stem #'transparent = ##t
6607 @code{14. Scandicus}
6609 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6610 \include "gregorian-init.ly"
6612 \notes \transpose c c' {
6614 \[ g \pes a \virga b \]
6621 \remove "Bar_number_engraver"
6625 \remove "Clef_engraver"
6626 \remove "Key_engraver"
6627 \override StaffSymbol #'transparent = ##t
6628 \remove "Time_signature_engraver"
6629 \remove "Bar_engraver"
6630 minimumVerticalExtent = ##f
6634 \remove Ligature_bracket_engraver
6635 \consists Vaticana_ligature_engraver
6636 \override NoteHead #'style = #'vaticana_punctum
6637 \override Stem #'transparent = ##t
6643 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6644 \include "gregorian-init.ly"
6646 \notes \transpose c c' {
6647 % Scandicus Auctus Descendens
6648 \[ g \pes a \pes \auctum \descendens b \]
6655 \remove "Bar_number_engraver"
6659 \remove "Clef_engraver"
6660 \remove "Key_engraver"
6661 \override StaffSymbol #'transparent = ##t
6662 \remove "Time_signature_engraver"
6663 \remove "Bar_engraver"
6664 minimumVerticalExtent = ##f
6668 \remove Ligature_bracket_engraver
6669 \consists Vaticana_ligature_engraver
6670 \override NoteHead #'style = #'vaticana_punctum
6671 \override Stem #'transparent = ##t
6677 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6678 \include "gregorian-init.ly"
6680 \notes \transpose c c' {
6681 % Scandicus Deminutus
6682 \[ g \pes a \pes \deminutum b \]
6689 \remove "Bar_number_engraver"
6693 \remove "Clef_engraver"
6694 \remove "Key_engraver"
6695 \override StaffSymbol #'transparent = ##t
6696 \remove "Time_signature_engraver"
6697 \remove "Bar_engraver"
6698 minimumVerticalExtent = ##f
6702 \remove Ligature_bracket_engraver
6703 \consists Vaticana_ligature_engraver
6704 \override NoteHead #'style = #'vaticana_punctum
6705 \override Stem #'transparent = ##t
6714 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6715 \include "gregorian-init.ly"
6717 \notes \transpose c c' {
6719 \[ g \oriscus a \pes \virga b \]
6726 \remove "Bar_number_engraver"
6730 \remove "Clef_engraver"
6731 \remove "Key_engraver"
6732 \override StaffSymbol #'transparent = ##t
6733 \remove "Time_signature_engraver"
6734 \remove "Bar_engraver"
6735 minimumVerticalExtent = ##f
6739 \remove Ligature_bracket_engraver
6740 \consists Vaticana_ligature_engraver
6741 \override NoteHead #'style = #'vaticana_punctum
6742 \override Stem #'transparent = ##t
6748 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6749 \include "gregorian-init.ly"
6751 \notes \transpose c c' {
6752 % Salicus Auctus Descendens
6753 \[ g \oriscus a \pes \auctum \descendens b \]
6760 \remove "Bar_number_engraver"
6764 \remove "Clef_engraver"
6765 \remove "Key_engraver"
6766 \override StaffSymbol #'transparent = ##t
6767 \remove "Time_signature_engraver"
6768 \remove "Bar_engraver"
6769 minimumVerticalExtent = ##f
6773 \remove Ligature_bracket_engraver
6774 \consists Vaticana_ligature_engraver
6775 \override NoteHead #'style = #'vaticana_punctum
6776 \override Stem #'transparent = ##t
6786 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6787 \include "gregorian-init.ly"
6789 \notes \transpose c c' {
6791 \[ \stropha b \stropha b \stropha a \]
6798 \remove "Bar_number_engraver"
6802 \remove "Clef_engraver"
6803 \remove "Key_engraver"
6804 \override StaffSymbol #'transparent = ##t
6805 \remove "Time_signature_engraver"
6806 \remove "Bar_engraver"
6807 minimumVerticalExtent = ##f
6811 \remove Ligature_bracket_engraver
6812 \consists Vaticana_ligature_engraver
6813 \override NoteHead #'style = #'vaticana_punctum
6814 \override Stem #'transparent = ##t
6825 Unlike most other neumes notation systems, the input language for
6826 neumes does not necessarily reflect directly the typographical
6827 appearance, but is designed to solely focuse on musical meaning. For
6828 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6829 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6830 a Porrectus with a curved flexa shape and only a single Punctum head.
6831 There is no command to explicitly typeset the curved flexa shape; the
6832 decision of when to typeset a curved flexa shape is purely taken from
6833 the musical input. The idea of this approach is to separate the
6834 musical aspects of the input from the notation style of the output.
6835 This way, the same input can be reused to typeset the same music in a
6836 different style of Gregorian chant notation.
6838 The following table shows the code fragments that produce the
6839 ligatures in the above neumes table. The letter in the first column
6840 in each line of the below table indicates to which ligature in the
6841 above table it refers. The second column gives the name of the
6842 ligature. The third column shows the code fragment that produces this
6843 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6845 @multitable @columnfractions .1 .4 .5
6859 Punctum Inclinatum @tab
6860 @code{\[ \inclinatum b \]}
6864 Punctum Auctum Ascendens @tab
6865 @code{\[ \auctum \ascendens b \]}
6869 Punctum Auctum Descendens @tab
6870 @code{\[ \auctum \descendens b \]}
6874 Punctum Inclinatum Auctum @tab
6875 @code{\[ \inclinatum \auctum b \]}
6879 Punctum Inclinatum Parvum @tab
6880 @code{\[ \inclinatum \deminutum b \]}
6885 @code{\[ \virga b \]}
6890 @code{\[ \stropha b \]}
6895 @code{\[ \stropha \auctum b \]}
6900 @code{\[ \oriscus b \]}
6904 Clivis vel Flexa @tab
6905 @code{\[ b \flexa g \]}
6909 Clivis Aucta Descendens @tab
6910 @code{\[ b \flexa \auctum \descendens g \]}
6914 Clivis Aucta Ascendens @tab
6915 @code{\[ b \flexa \auctum \ascendens g \]}
6920 @code{\[ b \flexa \deminutum g \]}
6924 Podatus vel Pes @tab
6925 @code{\[ g \pes b \]}
6929 Pes Auctus Descendens @tab
6930 @code{\[ g \pes \auctum \descendens b \]}
6934 Pes Auctus Ascendens @tab
6935 @code{\[ g \pes \auctum \ascendens b \]}
6940 @code{\[ g \pes \deminutum b \]}
6945 @code{\[ \oriscus g \pes \virga b \]}
6949 Pes Quassus Auctus Descendens @tab
6950 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6955 @code{\[ \quilisma g \pes b \]}
6959 Quilisma Pes Auctus Descendens @tab
6960 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6964 Pes Initio Debilis @tab
6965 @code{\[ \deminutum g \pes b \]}
6969 Pes Auctus Descendens Initio Debilis @tab
6970 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6975 @code{\[ a \pes b \flexa g \]}
6979 Torculus Auctus Descendens @tab
6980 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6984 Torculus Deminutus @tab
6985 @code{\[ a \pes b \flexa \deminutum g \]}
6989 Torculus Initio Debilis @tab
6990 @code{\[ \deminutum a \pes b \flexa g \]}
6994 Torculus Auctus Descendens Initio Debilis @tab
6995 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6999 Torculus Deminutus Initio Debilis @tab
7000 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7005 @code{\[ a \flexa g \pes b \]}
7009 Porrectus Auctus Descendens @tab
7010 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7014 Porrectus Deminutus @tab
7015 @code{\[ a \flexa g \pes \deminutum b \]}
7020 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7024 Climacus Auctus @tab
7025 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7029 Climacus Deminutus @tab
7030 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7035 @code{\[ g \pes a \virga b \]}
7039 Scandicus Auctus Descendens @tab
7040 @code{\[ g \pes a \pes \auctum \descendens b \]}
7044 Scandicus Deminutus @tab
7045 @code{\[ g \pes a \pes \deminutum b \]}
7050 @code{\[ g \oriscus a \pes \virga b \]}
7054 Salicus Auctus Descendens @tab
7055 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7060 @code{\[ \stropha b \stropha b \stropha a \]}
7066 The following head prefixes are supported:
7068 @cindex @code{\virga}
7070 @cindex @code{\stropha}
7072 @cindex @code{\inclinatum}
7074 @cindex @code{\auctum}
7076 @cindex @code{\descendens}
7078 @cindex @code{\ascendens}
7080 @cindex @code{\oriscus}
7082 @cindex @code{\quilisma}
7084 @cindex @code{\deminutum}
7087 Head prefixes can be accumulated, though restrictions apply. For
7088 example, either @code{\descendens} or @code{\ascendens} can be applied
7089 to a head, but not both to the same head.
7092 @cindex @code{\flexa}
7093 Two adjacent heads can be tied together with the @code{\pes} and
7094 @code{\flexa} infix commands for a rising and falling line of melody,
7099 @node Vaticana style contexts
7100 @subsection Vaticana style contexts
7102 @cindex VaticanaVoiceContext
7103 @cindex VaticanaStaffContext
7105 The predefined @code{VaticanaVoiceContext} and
7106 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7107 Gregorian Chant in the style of the Editio Vaticana. These contexts
7108 initialize all relevant context properties and grob properties to
7109 proper values. With these contexts, you can immediately go ahead
7110 entering the chant, as the following short excerpt demonstrates:
7112 @lilypond[raggedright,verbatim,noindent]
7113 \include "gregorian-init.ly"
7116 \context VaticanaVoice = "cantus" {
7117 \override Score.BarNumber #'transparent = ##t
7119 \[ c'\melisma c' \flexa a \]
7120 \[ a \flexa \deminutum g\melismaEnd \]
7122 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7123 c' \divisioMinima \break
7124 \[ c'\melisma c' \flexa a \]
7125 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7128 \lyricsto "cantus" \new Lyrics \lyrics {
7129 San- ctus, San- ctus, San- ctus
7136 @subsection Figured bass
7138 @cindex Basso continuo
7140 @c TODO: musicological blurb about FB
7143 LilyPond has limited support for figured bass:
7145 @lilypond[verbatim,fragment]
7147 \context Voice \notes { \clef bass dis4 c d ais}
7148 \context FiguredBass
7150 < 6 >4 < 7 >8 < 6+ [_!] >
7156 The support for figured bass consists of two parts: there is an input
7157 mode, introduced by @code{\figures}, where you can enter bass figures
7158 as numbers, and there is a context called @internalsref{FiguredBass} that
7159 takes care of making @internalsref{BassFigure} objects.
7161 In figures input mode, a group of bass figures is delimited by
7162 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7167 \context FiguredBass
7171 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7178 \context FiguredBass
7179 \figures { <4- 6+ 7!> }
7182 Spaces or dashes may be inserted by using @code{_}. Brackets are
7183 introduced with @code{[} and @code{]}:
7189 \context FiguredBass
7190 \figures { < [4 6] 8 [_! 12]> }
7193 Although the support for figured bass may superficially resemble chord
7194 support, it works much simpler. The @code{\figures} mode simply
7195 stores the numbers , and @internalsref{FiguredBass} context prints
7196 them as entered. There is no conversion to pitches, and no
7197 realizations of the bass are played in the MIDI file.
7199 Internally, the code produces markup texts. You can use any of the
7200 markup text properties to override formatting. For example, the
7201 vertical spacing of the figures may be set with @code{baseline-skip}.
7205 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7206 and @internalsref{FiguredBass} context.
7210 Slash notation for alterations is not supported.
7212 @node Contemporary notation
7213 @section Contemporary notation
7215 In the 20th century, composers have greatly expanded the musical
7216 vocabulary. With this expansion, many innovations in musical notation
7217 have been tried. The book by Stone (1980) gives a comprehensive
7218 overview (see @ref{Literature list}). In general, the use of new,
7219 innovative notation makes a piece harder to understand and perform and
7220 its use should therefore be avoided if possible. For this reason,
7221 support for contemporary notation in LilyPond is limited.
7230 @subsection Clusters
7234 A cluster indicates a continuous range of pitches to be played. They
7235 can be denoted as the envelope of a set of notes. They are entered by
7236 applying the function @code{notes-to-clusters} to a sequence of
7239 @lilypond[relative=1,verbatim]
7240 \apply #notes-to-clusters { <c e > <b f'> }
7243 The following example (from
7244 @inputfileref{input/regression,cluster.ly}) shows what the result
7247 @lilypondfile[]{cluster.ly}
7249 Ordinary notes and clusters can be put together in the same staff,
7250 even simultaneously. In such a case no attempt is made to
7251 automatically avoid collisions between ordinary notes and clusters.
7255 Program reference: @internalsref{ClusterSpanner},
7256 @internalsref{ClusterSpannerBeacon},
7257 @internalsref{Cluster_spanner_engraver}, and
7258 @internalsref{ClusterNoteEvent}.
7260 Examples: @inputfileref{input/regression,cluster.ly}.
7264 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7265 accurately. Use @code{<g a>8 <e a>8} instead.
7270 @subsection Fermatas
7276 Contemporary music notation frequently uses special fermata symbols to
7277 indicate fermatas of differing lengths.
7281 The following are supported
7283 @lilypond[raggedright]
7285 << \addlyrics \notes {
7305 \context Lyrics \lyrics {
7306 \override LyricText #'font-family = #'typewriter
7307 "shortfermata" "fermata" "longfermata" "verylongfermata"
7312 See @ref{Articulations} for general instructions how to apply scripts
7313 such as fermatas to a @code{\notes@{@}} block.
7316 @node Special notation
7317 @section Special notation
7321 * Easy Notation note heads::
7325 @subsection Balloon help
7327 Elements of notation can be marked and named with the help of a square
7328 balloon. The primary purpose of this feature is to explain notation.
7330 The following example demonstrates its use.
7332 @lilypond[verbatim,fragment,raggedright,relative=1]
7335 #(add-balloon-text 'NoteHead "heads, or tails?"
7341 The function @code{add-balloon-text} takes the name of a grob, the
7342 label to print and where to put the label relative to the object. In
7343 the above example, the text ``heads or tails?'' ends 3 spaces below
7347 @cindex notation, explaining
7351 Program reference: @internalsref{text-balloon-interface}.
7353 Examples: @inputfileref{input/regression,balloon.ly}.
7355 @node Easy Notation note heads
7356 @subsection Easy Notation note heads
7358 @cindex easy notation
7361 The `easy play' note head includes a name inside the head. It is
7362 used in music for beginners:
7364 @lilypond[raggedright,verbatim,staffsize=26]
7369 The command @code{\setEasyHeads} overrides settings for the
7370 @internalsref{NoteHead} object. To make the letters readable, it has
7371 to be printed in a large font size. To print with a larger font, see
7377 If you view the result with Xdvi, then staff lines may show through
7378 the letters. Printing the PostScript file obtained does produce the
7383 @cindex \setEasyHeads
7384 @code{\setEasyHeads}
7390 Entered music can also be converted to MIDI output. The performance
7391 is intented for proof-hearing the music for errors.
7393 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7394 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7395 marks translate to a fixed fraction of the available MIDI volume
7396 range, crescendi and decrescendi make the volume vary linearly between
7397 their two extremities. The fractions can be adjusted by
7398 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7399 For each type of MIDI instrument, a volume range can be defined. This
7400 gives a basic equalizer control, which can enhance the quality of
7401 the MIDI output remarkably. The equalizer can be controlled by
7402 setting @code{instrumentEqualizer}.
7406 Many musically interesting effects, such as swing, articulation,
7407 slurring, etc., are not translated to MIDI.
7409 The MIDI output allocates a channel for each Staff, and one for global
7410 settings. Hence, the MIDI file should not have more than 15 staves
7411 (or 14 if you do not use drums). Other staves will remain silent.
7416 * MIDI instrument names::
7421 @subsection MIDI block
7425 The MIDI block is analogous to the paper block, but it is somewhat
7426 simpler. The @code{\midi} block can contain:
7430 @item a @code{\tempo} definition, and
7431 @item context definitions.
7434 A number followed by a period is interpreted as a real number, so
7435 for setting the tempo for dotted notes, an extra space should be
7436 inserted, for example:
7439 \midi @{ \tempo 4 . = 120 @}
7443 @cindex context definition
7445 Context definitions follow precisely the same syntax as within the
7446 \paper block. Translation modules for sound are called performers.
7447 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7450 @node MIDI instrument names
7451 @subsection MIDI instrument names
7453 @cindex instrument names
7454 @cindex @code{Staff.midiInstrument}
7456 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7457 property. The instrument name should be chosen from the list in
7458 @ref{MIDI instruments}.
7462 If the selected string does not exactly match, then the default is
7463 used, which is the Grand Piano.