2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
31 * Formatting cue notes::
33 * Contemporary notation::
38 @c FIXME: Note entry vs Music entry at top level menu is confusing.
44 This section is about basic notation elements notes, rests and
45 related constructs, such as stems, tuplets and ties.
50 * Chromatic alterations::
65 A note is printed by specifying its pitch and then its duration
66 @footnote{Notes constitute the most basic elements of LilyPond input,
67 but they do not form valid input on their own without a @code{\score}
68 block. However, for the sake of brevity and simplicity we will
69 generally omit @code{\score} blocks and @code{\paper} declarations in
72 @lilypond[quote,fragment,verbatim]
81 @cindex Note specification
83 @cindex entering notes
85 The most common syntax for pitch entry is used in standard notes and
86 @code{\chords} mode. In these modes, pitches may be designated by
87 names. The notes are specified by the letters @code{a} through
88 @code{g}, while the octave is formed with notes ranging from @code{c}
89 to @code{b}. The pitch @code{c} is an octave below middle C and the
90 letters span the octave above that C
92 @lilypond[quote,fragment,verbatim]
94 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
97 @cindex note names, Dutch
99 A sharp is formed by adding @code{-is} to the end of a pitch name and
100 a flat is formed by adding @code{-es}. Double sharps and double flats
101 are obtained by adding @code{-isis} or @code{-eses}. These
102 names are the Dutch note names. In Dutch, @code{aes} is contracted to
103 @code{as}, but both forms are accepted. Similarly, both
104 @code{es} and @code{ees} are accepted.
106 Half-flats and half-sharps are formed by adding @code{-eh} and
107 @code{-ih}; the following is a series of Cs with increasing pitches
109 @cindex quarter tones
110 @cindex semi-flats, semi-sharps
112 @lilypond[fragment,quote,verbatim,relative=3]
124 There are predefined sets of note names for various other languages.
125 To use them, include the language specific init file. For
126 example: @code{\include "english.ly"}. The available language files
127 and the note names they define are
132 Note Names sharp flat
133 nederlands.ly c d e f g a bes b -is -es
134 english.ly c d e f g a bf b -s/-sharp -f/-flat
136 deutsch.ly c d e f g a b h -is -es
137 norsk.ly c d e f g a b h -iss/-is -ess/-es
138 svenska.ly c d e f g a b h -iss -ess
139 italiano.ly do re mi fa sol la sib si -d -b
140 catalan.ly do re mi fa sol la sib si -d/-s -b
141 espanol.ly do re mi fa sol la sib si -s -b
150 The optional octave specification takes the form of a series of
151 single quote (`@code{'}') characters or a series of comma
152 (`@code{,}') characters. Each @code{'} raises the pitch by one
153 octave; each @code{,} lowers the pitch by an octave
155 @lilypond[quote,fragment,verbatim]
156 c' c'' es' g' as' gisis' ais'
162 Notes can be hidden and unhidden with the following commands
164 @cindex @code{\hideNotes}
166 @cindex @code{\unHideNotes}
172 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
174 @node Chromatic alterations
175 @subsection Chromatic alterations
177 Normally accidentals are printed automatically, but you may also
178 print them manually. A reminder accidental
179 @cindex reminder accidental
181 can be forced by adding an exclamation mark @code{!}
182 after the pitch. A cautionary accidental
183 @cindex cautionary accidental
184 @cindex parenthesized accidental
185 (i.e. an accidental within parentheses) can be obtained by adding the
186 question mark `@code{?}' after the pitch
188 @lilypond[quote,fragment,verbatim]
189 cis' cis' cis'! cis'?
195 The automatic production of accidentals can be tuned in many
196 ways. For more information, refer to @ref{Accidentals}.
201 There are no generally accepted standards for denoting three quarter
202 flats, so LilyPond's symbol does not conform to any standard.
207 A chord is formed by a enclosing a set of pitches in @code{<} and
208 @code{>}. A chord may be followed by a duration, and a set of
209 articulations, just like simple notes.
211 @lilypond[fragment,quote,relative=1]
222 Rests are entered like notes, with the note name @code{r}
224 @lilypond[fragment,quote,raggedright,verbatim]
228 Whole bar rests, centered in middle of the bar,
229 must be done with multi-measure rests. They are discussed in
230 @ref{Multi measure rests}.
233 A rest's vertical position may be explicitly specified by entering a
234 note with the @code{\rest} keyword appended. This makes manual
235 formatting in polyphonic music easier. Rest collision testing will
236 leave these rests alone
240 @lilypond[fragment,quote,raggedright,verbatim]
246 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
253 @cindex Invisible rest
256 An invisible rest (also called a `skip') can be entered like a note
257 with note name `@code{s}' or with @code{\skip @var{duration}}
259 @lilypond[fragment,quote,raggedright,verbatim]
263 The @code{s} syntax is only available in note mode and chord mode. In
264 other situations, you should use the @code{\skip} command
266 @lilypond[quote,raggedright,verbatim]
268 { \time 4/8 \skip 2 \time 4/4 }
269 \relative c'' { a2 a1 }
273 The skip command is merely an empty musical placeholder. It does not
274 produce any output, not even transparent output.
276 The @code{s} skip command does create @internalsref{Staff} and
277 @internalsref{Voice} when necessary, similar to note and rest
278 commands. For example, the following results in an empty staff.
280 @lilypond[quote,raggedright,verbatim]
284 The same fragment using @code{\skip} results in an empty page.
288 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
293 @subsection Durations
297 @cindex @code{\longa}
298 @cindex @code{\breve}
299 @cindex @code{\maxima}
302 In Note, Chord, and Lyrics mode, durations are designated by numbers
303 and dots: durations are entered as their reciprocal values. For example,
304 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
305 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
306 longer than a whole you must use variables
310 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
312 r1 r2 r4 r8 r16 r32 r64 r64
318 a\breve*1/2 \autoBeamOff
319 a1 a2 a4 a8 a16 a32 a64 a64
320 r\longa*1/4 r\breve *1/2
321 r1 r2 r4 r8 r16 r32 r64 r64
327 \remove "Clef_engraver"
328 \override StaffSymbol #'transparent = ##t
329 \override TimeSignature #'transparent = ##t
330 \override BarLine #'transparent = ##t
331 \consists "Pitch_squash_engraver"
338 If the duration is omitted then it is set to the previously entered
339 duration. The default for the first note is a quarter note. The duration
340 can be followed by dots (`@code{.}') in order to obtain dotted note
344 @lilypond[quote,fragment,verbatim]
345 a' b' c''8 b' a'4 a'4. b'4.. c'8.
350 You can alter the length of duration by a fraction @var{N/M}
351 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
352 will not affect the appearance of the notes or rests produced.
354 In the following example, the first three notes take up exactly two
355 beats, but no triplet bracket is printed.
356 @lilypond[quote,fragment,relative=3,verbatim]
358 a4*2/3 gis4*2/3 a4*2/3
364 Dots are normally moved up to avoid staff lines, except in polyphonic
365 situations. The following commands may be used to force a particular
368 @cindex @code{\dotsUp}
370 @cindex @code{\dotsDown}
372 @cindex @code{\dotsBoth}
377 This manual: @ref{Tuplets}
379 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
384 Whenever a note is found, a @internalsref{Stem} object is created
385 automatically. For whole notes and rests, they are also created but
390 @cindex @code{\stemUp}
392 @cindex @code{\stemDown}
394 @cindex @code{\stemBoth}
405 A tie connects two adjacent note heads of the same pitch. The tie in
406 effect extends the length of a note. Ties should not be confused with
407 slurs, which indicate articulation, or phrasing slurs, which indicate
408 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
410 @lilypond[quote,fragment,verbatim]
411 e' ~ e' <c' e' g'> ~ <c' e' g'>
414 When a tie is applied to a chord, all note heads whose pitches match
415 are connected. When no note heads match, no ties will be created.
417 In its meaning a tie is just a way of extending a note duration, similar
418 to the augmentation dot; in the following example there are two ways of
419 notating exactly the same concept
421 @lilypond[quote,fragment,raggedright]
422 \time 3/4 c'2. c'2 ~ c'4
424 If you need to tie a lot of notes over bars, it may be easier to use automatic
425 note splitting (see @ref{Automatic note splitting}).
430 @cindex @code{\tieUp}
432 @cindex @code{\tieDown}
434 @cindex @code{\tieBoth}
436 @cindex @code{\tieDotted}
438 @cindex @code{\tieSolid}
443 In this manual: @ref{Automatic note splitting}.
445 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
447 For tying only a subset of the note heads of a pair of chords, see
448 @inputfileref{input/regression,tie-chord-partial.ly}.
453 Switching staves when a tie is active will not produce a slanted tie.
455 Formatting of ties is a difficult subject. The results are often not
465 @cindex @code{\times}
467 Tuplets are made out of a music expression by multiplying all durations
470 @cindex @code{\times}
472 \times @var{fraction} @var{musicexpr}
476 The duration of @var{musicexpr} will be multiplied by the fraction.
477 The fraction's denominator will be printed over the notes, optionally
478 with a bracket. The most common tuplet is the triplet in which 3
479 notes have the length of 2, so the notes are 2/3 of their written
482 @lilypond[quote,fragment,verbatim]
483 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
486 The property @code{tupletSpannerDuration} specifies how long each
487 bracket should last. With this, you can make lots of tuplets while
488 typing @code{\times} only once, saving lots of typing. In the next
489 example, there are two triplets shown, while @code{\times} was only
492 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
493 \set tupletSpannerDuration = #(ly:make-moment 1 4)
494 \times 2/3 { c'8 c c c c c }
497 The format of the number is determined by the property
498 @code{tupletNumberFormatFunction}. The default prints only the
499 denominator, but if it is set to the Scheme function
500 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
504 @cindex @code{tupletNumberFormatFunction}
505 @cindex tuplet formatting
510 @cindex @code{\tupletUp}
512 @cindex @code{\tupletDown}
514 @cindex @code{\tupletBoth}
519 User manual: @ref{Changing context properties on the fly} for the
523 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
525 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
529 Nested tuplets are not formatted automatically. In this case, outer
530 tuplet brackets should be moved manually, which is demonstrated in
531 @inputfileref{input/regression,tuplet-nest.ly}.
535 @node Easier music entry
536 @section Easier music entry
539 This section deals with tricks and features of the input language that
540 were added solely to help entering music, finding and correcting
541 mistakes. There are also external tools that make debugging easier.
542 See @ref{Point and click} for more information.
544 It is also possible to enter and edit music using other programs. For
545 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
546 website for more information.
553 * Skipping corrected music::
554 * Automatic note splitting::
560 @node Relative octaves
561 @subsection Relative octaves
563 @cindex relative octave specification
565 Octaves are specified by adding @code{'} and @code{,} to pitch names.
566 When you copy existing music, it is easy to accidentally put a pitch
567 in the wrong octave and hard to find such an error. The relative
568 octave mode prevents these errors: a single error puts the rest of the
569 piece off by one octave
571 @cindex @code{\relative}
573 \relative @var{startpitch} @var{musicexpr}
576 The octave of notes that appear in @var{musicexpr} are calculated as
577 follows: If no octave changing marks are used, the basic interval
578 between this and the last note is always taken to be a fourth or
579 less. This distance is determined without regarding alterations; a
580 @code{fisis} following a @code{ceses} will be put above the
583 The octave changing marks @code{'} and @code{,} can be added to raise
584 or lower the pitch by an extra octave. Upon entering relative mode,
585 an absolute starting pitch must be specified that will act as the
586 predecessor of the first note of @var{musicexpr}.
588 Here is the relative mode shown in action
589 @lilypond[quote,fragment,raggedright,verbatim]
595 Octave changing marks are used for intervals greater than a fourth
596 @lilypond[quote,fragment,verbatim]
602 If the preceding item is a chord, the first note of the chord is used
603 to determine the first note of the next chord
605 @lilypond[quote,fragment,verbatim]
613 The pitch after the @code{\relative} contains a note name.
616 The relative conversion will not affect @code{\transpose},
617 @code{\chords} or @code{\relative} sections in its argument. If you
618 want to use relative within transposed music, you must place an
619 additional @code{\relative} inside the @code{\transpose}.
622 @subsection Octave check
625 Octave checks make octave errors easier to correct: a note may be
626 followed by @code{=}@var{quotes} which indicates what its absolute
627 octave should be. In the following example,
629 \relative c'' @{ c='' b=' d,='' @}
633 @c take care with @code, adds confusing quotes.
634 the d will generate a warning, because a d'' is expected, but a d' is
635 found. In the output, the octave is corrected for this and the
640 There is also a syntax that is separate from the notes. The syntax
646 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
647 quotes) in \relative mode. If not, a warning is printed, and the
648 octave is corrected, for example, the first check is passed
649 successfully. The second check fails with an error message. The
650 octave is adjusted so the following notes are in the correct octave
661 The octave of a note following an octave check is determined with
662 respect to the note preceding it. In the next fragment, the last note
663 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
664 be deleted without changing the meaning of the piece.
666 @lilypond[quote,verbatim,fragment]
675 @subsection Bar check
679 @cindex @code{barCheckSynchronize}
682 Bar checks help detect errors in the durations. A bar check is
683 entered using the bar symbol, `@code{|}'. Whenever it is encountered
684 during interpretation, it should fall on a measure boundary. If it
685 does not, a warning is printed. In the next example, the second bar
686 check will signal an error
688 \time 3/4 c2 e4 | g2 |
691 Bar checks can also be used in lyrics, for example
696 Twin -- kle | Twin -- kle
701 @cindex @code{skipTypesetting}
703 Failed bar checks are caused by entering incorrect
704 durations. Incorrect durations often completely garble up the score,
705 especially if it is polyphonic, so you should start correcting the
706 score by scanning for failed bar checks and incorrect durations. To
707 speed up this process, you can use @code{skipTypesetting}, described
710 It is also possible to redefine the meaning of @code{|}. This is done
711 by assigning a music expression to @code{pipeSymbol},
714 pipeSymbol = \bar "||"
716 { c'2 c'2 | c'2 c'2 | }
720 @node Skipping corrected music
721 @subsection Skipping corrected music
723 The property @code{Score.skipTypesetting} can be used to switch on and
724 off typesetting completely during the interpretation phase. When
725 typesetting is switched off, the music is processed much more quickly.
726 This can be used to skip over the parts of a score that have already
727 been checked for errors
729 @lilypond[quote,fragment,raggedright,verbatim]
732 \set Score.skipTypesetting = ##t
734 \set Score.skipTypesetting = ##f
738 @node Automatic note splitting
739 @subsection Automatic note splitting
741 Long notes can be converted automatically to tied notes. This is done
742 by replacing the @internalsref{Note_heads_engraver} by the
743 @internalsref{Completion_heads_engraver}.
744 In the following examples, notes crossing the bar line are split and tied.
747 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
749 \remove "Note_heads_engraver"
750 \consists "Completion_heads_engraver"
752 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
756 This engraver splits all running notes at the bar line, and inserts
757 ties. One of its uses is to debug complex scores: if the measures are
758 not entirely filled, then the ties exactly show how much each measure
763 Not all durations (especially those containing tuplets) can be
764 represented exactly; the engraver will not insert tuplets.
768 Examples: @inputfileref{input/regression,completion-heads.ly}.
770 Program reference: @internalsref{Completion_heads_engraver}.
774 @section Staff notation
776 This section describes music notation that occurs on staff level,
777 such as keys, clefs and time signatures.
779 @cindex Staff notation
790 * Time administration::
791 * Controlling formatting of prefatory matter::
795 @subsection Staff symbol
797 @cindex adjusting staff symbol
799 Notes, dynamic signs, etc. are grouped
800 with a set of horizontal lines, into a staff (plural `staves'). In our
801 system, these lines are drawn using a separate layout object called
805 @cindex staff lines, setting number of
806 @cindex staff lines, setting thickness of
807 @cindex thickness of staff lines, setting
808 @cindex number of staff lines, setting
812 Program reference: @internalsref{StaffSymbol}.
814 Examples: @inputfileref{input/test,staff-lines.ly},
815 @inputfileref{input/test,staff-size.ly}.
819 If a staff is ended halfway a piece, the staff symbol may not end
820 exactly on the bar line.
824 @subsection Key signature
825 @cindex Key signature
829 The key signature indicates the scale in which a piece is played. It
830 is denoted by a set of alterations (flats or sharps) at the start of
834 Setting or changing the key signature is done with the @code{\key}
837 @code{\key} @var{pitch} @var{type}
840 @cindex @code{\minor}
841 @cindex @code{\major}
842 @cindex @code{\minor}
843 @cindex @code{\ionian}
844 @cindex @code{\locrian}
845 @cindex @code{\aeolian}
846 @cindex @code{\mixolydian}
847 @cindex @code{\lydian}
848 @cindex @code{\phrygian}
849 @cindex @code{\dorian}
851 Here, @var{type} should be @code{\major} or @code{\minor} to get
852 @var{pitch}-major or @var{pitch}-minor, respectively.
853 The standard mode names @code{\ionian},
854 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
855 @code{\phrygian}, and @code{\dorian} are also defined.
857 This command sets the context property
858 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
859 can be specified by setting this property directly.
861 Accidentals and key signatures often confuse new users, because
862 unaltered notes get natural signs depending on the key signature. For
863 more information, see @ref{More about pitches}.
867 The ordering of a key cancellation is wrong when it is combined with
868 repeat bar lines. The cancellation is also printed after a line break.
872 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
874 @cindex @code{keySignature}
881 The clef indicates which lines of the staff correspond to which
885 The clef can be set or changed with the @code{\clef} command
886 @lilypond[quote,fragment,verbatim]
887 \key f\major c''2 \clef alto g'2
890 Supported clef-names include
891 @c Moved standard clefs to the top /MB
895 @item treble, violin, G, G2
908 G clef on 1st line, so-called French violin clef
913 @cindex mezzosoprano clef
916 @cindex baritone clef
919 @cindex varbaritone clef
930 By adding @code{_8} or @code{^8} to the clef name, the clef is
931 transposed one octave down or up, respectively, and @code{_15} and
932 @code{^15} transposes by two octaves. The argument @var{clefname}
933 must be enclosed in quotes when it contains underscores or digits. For
937 @cindex choral tenor clef
938 @lilypond[quote,verbatim,fragment,relative=1]
942 This command is equivalent to setting @code{clefGlyph},
943 @code{clefPosition} (which controls the Y position of the clef),
944 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
945 when any of these properties are changed. The following example shows
946 possibilities when setting properties manually.
950 \set Staff.clefGlyph = #"clefs-F"
951 \set Staff.clefPosition = #2
953 \set Staff.clefGlyph = #"clefs-G"
955 \set Staff.clefGlyph = #"clefs-C"
957 \set Staff.clefOctavation = #7
959 \set Staff.clefOctavation = #0
960 \set Staff.clefPosition = #0
970 Program reference: @internalsref{Clef}.
974 @node Ottava brackets
975 @subsection Ottava brackets
977 ``Ottava'' brackets introduce an extra transposition of an octave for
978 the staff. They are created by invoking the function
979 @code{set-octavation}
985 @lilypond[quote,verbatim,fragment]
995 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
996 (for 15ma) as arguments. Internally the function sets the properties
997 @code{ottavation} (e.g. to @code{"8va"}) and
998 @code{centralCPosition}. For overriding the text of the bracket, set
999 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1003 \set Staff.ottavation = #"8"
1008 Program reference: @internalsref{OttavaBracket}.
1010 Examples: @inputfileref{input/regression,ottava.ly},
1011 @inputfileref{input/regression,ottava-broken.ly}.
1015 @code{set-octavation} will get confused when clef changes happen
1016 during an octavation bracket.
1021 @node Time signature
1022 @subsection Time signature
1023 @cindex Time signature
1025 @cindex @code{\time}
1027 Time signature indicates the metrum of a piece: a regular pattern of
1028 strong and weak beats. It is denoted by a fraction at the start of the
1032 The time signature is set or changed by the @code{\time}
1034 @lilypond[quote,fragment,verbatim]
1035 \time 2/4 c'2 \time 3/4 c'2.
1038 The symbol that is printed can be customized with the @code{style}
1039 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1042 @lilypond[fragment,verbatim]
1045 \override TimeSignature #'style = #'()
1052 There are many more options for its layout. See @ref{Ancient time
1053 signatures} for more examples.
1056 This command sets the property @code{timeSignatureFraction},
1057 @code{beatLength} and @code{measureLength} in the @code{Timing}
1058 context, which is normally aliased to @internalsref{Score}. The
1059 property @code{measureLength} determines where bar lines should be
1060 inserted, and how automatic beams should be generated. Changing the
1061 value of @code{timeSignatureFraction} also causes the symbol to be
1064 More options are available through the Scheme function
1065 @code{set-time-signature}. In combination with the
1066 @internalsref{Measure_grouping_engraver}, it will create
1067 @internalsref{MeasureGrouping} signs. Such signs ease reading
1068 rhythmically complex modern music. In the following example, the 9/8
1069 measure is subdivided in 2, 2, 2 and 3. This is passed to
1070 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1072 @lilypond[quote,raggedright,verbatim]
1075 #(set-time-signature 9 8 '(2 2 2 3))
1076 g8[ g] d[ d] g[ g] a8[( bes g]) |
1077 #(set-time-signature 5 8 '(3 2))
1083 \consists "Measure_grouping_engraver"
1091 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1096 Automatic beaming does not use the measure grouping specified with
1097 @code{set-time-signature}.
1099 @node Partial measures
1100 @subsection Partial measures
1103 @cindex partial measure
1104 @cindex measure, partial
1105 @cindex shorten measures
1106 @cindex @code{\partial}
1108 Partial measures, for example in upsteps, are entered using the
1109 @code{\partial} command
1110 @lilypond[quote,fragment,verbatim,relative=2]
1111 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1114 The syntax for this command is
1116 \partial @var{duration}
1118 This is internally translated into
1120 \set Timing.measurePosition = -@var{length of duration}
1123 The property @code{measurePosition} contains a rational number
1124 indicating how much of the measure has passed at this point.
1126 @node Unmetered music
1127 @subsection Unmetered music
1131 Bar lines and bar numbers are calculated automatically. For unmetered
1132 music (e.g. cadenzas), this is not desirable. By setting
1133 @code{Score.timing} to false, this automatic timing can be switched
1134 off. Empty bar lines,
1141 indicate where line breaks can occur.
1145 @cindex @code{\cadenzaOn}
1147 @cindex @code{\cadenzaOff}
1154 @subsection Bar lines
1158 @cindex measure lines
1162 Bar lines delimit measures, but are also used to indicate repeats.
1163 Normally, they are inserted automatically. Line breaks may only
1164 happen on bar lines.
1166 Special types of bar lines can be forced with the @code{\bar} command
1168 @lilypond[quote,relative=2,fragment,verbatim]
1172 The following bar types are available
1173 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1186 For allowing line breaks, there is a special command,
1190 This will insert an invisible bar line, and allow line breaks at this
1193 In scores with many staves, a @code{\bar} command in one staff is
1194 automatically applied to all staves. The resulting bar lines are
1195 connected between different staves of a @internalsref{StaffGroup}
1197 @lilypond[quote,fragment,verbatim]
1199 \context StaffGroup <<
1205 \new Staff { \clef bass c4 g e g }
1207 \new Staff { \clef bass c2 c2 }
1211 A bar line is created whenever the @code{whichBar} property is set.
1212 At the start of a measure it is set to the contents of
1213 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1214 to override default measure bars.
1216 The command @code{\bar }@var{bartype} is a short cut for doing
1217 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1218 is set to a string, a bar line of that type is created.
1220 @cindex @code{whichBar}
1221 @cindex @code{repeatCommands}
1222 @cindex @code{defaultBarType}
1224 You are encouraged to use @code{\repeat} for repetitions. See
1231 In this manual: @ref{Repeats}.
1234 Program reference: the bar line objects that are created at
1235 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1236 lines that span staves are @internalsref{SpanBar} objects.
1238 @cindex bar lines at start of system
1239 @cindex start of system
1241 The bar lines at the start of each system are
1242 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1243 @internalsref{SystemStartBracket}. Only one of these types is created
1244 in every context, and that type is determined by the property
1245 @code{systemStartDelimiter}.
1247 Examples: @inputfileref{input/test,bar-lines.ly},
1250 @node Time administration
1251 @subsection Time administration
1253 Time is administered by the @internalsref{Time_signature_engraver},
1254 which usually lives in the @internalsref{Score} context.
1255 The bookkeeping deals with the following variables
1258 @item currentBarNumber
1261 the length of the measures in the current time signature. For a 4/4
1262 time this is 1, and for 6/8 it is 3/4.
1263 @item measurePosition
1264 the point within the measure where we currently are. This quantity
1265 is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
1266 @code{currentBarNumber} is incremented.
1268 if set to true, the above variables are updated for every time
1269 step. When set to false, the engraver stays in the current measure
1273 Timing can be changed by setting any of these variables explicitly.
1274 In the next example, the 4/4 time signature is printed, but
1275 @code{measureLength} is set to 5/4. After a while, the measure is
1276 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1277 the measure, so the next bar line will fall at 2/4 + 3/8.
1281 \set Score.measureLength = #(ly:make-moment 5 4)
1285 \set Score.measurePosition = #(ly:make-moment -3 8)
1292 @node Controlling formatting of prefatory matter
1293 @subsection Controlling formatting of prefatory matter
1299 \override Staff.Clef #'break-visibility = #end-of-line-visible
1300 \override Staff.KeySignature #'break-visibility = #end-of-line-visible
1301 \set Staff.explicitClefVisibility = #end-of-line-visible
1302 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1304 % We want the time sig to take space, otherwise there is not
1305 % enough white at the start of the line.
1308 \override Staff.TimeSignature #'transparent = ##t
1309 \set Score.defaultBarType = #"empty"
1330 The easiest way to enter fragments with more than one voice on a staff
1331 is to split chords using the separator @code{\\}. You can use it for
1332 small, short-lived voices or for single chords
1336 @lilypond[quote,verbatim,fragment]
1337 \context Staff \relative c'' {
1338 c4 << { f d e } \\ { b c2 } >>
1339 c4 << g' \\ b, \\ f' \\ d >>
1343 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1344 voices are sometimes called "layers" other notation packages}
1346 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1347 each of these contexts, vertical direction of slurs, stems, etc. is set
1350 @cindex @code{\voiceOne}
1351 @cindex @code{\voiceFour}
1353 This can also be done by instantiating @internalsref{Voice} contexts
1354 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1355 a stem directions and horizontal shift for each part
1358 @lilypond[quote,raggedright,verbatim]
1361 \new Voice { \voiceOne cis2 b }
1362 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1363 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1367 The command @code{\oneVoice} will revert back to the normal setting.
1368 @cindex @code{\oneVoice}
1371 Normally, note heads with a different number of dots are not merged, but
1372 when the object property @code{merge-differently-dotted} is set in
1373 the @internalsref{NoteCollision} object, they are merged
1374 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1377 \override Staff.NoteCollision
1378 #'merge-differently-dotted = ##t
1380 } \\ { g8.[ f16] g8.[ f16] } >>
1383 Similarly, you can merge half note heads with eighth notes, by setting
1384 @code{merge-differently-headed}
1385 @lilypond[quote,fragment,relative=2,verbatim]
1388 \override Staff.NoteCollision
1389 #'merge-differently-headed = ##t
1390 c8 c4. } \\ { c2 c2 } >>
1393 LilyPond also vertically shifts rests that are opposite of a stem,
1396 @lilypond[quote,raggedright,fragment,verbatim]
1397 \context Voice << c''4 \\ r4 >>
1405 @cindex @code{\oneVoice}
1407 @cindex @code{\voiceOne}
1409 @cindex @code{\voiceTwo}
1411 @cindex @code{\voiceThree}
1413 @cindex @code{\voiceFour}
1417 The following commands specify in what chords of the current voice
1418 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1419 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1422 @cindex @code{\shiftOn}
1424 @cindex @code{\shiftOnn}
1426 @cindex @code{\shiftOnnn}
1428 @cindex @code{\shiftOff}
1435 Program reference: the objects responsible for resolving collisions are
1436 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1438 Examples: See also example files
1439 @inputfileref{input/regression,collision-dots.ly},
1440 @inputfileref{input/regression,collision-head-chords.ly},
1441 @inputfileref{input/regression,collision-heads.ly},
1442 @inputfileref{input/regression,collision-mesh.ly}, and
1443 @inputfileref{input/regression,collisions.ly}.
1448 Resolving collisions is a intricate subject, and only a few situations
1449 are handled. When LilyPond cannot cope, the @code{force-hshift}
1450 property of the @internalsref{NoteColumn} object and pitched rests can
1451 be used to override typesetting decisions.
1453 When using @code{merge-differently-headed} with an upstem eighth or a
1454 shorter note, and a downstem half note, the eighth note gets the wrong
1457 There is no support for clusters where the same note occurs with
1458 different accidentals in the same chord. In this case, it is
1459 recommended to use enharmonic transcription, or to use special cluster
1460 notation (see @ref{Clusters}).
1465 Beams are used to group short notes into chunks that are aligned with
1466 the metrum. They are inserted automatically
1468 @lilypond[quote,fragment,verbatim,relative=2]
1469 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1472 When these automatic decisions are not good enough, beaming can be
1473 entered explicitly. It is also possible to define beaming patterns
1474 that differ from the defaults.
1476 Individual notes may be marked with @code{\noBeam}, to prevent them
1479 @lilypond[quote,fragment,verbatim,relative=2]
1480 \time 2/4 c8 c\noBeam c c
1486 Program reference: @internalsref{Beam}.
1489 @cindex Automatic beams
1492 * Setting automatic beam behavior::
1497 @subsection Manual beams
1498 @cindex beams, manual
1502 In some cases it may be necessary to override the automatic beaming
1503 algorithm. For example, the autobeamer will not put beams over rests
1504 or bar lines. Such beams are specified by manually: the begin and end
1505 point are marked with @code{[} and @code{]}
1507 @lilypond[quote,fragment,relative=1,verbatim]
1509 r4 r8[ g' a r8] r8 g[ | a] r8
1513 @cindex @code{stemLeftBeamCount}
1515 Normally, beaming patterns within a beam are determined automatically.
1516 If necessary, the properties @code{stemLeftBeamCount} and
1517 @code{stemRightBeamCount} can be used to override the defaults. If
1518 either property is set, its value will be used only once, and then it
1521 @lilypond[quote,fragment,relative=1,verbatim]
1524 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1527 @cindex @code{stemRightBeamCount}
1530 The property @code{subdivideBeams} can be set in order to subdivide
1531 all 16th or shorter beams at beat positions, as defined by the
1532 @code{beatLength} property.
1535 @lilypond[fragment,quote,relative=2,verbatim,noindent]
1537 \set subdivideBeams = ##t
1539 \set Score.beatLength = #(ly:make-moment 1 8)
1542 @cindex @code{subdivideBeams}
1544 Kneed beams are inserted automatically, when a large gap is detected
1545 between the note heads. This behavior can be tuned through the object
1546 property @code{auto-knee-gap}.
1548 Normally, line breaks are forbidden when beams cross bar lines. This
1549 behavior can be changed by setting @code{allowBeamBreak}.
1551 @cindex @code{allowBeamBreak}
1552 @cindex beams and line breaks
1554 @cindex beams, kneed
1556 @cindex auto-knee-gap
1561 User manual: @ref{Changing context properties on the fly} for the
1567 @cindex Frenched staves
1569 Automatically kneed cross-staff beams cannot be used together with
1572 Beams do not avoid collisions with symbols around the notes, such as
1573 texts and accidentals.
1577 @node Setting automatic beam behavior
1578 @subsection Setting automatic beam behavior
1580 @cindex @code{autoBeamSettings}
1581 @cindex @code{(end * * * *)}
1582 @cindex @code{(begin * * * *)}
1583 @cindex automatic beams, tuning
1584 @cindex tuning automatic beaming
1586 @c [TODO: use \applycontext]
1588 In normal time signatures, automatic beams can start on any note but can
1589 only end in a few positions within the measure: beams can end on a beat,
1590 or at durations specified by the properties in
1591 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1592 are defined in @file{scm/auto-beam.scm}.
1594 The value of @code{autoBeamSettings} is changed with two functions,
1596 #(override-auto-beam-setting
1597 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1599 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1601 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1602 @var{context} is an optional context (default: @code{'Voice}). It
1603 determines whether the rule applies to begin or end-points. The
1604 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1605 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1606 to a time signature (wildcards `@code{* *}' may be entered to
1607 designate all time signatures), @var{a}/@var{b} is a duration. By
1608 default, this command changes settings for the current voice. It is
1609 also possible to adjust settings at higher contexts, by adding a
1610 @var{context} argument.
1612 For example, if automatic beams should end on every quarter note, use
1615 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1617 Since the duration of a quarter note is 1/4 of a whole note, it is
1618 entered as @code{(ly:make-moment 1 4)}.
1620 The same syntax can be used to specify beam starting points. In this
1621 example, automatic beams can only end on a dotted quarter note
1623 #(override-auto-beam-setting '(end * * * *) 3 8)
1625 In 4/4 time signature, this means that automatic beams could end only on
1626 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1627 3/8, has passed within the measure).
1629 Rules can also be restricted to specific time signatures. A rule that
1630 should only be applied in @var{N}/@var{M} time signature is formed by
1631 replacing the second asterisks by @var{N} and @var{M}. For example, a
1632 rule for 6/8 time exclusively looks like
1634 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1637 If a rule should be to applied only to certain types of beams, use the
1638 first pair of asterisks. Beams are classified according to the
1639 shortest note they contain. For a beam ending rule that only applies
1640 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1643 @cindex automatic beam generation
1645 @cindex @code{autoBeaming}
1648 If beams are used to indicate melismata in songs, then automatic
1649 beaming should be switched off. This is done by setting
1650 @code{autoBeaming} to @code{#f}.
1654 @cindex @code{\autoBeamOff}
1655 @code{\autoBeamOff},
1656 @cindex @code{\autoBeamOn}
1662 If a score ends while an automatic beam has not been ended and is
1663 still accepting notes, this last beam will not be typeset at all. The
1664 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1665 >>}. If a polyphonic voice ends while an automatic beam is still
1666 accepting notes, it is not typeset.
1668 The rules for ending a beam depend on the shortest note in a beam.
1669 So, while it is possible to have different ending rules for eight
1670 beams and sixteenth beams, a beam that contains both eight and
1671 sixteenth notes will use the rules for the sixteenth beam.
1673 In the example below, the autobeamer makes eight beams and sixteenth
1674 end at 3 eights; the third beam can only be corrected by specifying
1677 @lilypond[quote,raggedright,fragment,relative=1]
1678 #(override-auto-beam-setting '(end * * * *) 3 8)
1679 % rather show case where it goes wrong
1680 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1681 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1683 It is not possible to specify beaming parameters that act differently in
1684 different parts of a measure. This means that it is not possible to use
1685 automatic beaming in irregular meters such as @code{5/8}.
1687 @node Beam formatting
1688 @subsection Beam formatting
1691 When a beam falls in the middle of the staff, the beams point normally
1692 down. However, this behaviour can be altered with the
1693 @code{neutral-direction} property.
1699 \override Beam #'neutral-direction = #-1
1701 \override Beam #'neutral-direction = #1
1707 @section Accidentals
1710 This section describes how to change the way that accidentals are
1711 inserted automatically before the running notes.
1713 Common rules for typesetting accidentals have been canned in a
1714 function. This function is called as follows
1716 @cindex @code{set-accidental-style}
1718 #(set-accidental-style 'modern 'Voice)
1721 The function takes two arguments: a symbol that denotes the style (in
1722 the example, @code{modern}), and another symbol that denotes the
1723 context name (in this example, @code{Voice}). If no context name is
1724 supplied, @code{Staff} is the default.
1726 The following styles are supported
1729 This is the default typesetting behavior. It should correspond
1730 to 18th century common practice: Accidentals are
1731 remembered to the end of the measure in which they occur and
1732 only on their own octave.
1736 The normal behavior is to remember the accidentals on
1737 Staff-level. This variable, however, typesets accidentals
1738 individually for each voice. Apart from that, the rule is similar to
1741 This leads to some weird and often unwanted results
1742 because accidentals from one voice do not get canceled in other
1744 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1746 #(set-accidental-style 'voice)
1752 Hence you should only use @code{voice} if the voices
1753 are to be read solely by individual musicians. If the staff is to be
1754 used by one musician (e.g. a conductor) then you use
1755 @code{modern} or @code{modern-cautionary}
1759 @cindex @code{modern} style accidentals
1760 This rule corresponds to the common practice in the 20th
1762 This rule prints the same accidentals as @code{default}, but temporary
1763 accidentals also are canceled in other octaves. Furthermore,
1764 in the same octave, they also get canceled in the following
1767 @lilypond[quote,raggedright,fragment,verbatim]
1768 #(set-accidental-style 'modern)
1769 cis' c'' cis'2 | c'' c'
1772 @item @code{modern-cautionary}
1773 @cindex @code{modern-cautionary}
1774 This rule is similar to @code{modern}, but the
1775 ``extra'' accidentals (the ones not typeset by
1776 @code{default}) are typeset as cautionary accidentals.
1777 They are printed in reduced size or with parentheses
1778 @lilypond[quote,raggedright,fragment,verbatim]
1779 #(set-accidental-style 'modern-cautionary)
1780 cis' c'' cis'2 | c'' c'
1783 @cindex @code{modern-voice}
1785 This rule is used for multivoice accidentals to be read both by musicians
1786 playing one voice and musicians playing all voices. Accidentals are
1787 typeset for each voice, but they @emph{are} canceled across voices in
1788 the same @internalsref{Staff}.
1790 @cindex @code{modern-voice-cautionary}
1791 @item modern-voice-cautionary
1792 This rule is the same as @code{modern-voice}, but with the extra
1793 accidentals (the ones not typeset by @code{voice}) typeset
1794 as cautionaries. Even though all accidentals typeset by
1795 @code{default} @emph{are} typeset by this variable then
1796 some of them are typeset as cautionaries.
1799 @cindex @code{piano} accidentals
1800 This rule reflects 20th century practice for piano notation. Very similar to
1801 @code{modern} but accidentals also get canceled
1802 across the staves in the same @internalsref{GrandStaff} or
1803 @internalsref{PianoStaff}.
1805 @item piano-cautionary
1806 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1807 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1808 typeset as cautionaries.
1811 @cindex @code{no-reset} accidental style
1813 This is the same as @code{default} but with accidentals lasting
1814 ``forever'' and not only until the next measure
1815 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1816 #(set-accidental-style 'no-reset)
1821 This is sort of the opposite of @code{no-reset}: Accidentals
1822 are not remembered at all---and hence all accidentals are
1823 typeset relative to the key signature, regardless of what was
1826 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1827 #(set-accidental-style 'forget)
1828 \key d\major c4 c cis cis d d dis dis
1835 Program reference: @internalsref{Accidental_engraver},
1836 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1841 Simultaneous notes are considered to be entered in sequential
1842 mode. This means that in a chord the accidentals are typeset as if the
1843 notes in the chord happened once at a time - in the order in which
1844 they appear in the input file.
1846 This is only a problem when accidentals in a chord depend on each
1847 other. This problem can be solved by manually inserting @code{!} and
1848 @code{?} for the problematic notes.
1850 In the default scheme, accidentals only depend on other
1851 accidentals with the same pitch on the same staff, so no conflicts are
1854 @node Expressive marks
1855 @section Expressive marks
1858 @c todo: should change ordering
1859 @c where to put text spanners, metronome marks,
1868 * Analysis brackets::
1871 * Fingering instructions::
1882 A slur indicates that notes are to be played bound or @emph{legato}.
1885 They are entered using parentheses
1886 @lilypond[quote,relative=2,fragment,verbatim]
1887 f( g)( a) a8 b( a4 g2 f4)
1891 The direction of a slur can be set with the
1895 \override Slur #'direction = #UP
1896 \slurUp % shortcut for the previous line
1900 However, there is a convenient shorthand for forcing slur
1901 directions. By adding @code{_} or @code{^} before the opening
1902 parentheses, the direction is also set. For example,
1904 @lilypond[relative=2,fragment]
1911 @cindex @code{\slurUp}
1913 @cindex @code{\slurDown}
1915 @cindex @code{\slurBoth}
1917 @cindex @code{\slurDotted}
1919 @cindex @code{\slurSolid}
1924 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1928 @cindex Adjusting slurs
1930 @node Phrasing slurs
1931 @subsection Phrasing slurs
1933 @cindex phrasing slurs
1934 @cindex phrasing marks
1936 A phrasing slur (or phrasing mark) connects chords and is used to
1937 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1940 @lilypond[quote,fragment,verbatim,relative=1]
1941 \time 6/4 c'\( d( e) f( e) d\)
1944 Typographically, the phrasing slur behaves almost exactly like a
1945 normal slur. However, they are treated as different objects. A
1946 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1947 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1948 @code{\phrasingSlurBoth}.
1950 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1951 will only affect normal slurs and not phrasing slurs.
1955 @cindex @code{\phrasingSlurUp}
1956 @code{\phrasingSlurUp},
1957 @cindex @code{\phrasingSlurDown}
1958 @code{\phrasingSlurDown},
1959 @cindex @code{\phrasingSlurBoth}
1960 @code{\phrasingSlurBoth}.
1964 Program reference: see also @internalsref{PhrasingSlur}, and
1965 @internalsref{PhrasingSlurEvent}.
1969 Putting phrasing slurs over rests leads to spurious warnings.
1972 @subsection Breath marks
1974 Breath marks are entered using @code{\breathe}
1977 @lilypond[quote,fragment,relative=1,verbatim]
1981 The glyph of the breath mark can be tuned by overriding the
1982 @code{text} property of the @code{BreathingSign} layout object with
1983 any markup text. For example,
1984 @lilypond[quote,fragment,verbatim,relative=1]
1986 \override BreathingSign #'text
1987 = #(make-musicglyph-markup "scripts-rvarcomma")
1994 Program reference: @internalsref{BreathingSign},
1995 @internalsref{BreathingSignEvent}.
1997 Examples: @inputfileref{input/regression,breathing-sign.ly}.
2000 @node Metronome marks
2001 @subsection Metronome marks
2004 @cindex beats per minute
2005 @cindex metronome marking
2007 Metronome settings can be entered as follows
2009 \tempo @var{duration} = @var{per-minute}
2012 In the MIDI output, they are interpreted as a tempo change, and in the
2013 paper output, a metronome marking is printed
2014 @cindex @code{\tempo}
2015 @lilypond[quote,fragment,verbatim]
2021 Program reference: @internalsref{MetronomeChangeEvent}.
2026 @subsection Text spanners
2027 @cindex Text spanners
2029 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2030 are written as texts, and extended over many measures with dotted
2031 lines. You can create such texts using text spanners: attach
2032 @code{\startTextSpan} and @code{\stopTextSpan} to the
2033 start and ending note of the spanner.
2035 The string to be printed, as well as the style, is set through object
2038 @lilypond[quote,fragment,relative=1,verbatim]
2041 \override TextSpanner #'direction = #-1
2042 \override TextSpanner #'edge-text = #'("rall " . "")
2043 c2\startTextSpan b c\stopTextSpan a
2050 Internals @internalsref{TextSpanEvent},
2051 @internalsref{TextSpanner}.
2053 Examples: @inputfileref{input/regression,text-spanner.ly}.
2056 @node Analysis brackets
2057 @subsection Analysis brackets
2059 @cindex phrasing brackets
2060 @cindex musicological analysis
2061 @cindex note grouping bracket
2063 Brackets are used in musical analysis to indicate structure in musical
2064 pieces. LilyPond supports a simple form of nested horizontal brackets.
2065 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2066 @internalsref{Staff} context. A bracket is started with
2067 @code{\startGroup} and closed with @code{\stopGroup}
2069 @lilypond[quote,raggedright,verbatim]
2072 c4\startGroup\startGroup
2075 c4\stopGroup\stopGroup
2079 \Staff \consists "Horizontal_bracket_engraver"
2085 Program reference: @internalsref{HorizontalBracket},
2086 @internalsref{NoteGroupingEvent}.
2088 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2092 @subsection Articulations
2093 @cindex Articulations
2095 @cindex articulations
2099 A variety of symbols can appear above and below notes to indicate
2100 different characteristics of the performance. They are added to a note
2101 by adding a dash and the character signifying the
2102 articulation. They are demonstrated here
2104 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2106 The meanings of these shorthands can be changed. See
2107 @file{ly/script-init.ly} for examples.
2110 The script is automatically placed, but if you need to force
2111 directions, you can use @code{_} to force them down, or @code{^} to
2113 @lilypond[quote,fragment,verbatim]
2117 Other symbols can be added using the syntax
2118 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2119 can be forced up or down using @code{^} and @code{_},
2122 @lilypond[quote,verbatim,fragment,relative=3]
2123 c\fermata c^\fermata c_\fermata
2130 @cindex staccatissimo
2139 @cindex organ pedal marks
2148 @cindex prallmordent
2152 @cindex thumb marking
2157 @lilypondfile[quote,raggedright]{script-chart.ly}
2160 The vertical ordering of scripts is controlled with the
2161 @code{script-priority} property. The lower this number, the closer it
2162 will be put to the note. In this example, the
2163 @internalsref{TextScript} (the sharp symbol) first has the lowest
2164 priority, so it is put lowest in the first example. In the second, the
2165 prall trill (the @internalsref{Script}) has the lowest, so it on the
2166 inside. When two objects have the same priority, the order in which
2167 they are entered decides which one comes first.
2172 \once \override TextScript #'script-priority = #-100
2173 a4^\prall^\markup { \sharp }
2175 \once \override Script #'script-priority = #-100
2176 a4^\prall^\markup { \sharp }
2184 @cindex @code{\scriptUp}
2186 @cindex @code{\scriptDown}
2188 @cindex @code{\scriptBoth}
2193 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2197 These note ornaments appear in the printed output but have no
2198 effect on the MIDI rendering of the music.
2202 @node Running trills
2203 @subsection Running trills
2205 Long running trills are made with @code{\startTrillSpan} and
2206 @code{\stopTrillSpan},
2210 \relative \new Voice {
2211 << { c1 \startTrillSpan }
2212 { s2. \grace { d16[\stopTrillSpan e] } } >>
2218 @code{\startTrillSpan},
2219 @cindex @code{\startTrillSpan}
2220 @code{\stopTrillSpan}.
2221 @cindex @code{\stopTrillSpan}
2225 Program reference: @internalsref{TrillSpanner},
2226 @internalsref{TrillSpanEvent}.
2228 @node Fingering instructions
2229 @subsection Fingering instructions
2233 Fingering instructions can be entered using
2235 @var{note}-@var{digit}
2237 For finger changes, use markup texts
2239 @lilypond[quote,verbatim,raggedright,fragment]
2240 c'4-1 c'4-2 c'4-3 c'4-4
2241 c'^\markup { \finger "2-3" }
2244 @cindex finger change
2249 You can use the thumb-script to indicate that a note should be
2250 played with the thumb (e.g. in cello music)
2252 @lilypond[quote,verbatim,raggedright,fragment]
2253 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2256 Fingerings for chords can also be added to individual notes
2257 of the chord by adding them after the pitches
2258 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2259 < c-1 e-2 g-3 b-5 >4
2263 iIn this case, setting @code{fingeringOrientations} will put fingerings next
2266 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2267 \set fingeringOrientations = #'(left down)
2268 <c-1 es-2 g-4 bes-5 > 4
2269 \set fingeringOrientations = #'(up right down)
2270 <c-1 es-2 g-4 bes-5 > 4
2271 \set fingeringOrientations = #'(right)
2275 The last note demonstrates how fingering instructions can be put close
2276 to note heads in monophonic music, using this feature.
2280 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2282 Examples: @inputfileref{input/regression,finger-chords.ly}.
2285 @subsection Text scripts
2286 @cindex Text scripts
2288 @cindex text items, non-empty
2289 @cindex non-empty texts
2291 It is possible to place arbitrary strings of text or markup text (see
2292 @ref{Text markup}) above or below notes by using a string
2293 @code{c^"text"}. By default, these indications do not influence the
2294 note spacing, but by using the command @code{\fatText}, the widths
2295 will be taken into account
2297 @lilypond[quote,fragment,raggedright,verbatim]
2299 c4^"longtext" \fatText c4_"longlongtext" c4
2303 It is possible to use @TeX{} commands in the strings, but this should
2304 be avoided because the exact dimensions of the string can then no
2309 @cindex @code{\fatText}
2311 @cindex @code{\emptyText}
2316 In this manual: @ref{Text markup}.
2318 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2324 @subsection Grace notes
2327 @c should have blurb about accaciatura / appogiatura
2329 @cindex @code{\grace}
2333 Grace notes are ornaments that are written out. The most common ones
2334 are acciaccatura, which should be played as very short. It is denoted
2335 by a slurred small note with a slashed stem. The appoggiatura is a
2336 grace note that takes a fixed fraction of the main note, is and
2337 denoted as a slurred note in small print without a slash.
2338 They are entered with the commands @code{\acciaccatura} and
2339 @code{\appoggiatura}, as demonstrated in the following example
2342 @cindex appoggiatura
2343 @cindex acciaccatura
2345 @lilypond[quote,relative=2,verbatim,fragment]
2346 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2347 \acciaccatura { g16[ f] } e4
2350 Both are special forms of the @code{\grace} command. By prefixing this
2351 keyword to a music expression, a new one is formed, which will be
2352 printed in a smaller font and takes up no logical time in a measure.
2354 @lilypond[quote,relative=2,verbatim,fragment]
2356 \grace { c16[ d16] } c2 c4
2360 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2361 @code{\grace} command does not start a slur.
2363 Internally, timing for grace notes is done using a second, `grace'
2364 time. Every point in time consists of two rational numbers: one
2365 denotes the logical time, one denotes the grace timing. The above
2366 example is shown here with timing tuples
2368 @lilypond[quote,raggedright]
2371 c4 \grace c16 c4 \grace {
2374 \new Lyrics \lyrics {
2377 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2378 \markup { (\fraction 1 4 , 0 ) } 4
2380 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2381 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2383 \markup { ( \fraction 2 4 , 0 ) }
2389 The placement of grace notes is synchronized between different staves.
2390 In the following example, there are two sixteenth graces notes for
2391 every eighth grace note
2393 @lilypond[quote,relative=2,verbatim,fragment]
2394 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2395 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2400 If you want to end a note with a grace, the standard trick is to put
2401 the grace notes after a ``space note''
2403 @lilypond[quote,fragment,verbatim,relative=2]
2406 { s2 \grace { c16[ d] } } >>
2412 By adjusting the duration of the skip note (here it is a half-note),
2413 the space between the main-note and the grace is adjusted.
2416 A @code{\grace} section will introduce special typesetting settings,
2417 for example, to produce smaller type, and set directions. Hence, when
2418 introducing layout tweaks, they should be inside the grace section,
2420 @lilypond[quote,fragment,verbatim,relative=2]
2423 \override Stem #'direction = #-1
2425 \revert Stem #'direction
2432 The overrides should also be reverted inside the grace section.
2434 If the layout of grace sections must be changed throughout the music,
2435 then this can be accomplished through the function
2436 @code{add-grace-property}. The following example undefines the Stem
2437 direction for this grace, so stems do not always point up.
2441 #(add-grace-property 'Voice 'Stem 'direction '())
2447 Another option is to change the variables @code{startGraceMusic},
2448 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2449 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2450 @code{stopAppoggiaturaMusic}. More information is in the file
2451 @file{ly/grace-init.ly}.
2456 Program reference: @internalsref{GraceMusic}.
2460 A score that starts with an @code{\grace} section needs an explicit
2461 @code{\context Voice} declaration, otherwise the main note and grace
2462 note end up on different staves.
2464 Grace note synchronization can also lead to surprises. Staff notation,
2465 such as key signatures, bar lines, etc. are also synchronized. Take
2466 care when you mix staves with grace notes and staves without, for example,
2468 @lilypond[quote,relative=2,verbatim,fragment]
2469 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2470 \new Staff { c4 \bar "|:" d4 } >>
2474 This can be remedied by inserting grace skips, for the above example
2477 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2480 Grace sections should only be used within sequential music
2481 expressions. Nesting or juxtaposing grace sections is not supported,
2482 and might produce crashes or other errors.
2486 @subsection Glissando
2489 @cindex @code{\glissando}
2491 A glissando is a smooth change in pitch. It is denoted by a line or a
2492 wavy line between two notes.
2495 A glissando line can be requested by attaching a @code{\glissando} to
2498 @lilypond[quote,fragment,relative=1,verbatim]
2504 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2506 Example files: @file{input/regression,glissando.ly}
2512 Printing text over the line (such as @emph{gliss.}) is not supported.
2516 @subsection Dynamics
2529 @cindex @code{\ffff}
2539 Absolute dynamic marks are specified using a command after a note
2540 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2541 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2542 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2543 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2545 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2546 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2556 A crescendo mark is started with @code{\<} and terminated with
2557 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2558 with @code{\!}. Because these marks are bound to notes, if you must
2559 use spacer notes if multiple marks during one note are needed
2561 @lilypond[quote,fragment,verbatim]
2562 c''\< c''\! d''\> e''\!
2563 << f''1 { s4 s4\< s4\! \> s4\! } >>
2565 This may give rise to very short hairpins. Use @code{minimum-length}
2566 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2570 \override Staff.Hairpin #'minimum-length = #5
2573 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2574 is an example how to do it
2576 @lilypond[quote,fragment,relative=2,verbatim]
2586 You can also supply your own texts
2587 @lilypond[quote,fragment,relative=1,verbatim]
2589 \set crescendoText = \markup { \italic "cresc. poco" }
2590 \set crescendoSpanner = #'dashed-line
2600 @cindex @code{\dynamicUp}
2602 @cindex @code{\dynamicDown}
2603 @code{\dynamicDown},
2604 @cindex @code{\dynamicBoth}
2605 @code{\dynamicBoth}.
2607 @cindex direction, of dynamics
2611 Program reference: @internalsref{CrescendoEvent},
2612 @internalsref{DecrescendoEvent}, and
2613 @internalsref{AbsoluteDynamicEvent}.
2615 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2616 objects. Vertical positioning of these symbols is handled by the
2617 @internalsref{DynamicLineSpanner} object.
2625 @cindex @code{\repeat}
2628 Repetition is a central concept in music, and multiple notations exist
2629 for repetitions. In LilyPond, most of these notations can be captured
2630 in a uniform syntax. One of the advantages is that they can be
2631 rendered in MIDI accurately.
2633 The following types of repetition are supported
2637 Repeated music is fully written (played) out. Useful for MIDI
2638 output, and entering repetitive music.
2641 This is the normal notation: Repeats are not written out, but
2642 alternative endings (volte) are printed, left to right.
2646 Alternative endings are written stacked. This has limited use but may be
2647 used to typeset two lines of lyrics in songs with repeats, see
2648 @inputfileref{input,star-spangled-banner.ly}.
2656 Make beat or measure repeats. These look like percent signs.
2662 * Repeats and MIDI::
2663 * Manual repeat commands::
2665 * Tremolo subdivisions::
2670 @subsection Repeat syntax
2673 LilyPond has one syntactic construct for specifying different types of
2674 repeats. The syntax is
2677 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2680 If you have alternative endings, you may add
2681 @cindex @code{\alternative}
2683 \alternative @code{@{} @var{alternative1}
2685 @var{alternative3} @dots{} @code{@}}
2687 where each @var{alternative} is a music expression. If you do not
2688 give enough alternatives for all of the repeats, the first alternative
2689 is assumed to be played more than once.
2691 Normal notation repeats are used like this
2692 @lilypond[quote,fragment,verbatim,relative=2]
2694 \repeat volta 2 { c4 d e f }
2695 \repeat volta 2 { f e d c }
2698 With alternative endings
2699 @lilypond[quote,fragment,verbatim,relative=2]
2701 \repeat volta 2 {c4 d e f}
2702 \alternative { {d2 d} {f f,} }
2706 @lilypond[quote,fragment,verbatim,relative=2]
2709 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2710 \alternative { { g4 g g } { a | a a a a | b2. } }
2716 Brackets for the repeat are normally only printed over the topmost
2717 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2718 property @inputfileref{input/regression,volta-multi-staff.ly},
2719 @inputfileref{input/regression,volta-chord-names.ly}
2721 It is possible to shorten volta brackets
2722 by setting @code{voltaSpannerDuration}. In the next example, the
2723 bracket only lasts one measure, which is a duration of 3/4.
2727 @lilypond[verbatim,raggedright]
2731 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2732 \repeat "volta" 5 { d d d }
2733 \alternative { { e e e f f f }
2740 A nested repeat like
2749 is ambiguous, since it is is not clear to which @code{\repeat} the
2750 @code{\alternative} belongs. This ambiguity is resolved by always
2751 having the @code{\alternative} belong to the inner @code{\repeat}.
2752 For clarity, it is advisable to use braces in such situations.
2757 Timing information is not remembered at the start of an alternative,
2758 so after a repeat timing information must be reset by hand, for
2759 example by setting @code{Score.measurePosition} or entering
2760 @code{\partial}. Similarly, slurs or ties are also not repeated.
2765 @node Repeats and MIDI
2766 @subsection Repeats and MIDI
2768 @cindex expanding repeats
2770 An advantage of the unified syntax for repeats, is that all repeats
2771 may be played out for the MIDI output. This is achieved by
2772 applying the @code{\unfoldrepeats} music function.
2774 @lilypond[verbatim,raggedright]
2777 \repeat tremolo 8 {c'32 e' }
2778 \repeat percent 2 { c''8 d'' }
2779 \repeat volta 2 {c'4 d' e' f'}
2788 When creating a score file using @code{\unfoldrepeats} for midi, then
2789 it is necessary to make two @code{\score} blocks. One for MIDI, with
2790 unfolded repeats, and one for notation, eg.
2798 \unfoldrepeats @var{..music..}
2803 @node Manual repeat commands
2804 @subsection Manual repeat commands
2806 @cindex @code{repeatCommands}
2808 The property @code{repeatCommands} can be used to control the layout of
2809 repeats. Its value is a Scheme list of repeat commands, where each repeat
2813 @item the symbol @code{start-repeat},
2814 which prints a @code{|:} bar line,
2815 @item the symbol @code{end-repeat},
2816 which prints a @code{:|} bar line,
2817 @item the list @code{(volta @var{text})},
2818 which prints a volta bracket saying @var{text}: The text can be specified as
2819 a text string or as a markup text, see @ref{Text markup}. Do not
2820 forget to change the font, as the default number font does not contain
2821 alphabetic characters. Or,
2822 @item the list @code{(volta #f)}, which
2823 stops a running volta bracket
2826 @lilypond[quote,verbatim,fragment,relative=2]
2828 \set Score.repeatCommands = #'((volta "93") end-repeat)
2830 \set Score.repeatCommands = #'((volta #f))
2838 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2839 @internalsref{VoltaRepeatedMusic},
2840 @internalsref{UnfoldedRepeatedMusic}, and
2841 @internalsref{FoldedRepeatedMusic}.
2843 @node Tremolo repeats
2844 @subsection Tremolo repeats
2845 @cindex tremolo beams
2847 To place tremolo marks between notes, use @code{\repeat} with tremolo
2849 @lilypond[quote,verbatim,raggedright]
2850 \context Voice \relative c' {
2851 \repeat "tremolo" 8 { c16 d16 }
2852 \repeat "tremolo" 4 { c16 d16 }
2853 \repeat "tremolo" 2 { c16 d16 }
2857 Tremolo marks can also be put on a single note. In this case, the
2858 note should not be surrounded by braces.
2859 @lilypond[quote,verbatim,raggedright]
2860 \repeat "tremolo" 4 c'16
2863 A similar mechanism is the tremolo subdivision, described in
2864 @ref{Tremolo subdivisions}.
2868 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2870 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2871 tremolos are @internalsref{StemTremolo} objects. The music expression is
2872 @internalsref{TremoloEvent}.
2874 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2875 @inputfileref{input/regression,stem-tremolo.ly}.
2877 @node Tremolo subdivisions
2878 @subsection Tremolo subdivisions
2879 @cindex tremolo marks
2880 @cindex @code{tremoloFlags}
2882 Tremolo marks can be printed on a single note by adding
2883 `@code{:}[@var{length}]' after the note. The length must be at least
2884 8. A @var{length} value of 8 gives one line across the note stem. If
2885 the length is omitted, the last value (stored in @code{tremoloFlags})
2888 @lilypond[quote,verbatim,fragment]
2889 c'2:8 c':32 | c': c': |
2892 @c [TODO : stok is te kort bij 32en]
2896 Tremolos entered in this way do not carry over into the MIDI output.
2900 In this manual: @ref{Tremolo repeats}.
2902 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2904 @node Measure repeats
2905 @subsection Measure repeats
2907 @cindex percent repeats
2908 @cindex measure repeats
2910 In the @code{percent} style, a note pattern can be repeated. It is
2911 printed once, and then the pattern is replaced with a special sign.
2912 Patterns of a one and two measures are replaced by percent-like signs,
2913 patterns that divide the measure length are replaced by slashes
2915 @lilypond[quote,verbatim,raggedright]
2916 \repeat "percent" 4 { c'4 }
2917 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2922 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2923 @internalsref{PercentRepeatedMusic}, and
2924 @internalsref{DoublePercentRepeat}.
2928 @node Rhythmic music
2929 @section Rhythmic music
2933 * Showing melody rhythms::
2934 * Entering percussion::
2935 * Percussion staves::
2939 @node Showing melody rhythms
2940 @subsection Showing melody rhythms
2942 Sometimes you might want to show only the rhythm of a melody. This
2943 can be done with the rhythmic staff. All pitches of notes on such a
2944 staff are squashed, and the staff itself has a single line
2946 @lilypond[quote,fragment,relative=1,verbatim]
2947 \context RhythmicStaff {
2949 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2955 Program reference: @internalsref{RhythmicStaff}.
2957 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2960 @node Entering percussion
2961 @subsection Entering percussion
2967 Percussion notes may be entered in @code{\drums} mode, which is
2968 similar to @code{notes}. Each piece of percussion has a full name and
2969 an abbreviated name, and both be used in input files
2972 hihat hh bassdrum bd
2974 @lilypond[quote,raggedright]
2975 \new DrumStaff \drums { hihat hh bassdrum bd }
2978 The complete list of drum names is in the init file
2979 @file{ly/drumpitch-init.ly}.
2980 @c TODO: properly document this.
2984 Program reference: @internalsref{DrumNoteEvent}.
2986 @node Percussion staves
2987 @subsection Percussion staves
2991 A percussion part for more than one instrument typically uses a
2992 multiline staff where each position in the staff refers to one piece
2996 To typeset the music, the notes must be interpreted in a
2997 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3000 @lilypond[quote,raggedright,verbatim]
3001 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3002 down = \drums { bassdrum4 snare8 bd r bd sn4 }
3004 \new DrumVoice { \voiceOne \up }
3005 \new DrumVoice { \voiceTwo \down }
3009 The above example shows verbose polyphonic notation. The short
3010 polyphonic notation, described in @ref{Polyphony}, can also be used if
3011 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3013 @lilypond[quote,fragment,verbatim]
3015 \context DrumVoice = "1" { s1 *2 }
3016 \context DrumVoice = "2" { s1 *2 }
3020 { \repeat unfold 16 hh16 }
3029 There are also other layout possibilities. To use these, set the
3030 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3031 The following variables have been predefined
3035 is the default. It typesets a typical drum kit on a five-line staff
3037 @lilypond[quote,noindent]
3038 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
3039 bd sn ss tomh tommh tomml toml tomfh tomfl }
3040 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
3041 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3043 << \new DrumStaff\with {
3044 \remove Bar_engraver
3045 \remove Time_signature_engraver
3046 \override Stem #'transparent = ##t
3047 \override Stem #'Y-extent-callback = ##f
3048 minimumVerticalExtent = #'(-4.0 . 5.0)
3050 \context Lyrics \nam
3053 %% need to do this, because of indented @itemize
3056 \override LyricText #'font-family = #'typewriter
3057 \override BarNumber #'transparent =##T
3061 The drum scheme supports six different toms. When there fewer toms, simply
3062 select the toms that produce the desired result, i.e. to get toms on
3063 the three middle lines you use @code{tommh}, @code{tomml} and
3066 @item timbales-style
3067 to typeset timbales on a two line staff
3069 @lilypond[quote,raggedright]
3070 nam = \lyrics { timh ssh timl ssl cb }
3071 mus = \drums { timh ssh timl ssl cb s16 }
3074 \context DrumStaff \with {
3075 \remove Bar_engraver
3076 \remove Time_signature_engraver
3077 \override Stem #'transparent = ##t
3078 \override Stem #'Y-extent-callback = ##f
3079 \override StaffSymbol #'line-count = #2
3080 \override StaffSymbol #'staff-space = #2
3081 minimumVerticalExtent = #'(-3.0 . 4.0)
3082 drumStyleTable = #timbales-style
3085 \override LyricText #'font-family = #'typewriter
3091 to typeset congas on a two line staff
3093 @lilypond[quote,raggedright]
3094 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
3095 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3097 \context DrumStaff\with {
3098 \remove Bar_engraver
3099 \remove Time_signature_engraver
3100 drumStyleTable = #congas-style
3101 \override StaffSymbol #'line-count = #2
3103 %% this sucks; it will lengthen stems.
3104 \override StaffSymbol #'staff-space = #2
3105 \override Stem #'transparent = ##t
3106 \override Stem #'Y-extent-callback = ##f
3109 \override LyricText #'font-family = #'typewriter
3114 to typeset bongos on a two line staff
3116 @lilypond[quote,raggedright]
3117 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
3118 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
3120 \context DrumStaff\with {
3121 \remove Bar_engraver
3122 \remove Time_signature_engraver
3123 \override StaffSymbol #'line-count = #2
3124 drumStyleTable = #bongos-style
3126 %% this sucks; it will lengthen stems.
3127 \override StaffSymbol #'staff-space = #2
3128 \override Stem #'transparent = ##t
3129 \override Stem #'Y-extent-callback = ##f
3132 \override LyricText #'font-family = #'typewriter
3137 @item percussion-style
3138 to typeset all kinds of simple percussion on one line staves
3139 @lilypond[quote,raggedright]
3140 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
3141 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3143 \context DrumStaff\with{
3144 \remove Bar_engraver
3145 drumStyleTable = #percussion-style
3146 \override StaffSymbol #'line-count = #1
3147 \remove Time_signature_engraver
3148 \override Stem #'transparent = ##t
3149 \override Stem #'Y-extent-callback = ##f
3153 \override LyricText #'font-family = #'typewriter
3159 If you do not like any of the predefined lists you can define your own
3160 list at the top of your file
3162 @lilypond[quote,raggedright,verbatim]
3164 (bassdrum default #f -1)
3165 (snare default #f 0)
3167 (pedalhihat xcircle "stopped" 2)
3168 (lowtom diamond #f 3)))
3169 up = \drums { hh8 hh hh hh hhp4 hhp }
3170 down = \drums { bd4 sn bd toml8 toml }
3173 \set DrumStaff.drumStyleTable
3174 = #(alist->hash-table mydrums)
3175 \new DrumVoice { \voiceOne \up }
3176 \new DrumVoice { \voiceTwo \down }
3183 Init files: @file{ly/drumpitch-init.ly}.
3185 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3189 Because general MIDI does not contain rim shots, the sidestick is used
3190 for this purpose instead.
3193 @section Piano music
3195 Piano staves are two normal staves coupled with a brace. The staves
3196 are largely independent, but sometimes voices can cross between the
3197 two staves. The same notation is also used for harps and other key
3198 instruments. The @internalsref{PianoStaff} is especially built to
3199 handle this cross-staffing behavior. In this section we discuss the
3200 @internalsref{PianoStaff} and some other pianistic peculiarities.
3204 * Automatic staff changes::
3205 * Manual staff switches::
3208 * Staff switch lines::
3213 Dynamics are not centered, but kludges do exist. See
3214 @inputfileref{input/template,piano-dynamics.ly}.
3216 @cindex cross staff stem
3217 @cindex stem, cross staff
3218 @cindex distance between staves in piano music
3220 The distance between the two staves is normally fixed across the
3221 entire score. It is possible to tune this per system, but it does
3222 require arcane command incantations. See
3223 @inputfileref{input/test,piano-staff-distance.ly}.
3226 @node Automatic staff changes
3227 @subsection Automatic staff changes
3228 @cindex Automatic staff changes
3230 Voices can switch automatically between the top and the bottom
3231 staff. The syntax for this is
3235 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3240 The two staves of the piano staff must be named @code{up} and
3243 A @code{\relative} section that is outside of @code{\autochange} has
3244 no effect on the pitches of @var{music}, so, if necessary, put
3245 @code{\relative} inside @code{\autochange} like
3249 \autochange \relative @dots{} \new Voice @dots{}
3254 The autochanger switches on basis of pitch (middle C is the turning
3255 point), and it looks ahead skipping over rests to switch in
3256 advance. Here is a practical example
3258 @lilypond[quote,verbatim,raggedright]
3259 \context PianoStaff <<
3260 \context Staff = "up" {
3261 \autochange \new Voice \relative c' {
3262 g4 a b c d r4 a g } }
3263 \context Staff = "down" {
3270 In this example, spacer rests are used to prevent the bottom staff from
3271 terminating too soon.
3276 In this manual: @ref{Manual staff switches}.
3278 Program reference: @internalsref{AutoChangeMusic}.
3284 The staff switches often do not end up in optimal places. For high
3285 quality output, staff switches should be specified manually.
3288 @code{\autochange} cannot be inside @code{\times}.
3290 Internally, the @code{\partcombine} interprets both arguments as
3291 @code{Voice}s named @code{one} and @code{two}, and then decides when
3292 the parts can be combined. Consequently, if the arguments switch to
3293 differently named @internalsref{Voice} contexts, the events in those
3297 @node Manual staff switches
3298 @subsection Manual staff switches
3300 @cindex manual staff switches
3301 @cindex staff switch, manual
3303 Voices can be switched between staves manually, using the following command
3305 \change Staff = @var{staffname} @var{music}
3309 The string @var{staffname} is the name of the staff. It switches the
3310 current voice from its current staff to the Staff called
3311 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3312 @code{"down"}. The @context{Staff} referred to must already exist, so
3313 usually the setup for a score will start with a setup of the staves,
3317 \context Staff = up @{
3318 \skip 1 * 10 %@emph{ keep staff alive}
3320 \context Staff = down @{
3321 \skip 1 * 10 %@emph{idem}
3327 and the @context{Voice} is inserted afterwards
3330 \context Staff = down
3331 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3339 Pianos have pedals that alter the way sound are produced. Generally, a
3340 piano has three pedals, sustain, una corda, and sostenuto.
3343 Piano pedal instruction can be expressed by attaching
3344 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3345 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3348 @lilypond[quote,fragment,verbatim]
3349 c'4\sustainDown c'4\sustainUp
3352 What is printed can be modified by setting @code{pedal@var{X}Strings},
3353 where @var{X} is one of the pedal types: @code{Sustain},
3354 @code{Sostenuto} or @code{UnaCorda}. Refer to
3355 @internalsref{SustainPedal} in the program reference for more
3358 Pedals can also be indicated by a sequence of brackets, by setting the
3359 @code{pedalSustainStyle} property to @code{bracket} objects
3361 @lilypond[quote,fragment,verbatim,relative=2]
3362 \set Staff.pedalSustainStyle = #'bracket
3364 b\sustainUp\sustainDown
3365 b g \sustainUp a \sustainDown \bar "|."
3368 A third style of pedal notation is a mixture of text and brackets,
3369 obtained by setting the @code{pedalSustainStyle} style property to
3372 @lilypond[quote,fragment,verbatim,relative=2]
3373 \set Staff.pedalSustainStyle = #'mixed
3375 b\sustainUp\sustainDown
3376 b g \sustainUp a \sustainDown \bar "|."
3379 The default `*Ped.' style for sustain and damper pedals corresponds to
3380 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3383 @lilypond[quote,fragment,verbatim,relative=2]
3384 c\sostenutoDown d e c, f g a\sostenutoUp
3387 For fine-tuning of the appearance of a pedal bracket, the properties
3388 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3389 @code{PianoPedalBracket} objects (see
3390 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3391 bracket may be extended to the end of the note head
3393 @lilypond[quote,fragment,verbatim,relative=2]
3394 \override Staff.PianoPedalBracket
3395 #'shorten-pair = #'(0 . -1.0)
3396 c\sostenutoDown d e c, f g a\sostenutoUp
3400 @subsection Arpeggio
3403 @cindex broken arpeggio
3404 @cindex @code{\arpeggio}
3406 You can specify an arpeggio sign on a chord by attaching an
3407 @code{\arpeggio} to a chord
3410 @lilypond[quote,fragment,relative=1,verbatim]
3414 When an arpeggio crosses staves, you attach an arpeggio to the chords
3415 in both staves, and set
3416 @internalsref{PianoStaff}.@code{connectArpeggios}
3418 @lilypond[quote,fragment,relative=1,verbatim]
3419 \context PianoStaff <<
3420 \set PianoStaff.connectArpeggios = ##t
3421 \new Staff { <c' e g c>\arpeggio }
3422 \new Staff { \clef bass <c,, e g>\arpeggio }
3426 The direction of the arpeggio is sometimes denoted by adding an
3427 arrowhead to the wiggly line
3429 @lilypond[quote,fragment,relative=1,verbatim]
3438 A square bracket on the left indicates that the player should not
3439 arpeggiate the chord
3441 @lilypond[quote,fragment,relative=1,verbatim]
3448 @cindex @code{\arpeggio}
3450 @cindex @code{\arpeggioUp}
3452 @cindex @code{\arpeggioDown}
3453 @code{\arpeggioDown},
3454 @cindex @code{\arpeggioBoth}
3455 @code{\arpeggioBoth},
3456 @cindex @code{\arpeggioBracket}
3457 @code{\arpeggioBracket}.
3461 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3462 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3463 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3467 It is not possible to mix connected arpeggios and unconnected
3468 arpeggios in one @internalsref{PianoStaff} at the same time.
3470 @node Staff switch lines
3471 @subsection Staff switch lines
3474 @cindex follow voice
3475 @cindex staff switching
3478 @cindex @code{followVoice}
3480 Whenever a voice switches to another staff a line connecting the notes
3481 can be printed automatically. This is enabled if the property
3482 @code{PianoStaff.followVoice} is set to true
3484 @lilypond[quote,fragment,relative=1,verbatim]
3485 \context PianoStaff <<
3486 \set PianoStaff.followVoice = ##t
3487 \context Staff \context Voice {
3492 \context Staff=two { \clef bass \skip 1*2 }
3498 The associated object is @internalsref{VoiceFollower}.
3502 @cindex @code{\showStaffSwitch}
3503 @code{\showStaffSwitch},
3504 @cindex @code{\hideStaffSwitch}
3505 @code{\hideStaffSwitch}.
3508 @node Cross staff stems
3509 @subsection Cross staff stems
3511 The chords which cross staves may be produced by increasing the length
3512 of the stem in the lower stave, so it reaches the stem in the upper
3513 stave, or vice versa.
3515 @lilypond[raggedright,verbatim]
3516 stemExtend = \once \override Stem #'length = #22
3517 noFlag = \once \override Stem #'flag-style = #'no-flag
3518 \context PianoStaff <<
3520 \stemDown \stemExtend
3534 @section Vocal music
3537 The easiest way to add lyrics to a melody, is by appending
3542 \newlyrics @{ @var{the lyrics} @}
3545 to a melody. Here is an example,
3547 @lilypond[raggedright,verbatim]
3548 \relative { \time 3/4 c2 e4 g2. }
3549 \newlyrics { play the game }
3552 More stanzas can be added by adding more
3553 @code{\newlyrics} sections
3555 @lilypond[raggedright,verbatim]
3556 \relative { \time 3/4 c2 e4 g2. }
3557 \newlyrics { play the game }
3558 \newlyrics { speel het spel }
3559 \newlyrics { joue le jeu }
3562 The @code{\newlyrics} keyword has three functions: it interprets the
3563 following words as texts instead of notes, it sets up a context for
3564 printing texts (the @code{Lyrics} context), and it couples the melody
3565 with the lyrics, so the durations of both are aligned.
3567 These three functions can be controlled separately, and that is what
3568 the following sections are about.
3572 * The Lyrics context::
3573 * Flexibility in alignment::
3578 @node Entering lyrics
3579 @subsection Entering lyrics
3583 @cindex @code{\lyrics}
3586 Lyrics are entered in a special input mode. This mode is is introduced
3587 by the keyword @code{\lyrics}. In this mode you can enter lyrics,
3588 with punctuation and accents without any hassle. Syllables are
3589 entered like notes, but with pitches replaced by text. For example,
3591 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3594 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3595 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3596 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3597 any 8-bit character with ASCII code over 127, or a two-character
3598 combination of a backslash followed by one of @code{`}, @code{'},
3599 @code{"}, or @code{^}.
3601 Subsequent characters of a word can be any character that is not a digit
3602 and not white space. One important consequence of this is that a word
3603 can end with @code{@}}. The following example is usually a bug. The
3604 syllable includes a @code{@}}, and hence the opening brace is not balanced
3606 \lyrics @{ twinkle@}
3609 @cindex @code{\property}, in @code{\lyrics}
3610 Similarly, a period following a alphabetic sequence, is included in
3611 the resulting string. As a consequence, spaces must be inserted around
3614 \override Score . LyricText #'font-shape = #'italic
3618 @cindex spaces, in lyrics
3619 @cindex quotes, in lyrics
3621 Any @code{_} character which appears in an unquoted word is converted
3622 to a space. This provides a mechanism for introducing spaces into words
3623 without using quotes. Quoted words can also be used in Lyrics mode to
3624 specify words that cannot be written with the above rules. The
3625 following example incorporates double quotes
3628 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3631 This example is slightly academic, since it gives better looking
3632 results to use matched single quotes, @code{``} and @code{''}
3634 \lyrics @{ He said: ``Let my peo ple go'' @}
3639 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3640 The hyphen will have variable length depending on the space between
3641 the syllables and it will be centered between the syllables.
3646 When a lyric is sung over many notes (this is called a melisma), this is
3647 indicated with a horizontal line centered between a syllable and the
3648 next one. Such a line is called an extender line, and it is entered as
3653 Program reference: events @internalsref{LyricEvent},
3654 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3655 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3656 @internalsref{LyricText}.
3658 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3662 The definition of lyrics mode is too complex.
3666 @node The Lyrics context
3667 @subsection The Lyrics context
3670 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3672 \context Lyrics \lyrics @dots{}
3675 @cindex automatic syllable durations
3676 @cindex @code{\lyricsto}
3677 @cindex lyrics and melodies
3679 This will place the lyrics according to the durations that were
3680 entered. The lyrics can also be aligned under a given melody
3681 automatically. In this case, it is no longer necessary to enter the
3682 correct duration for each syllable. This is achieved by combining the
3683 melody and the lyrics with the @code{\lyricsto} expression
3685 \lyricsto @var{name} \new Lyrics @dots{}
3688 This aligns the lyrics to the
3690 notes of the @internalsref{Voice} context called @var{name}, which has
3691 to exist. Therefore, normally the @code{Voice} is specified first, and
3692 then the lyrics are specified with @code{\lyricsto}. The command
3693 @code{\lyricsto} switches to @code{\lyrics} mode automatically, so the
3694 @code{\lyrics} keyword may be omitted.
3696 For different or more complex orderings, the best way is to setup the
3697 hierarchy of staves and lyrics first, e.g.
3699 \context ChoirStaff <<
3700 \context Lyrics = sopranoLyrics @{ s1 @}
3701 \context Voice = soprano @{ @emph{music} @}
3702 \context Lyrics = tenorLyrics @{ s1 @}
3703 \context Voice = tenor @{ @emph{music} @}
3706 and then combine the appropriate melodies and lyric lines
3708 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3713 The final input would resemble
3716 << \context ChoirStaff << @emph{setup the music} >>
3717 \lyricsto "soprano" @emph{etc}
3718 \lyricsto "alto" @emph{etc}
3724 The @code{\lyricsto} command detects melismata: it only puts one
3725 syllable under a tied or slurred group of notes. If you want to force
3726 an unslurred group of notes to be a melisma, insert @code{\melisma}
3727 after the first note of the group, and @code{\melismaEnd} after the
3730 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3732 \context Voice = "lala" {
3740 \lyricsto "lala" \new Lyrics {
3746 In addition, notes are considered a melisma if they are manually
3747 beamed, and automatic beaming (see @ref{Setting automatic beam
3748 behavior}) is switched off. The criteria for deciding melismata can
3749 be tuned with the property @code{melismaBusyProperties}. See
3750 @internalsref{Melisma_translator} in the program reference for more
3753 Lyrics can also be entered without @code{\lyricsto}. In this case the
3754 durations of each syllable must be entered explicitly, for example,
3761 Alignment to a melody can be specified with the @code{associatedVoice}
3765 \set associatedVoice = #"melody"
3768 Here is an example demonstrating manual lyric durations,
3770 @lilypond[relative=1,verbatim,fragment]
3771 << \context Voice = melody {
3775 \new Lyrics \lyrics {
3776 \set associatedVoice = #"melody"
3782 @cindex choral score
3784 A complete example of a SATB score setup is in the file
3785 @inputfileref{input/template,satb.ly}.
3790 @code{\melisma}, @code{\melismaEnd}
3791 @cindex @code{\melismaEnd}
3792 @cindex @code{\melisma}
3796 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3797 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3799 Examples: @inputfileref{input/template,satb.ly},
3800 @inputfileref{input/regression,lyric-combine-new.ly},
3801 @c TODO: make separate section for melismata
3802 @inputfileref{input/test,lyrics-melisma-variants.ly}.
3803 @inputfileref{input/test,lyrics-melisma-faster.ly}.
3807 Melismata are not detected automatically, and extender lines must be
3811 For proper processing of extender lines, the
3812 @internalsref{Lyrics} and @internalsref{Voice} should be
3813 linked. This can be achieved either by using @code{\lyricsto} or by
3814 setting corresponding names for both contexts. The latter is explained
3815 in @ref{More stanzas}.
3817 @c TODO: document \new Staff << Voice \lyricsto >> bug
3819 @node Flexibility in alignment
3820 @subsection Flexibility in alignment
3823 Often, different stanzas of one song are put to one melody in slightly
3824 differing ways. Such variations can still be captured with
3827 One possibility is that the text has a melisma in one stanza, but
3828 multiple syllables in another one. One solution is to make the faster
3829 voice ignore the melisma. This is done by setting
3830 @code{ignoreMelismata} in the Lyrics context.
3832 There has one tricky aspect. The setting for @code{ignoreMelismata}
3833 must be set one syllable @emph{before} the non-melismatic syllable
3834 in the text, as shown here,
3836 @lilypond[verbatim,raggedright]
3838 \relative \context Voice = "lahlah" {
3839 \set Staff.autoBeaming = ##f
3845 \new Lyrics \lyricsto "lahlah" {
3848 \new Lyrics \lyricsto "lahlah" {
3849 \set ignoreMelismata = ##t % applies to "fas"
3851 \unset ignoreMelismata
3858 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
3859 should bev entered before ``go''.
3861 The reverse is also possible: making a lyric line slower than the
3862 standard. This can be achieved by insert @code{\skip}s into the
3863 lyrics. For every @code{\skip}, the text will be delayed another note.
3866 @lilypond[verbatim,raggedright]
3867 \relative { c c g' }
3874 More complex variations in text underlay are possible. It is possible
3875 to switch the melody for a line of lyrics during the text. This is
3876 done by setting the @code{associatedVoice} property. In the example
3878 @lilypond[raggedright]
3880 \relative \context Voice = "lahlah" {
3881 \set Staff.autoBeaming = ##f
3884 \context Voice = alternative {
3888 % show associations clearly.
3889 \override NoteColumn #'force-hshift = #-3
3901 \new Lyrics \lyricsto "lahlah" {
3902 Ju -- ras -- sic Park
3904 \new Lyrics \lyricsto "lahlah" {
3906 % Tricky: need to set associatedVoice
3907 % one syllable too soon!
3908 \set associatedVoice = alternative % applies to "ran"
3912 \set associatedVoice = lahlah % applies to "rus"
3918 the text for the first stanza is set to a melody called ``lahlah'',
3921 \new Lyrics \lyricsto "lahlah" {
3922 Ju -- ras -- sic Park
3927 The second stanza initially is set to the @code{lahlah} context, but
3928 for the syllable ``ran'', it switches to a different melody.
3929 This is achieved with
3931 \set associatedVoice = alternative
3935 Here, @code{alternative} is the name of the @code{Voice} context
3936 containing the triplet.
3938 Again, the command must be one syllable too early, before ``Ty'' in
3942 \new Lyrics \lyricsto "lahlah" {
3943 \set associatedVoice = alternative % applies to "ran"
3947 \set associatedVoice = lahlah % applies to "rus"
3953 The underlay is switched back to the starting situation by assigning
3954 @code{lahlah} to @code{associatedVoice}.
3960 @subsection More stanzas
3962 @cindex phrasing, in lyrics
3965 @cindex stanza number
3966 @cindex singer's names
3967 @cindex name of singer
3969 Stanza numbers can be added by setting @code{stanza}, e.g.
3971 @lilypond[quote,verbatim,relative=2]
3973 \time 3/4 g2 e4 a2 f4 g2.
3976 Hi, my name is Bert.
3979 Oh, che -- ri, je t'aime
3983 These numbers are put just before the start of first syllable.
3985 Names of singers can also be added. They are printed at the start of
3986 the line, just like instrument names. They are created by setting
3987 @code{vocalName}. A short version may be entered as @code{vocNam}.
3990 @lilypond[quote,verbatim,relative=2]
3992 \time 3/4 g2 e4 a2 f4 g2.
3994 \set vocalName = "Bert "
3995 Hi, my name is Bert.
3997 \set vocalName = "Ernie "
3998 Oh, che -- ri, je t'aime
4004 Program reference: Layout objects @internalsref{LyricText} and
4005 @internalsref{VocalName}. Music expressions
4006 @internalsref{LyricEvent}.
4014 The term @emph{ambitus} denotes a range of pitches for a given voice
4015 in a part of music. It also may denote the pitch range that a musical
4016 instrument is capable of playing. Ambituses are printed on vocal
4017 parts, so singers can easily determine if it meets his or her
4020 It denoted at the beginning of a piece near the initial clef. The
4021 range is graphically specified by two note heads, that represent the
4022 minimum and maximum pitch. To print such ambituses, add the
4023 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4030 \consists Ambitus_engraver
4035 This results in the following output
4037 @lilypond[quote,raggedright]
4041 \consists Ambitus_engraver
4056 If you have multiple voices in a single staff, and you want a single
4057 ambitus per staff rather than per each voice, add the
4058 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4059 rather than to the @internalsref{Voice} context.
4061 It is possible to tune individual ambituses for multiple voices on a
4062 single staff, for example by erasing or shifting them horizontally. An
4063 example is in @inputfileref{input/test,ambitus-mixed.ly}.
4067 Program reference: @internalsref{Ambitus},
4068 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4069 @internalsref{AmbitusAccidental}.
4071 Examples: @inputfileref{input/regression,ambitus.ly},
4072 @inputfileref{input/test,ambitus-mixed.ly}.
4076 There is no collision handling in the case of multiple per-voice
4079 @node Other instrument specific notation
4080 @section Other instrument specific notation
4086 @node Harmonic notes
4087 @subsection Harmonic notes
4089 @cindex artificial harmonics
4092 Artificial harmonics are notated with a different notehead style. They
4094 marking the harmonic pitch with @code{\harmonic}.
4096 @lilypond[raggedright,verbatim]
4107 @cindex guitar tablature
4109 Tablature notation is used for notating music for plucked string
4110 instruments. It notates pitches not by using note heads, but by
4111 indicating on which string and fret a note must be played. LilyPond
4112 offers limited support for tablature.
4115 * Tablatures basic::
4116 * Non-guitar tablatures::
4119 @node Tablatures basic
4120 @subsection Tablatures basic
4121 @cindex Tablatures basic
4123 The string number associated to a note is given as a backslash
4124 followed by a number, e.g. @code{c4\3} for a C quarter on the third
4125 string. By default, string 1 is the highest one, and the tuning
4126 defaults to the standard guitar tuning (with 6 strings). The notes
4127 are printed as tablature, by using @internalsref{TabStaff} and
4128 @internalsref{TabVoice} contexts
4130 @lilypond[quote,fragment,verbatim]
4137 @cindex @code{minimumFret}
4140 When no string is specified, the first string that does not give a
4141 fret number less than @code{minimumFret} is selected. The default
4142 value for @code{minimumFret} is 0
4147 \set TabStaff.minimumFret = #8
4150 @lilypond[quote,noindent,raggedright]
4154 \set TabStaff.minimumFret = #8
4157 \context StaffGroup <<
4158 \context Staff { \clef "G_8" \frag }
4159 \context TabStaff { \frag }
4165 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4166 @internalsref{StringNumberEvent}.
4170 Chords are not handled in a special way, and hence the automatic
4171 string selector may easily select the same string to two notes in a
4175 @node Non-guitar tablatures
4176 @subsection Non-guitar tablatures
4177 @cindex Non-guitar tablatures
4179 You can change the number of strings, by setting the number of lines
4180 in the @internalsref{TabStaff}.
4182 You can change the tuning of the strings. A string tuning is given as
4183 a Scheme list with one integer number for each string, the number
4184 being the pitch (measured in semitones relative to middle C) of an
4185 open string. The numbers specified for @code{stringTuning} are the
4186 numbers of semitones to subtract or add, starting the specified pitch
4187 by default middle C, in string order. Thus, the notes are e, a, d, and
4190 @lilypond[quote,fragment,verbatim]
4191 \context TabStaff <<
4192 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4195 a,4 c' a e' e c' a e'
4202 No guitar special effects have been implemented.
4206 Program reference: @internalsref{Tab_note_heads_engraver}.
4210 @section Popular music
4217 * Printing chord names::
4222 @subsection Chord names
4225 LilyPond has support for both printing chord names. Chords may be
4226 entered in musical chord notation, i.e. @code{< .. >}, but they can
4227 also be entered by name. Internally, the chords are represented as a
4228 set of pitches, so they can be transposed
4231 @lilypond[quote,verbatim,raggedright]
4232 twoWays = \transpose c c' {
4241 << \context ChordNames \twoWays
4242 \context Voice \twoWays >>
4245 This example also shows that the chord printing routines do not try to
4246 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4252 * Printing chord names::
4257 @subsection Chords mode
4260 Chord mode is a mode where you can input sets of pitches using common
4261 names. It is introduced by the keyword @code{\chords}.
4262 In chords mode, a chord is entered by the root, which is entered
4264 @lilypond[quote,fragment,verbatim,relative=2]
4265 \chords { es4. d8 c2 }
4270 Other chords may be entered by suffixing a colon, and introducing a
4271 modifier, and optionally, a number
4273 @lilypond[quote,fragment,verbatim]
4274 \chords { e1:m e1:7 e1:m7 }
4276 The first number following the root is taken to be the `type' of the
4277 chord, thirds are added to the root until it reaches the specified
4279 @lilypond[quote,fragment,verbatim]
4280 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4283 @cindex root of chord
4284 @cindex additions, in chords
4285 @cindex removals, in chords
4287 More complex chords may also be constructed adding separate steps
4288 to a chord. Additions are added after the number following
4289 the colon, and are separated by dots
4291 @lilypond[quote,verbatim,fragment]
4292 \chords { c:5.6 c:3.7.8 c:3.6.13 }
4294 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4296 @lilypond[quote,verbatim,fragment]
4297 \chords { c:7+ c:5+.3- c:3-.5-.7- }
4299 Removals are specified similarly, and are introduced by a caret. They
4300 must come after the additions
4301 @lilypond[quote,verbatim,fragment]
4302 \chords { c^3 c:7^5 c:9^3.5 }
4305 Modifiers can be used to change pitches. The following modifiers are
4309 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4311 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
4314 is the augmented chord. This modifier raises the 5th step.
4316 is the major 7th chord. This modifier raises the 7th step if present.
4318 is the suspended 4th or 2nd. This modifier removes the 3rd
4319 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4322 Modifiers can be mixed with additions
4323 @lilypond[quote,verbatim,fragment]
4324 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
4327 @cindex modifiers, in chords.
4334 Since an unaltered 11 does not sound good when combined with an
4335 unaltered 3, the 11 is removed in this case (unless it is added
4338 @lilypond[quote,fragment,verbatim]
4339 \chords { c:13 c:13.11 c:m13 }
4344 An inversion (putting one pitch of the chord on the bottom), as well
4345 as bass notes, can be specified by appending
4346 @code{/}@var{pitch} to the chord
4347 @lilypond[quote,fragment,verbatim]
4348 \chords { c1 c/g c/f }
4352 A bass note can be added instead of transposed out of the chord,
4353 by using @code{/+}@var{pitch}.
4355 @lilypond[quote,fragment,verbatim]
4356 \chords { c1 c/+g c/+f }
4359 Chords is a mode similar to @code{\lyrics} etc. Most
4360 of the commands continue to work, for example, @code{r} and
4361 @code{\skip} can be used to insert rests and spaces, and property
4362 commands may be used to change various settings.
4368 Each step can only be present in a chord once. The following
4369 simply produces the augmented chord, since @code{5+} is interpreted
4372 @lilypond[quote,verbatim,fragment]
4373 \chords { c:5.5-.5+ }
4377 @node Printing chord names
4378 @subsection Printing chord names
4380 @cindex printing chord names
4384 For displaying printed chord names, use the @internalsref{ChordNames} context.
4385 The chords may be entered either using the notation
4386 described above, or directly using @code{<} and @code{>}
4388 @lilypond[quote,verbatim,raggedright]
4390 \chords {a1 b c} <d' f' a'> <e' g' b'>
4394 \context ChordNames \scheme
4395 \context Staff \scheme
4399 You can make the chord changes stand out by setting
4400 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4401 display chord names when there is a change in the chords scheme and at
4402 the start of a new line
4404 @lilypond[quote,verbatim,linewidth=9\cm]
4406 c1:m c:m \break c:m c:m d
4409 \context ChordNames {
4410 \set chordChanges = ##t
4412 \context Staff \transpose c c' \scheme
4416 The previous examples all show chords over a staff. This is not
4417 necessary. Chords may also be printed separately. It may be necessary
4418 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4419 for showing repeats.
4421 @lilypond[raggedright,verbatim]
4422 \new ChordNames \with {
4423 \override BarLine #'bar-size = #4
4424 \consists Bar_engraver
4425 \consists "Volta_engraver"
4427 \repeat volta 2 \chords {
4434 The default chord name layout is a system for Jazz music, proposed by
4435 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4436 following properties
4439 @cindex @code{chordNameExceptions}
4440 @item chordNameExceptions
4441 This is a list that contains the chords that have special formatting.
4443 @inputfileref{input/regression,chord-name-exceptions.ly}.
4444 @cindex exceptions, chord names.
4447 @cindex @code{majorSevenSymbol}
4448 @item majorSevenSymbol
4449 This property contains the markup object used for the 7th step, when
4450 it is major. Predefined options are @code{whiteTriangleMarkup} and
4451 @code{blackTriangleMarkup}. See
4452 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4454 @cindex @code{chordNameSeparator}
4455 @item chordNameSeparator
4456 Different parts of a chord name are normally separated by a
4457 slash. By setting @code{chordNameSeparator}, you can specify other
4459 @lilypond[quote,fragment,verbatim]
4460 \context ChordNames \chords {
4462 \set chordNameSeparator
4463 = \markup { \typewriter "|" }
4468 @cindex @code{chordRootNamer}
4469 @item chordRootNamer
4470 The root of a chord is usually printed as a letter with an optional
4471 alteration. The transformation from pitch to letter is done by this
4472 function. Special note names (for example, the German ``H'' for a
4473 B-chord) can be produced by storing a new function in this property.
4475 @cindex @code{chordNoteNamer}
4476 @item chordNoteNamer
4477 The default is to print single pitch, e.g. the bass note, using the
4478 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4479 to a specialized function to change this behavior. For example, the
4480 base can be printed in lower case.
4484 The predefined variables @code{\germanChords},
4485 @code{\semiGermanChords} set these variables. The effect is
4488 @lilypondfile[notexidoc]{chord-names-german.ly}
4490 There are also two other chord name schemes implemented: an alternate
4491 Jazz chord notation, and a systematic scheme called Banter chords. The
4492 alternate jazz notation is also shown on the chart in @ref{Chord name
4493 chart}. Turning on these styles is described in the input file
4494 @inputfileref{input/test,chord-names-jazz.ly}.
4498 @cindex chords, jazz
4503 @cindex @code{\germanChords}
4504 @code{\germanChords},
4505 @cindex @code{\semiGermanChords}
4506 @code{\semiGermanChords}.
4513 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4514 @inputfileref{input/regression,chord-name-exceptions.ly},
4515 @inputfileref{input/test,chord-names-jazz.ly},
4516 @inputfileref{input/test,chords-without-melody.ly}.
4519 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4524 Chord names are determined solely from the list of pitches. Chord
4525 inversions are not identified, and neither are added bass notes. This
4526 may result in strange chord names when chords are entered with the
4527 @code{< .. >} syntax.
4531 @subsection Improvisation
4533 Improvisation is sometimes denoted with slashed note heads. Such note
4534 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4535 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4539 \set squashedPosition = #0
4540 \override NoteHead #'style = #'slash
4544 switches on the slashes.
4546 There are shortcuts @code{\improvisationOn} (and an accompanying
4547 @code{\improvisationOff}) for this command sequence. They are used in
4548 the following example
4550 @lilypond[verbatim,raggedright]
4552 \consists Pitch_squash_engraver
4554 e8 e g a a16(bes)(a8) g \improvisationOn
4557 ~fis2 \improvisationOff a16(bes) a8 g e
4563 @node Orchestral music
4564 @section Orchestral music
4566 @cindex Writing parts
4568 Orchestral music involves some special notation, both in the full
4569 score and the individual parts. This section explains how to tackle
4570 some common problems in orchestral music.
4575 * Multiple staff contexts::
4576 * Aligning to cadenzas::
4579 * Instrument names::
4581 * Instrument transpositions::
4582 * Multi measure rests::
4583 * Automatic part combining::
4585 * Different editions from one source::
4586 * Quoting other voices::
4589 @node Multiple staff contexts
4590 @subsection Multiple staff contexts
4592 Polyphonic scores consist of many staves. These staves can be
4593 constructed in three different ways
4595 @item The group is started with a brace at the left, and bar lines are
4596 connected. This is done with the @internalsref{GrandStaff} context.
4598 @item The group is started with a bracket, and bar lines are connected. This is done with the
4599 @internalsref{StaffGroup} context
4602 @item The group is started with a vertical line. Bar lines are not
4603 connected. This is the default for the score.
4607 @cindex Staff, multiple
4608 @cindex bracket, vertical
4609 @cindex brace, vertical
4614 @node Aligning to cadenzas
4615 @subsection Aligning to cadenzas
4618 In an orchestral context, cadenzas present a special problem:
4619 when constructing a score that includes a cadenza, all other
4620 instruments should skip just as many notes as the length of the
4621 cadenza, otherwise they will start too soon or too late.
4623 A solution to this problem are the functions @code{mmrest-of-length}
4624 and @code{skip-of-length}. These Scheme functions take a piece music
4625 as argument, and generate a @code{\skip} or multi rest, exactly as
4626 long as the piece. The use of @code{mmrest-of-length} is demonstrated
4627 in the following example.
4629 @lilypond[raggedright]
4630 cadenza = \relative c' {
4631 c4 d8 << { e f g } \\ { d4. } >>
4636 \new Staff { \cadenza c'4 }
4638 #(ly:export (mmrest-of-length cadenza))
4648 @node Rehearsal marks
4649 @subsection Rehearsal marks
4650 @cindex Rehearsal marks
4652 @cindex @code{\mark}
4654 To print a rehearsal mark, use the @code{\mark} command
4655 @lilypond[quote,fragment,verbatim]
4666 (The letter I is skipped in accordance with engraving traditions.)
4668 The mark is incremented automatically if you use @code{\mark
4669 \default}, but you can also use an integer argument to set the mark
4670 manually. The value to use is stored in the property
4671 @code{rehearsalMark}.
4673 The style is defined by the property @code{markFormatter}. It is a
4674 function taking the current mark (an integer) and the current context
4675 as argument. It should return a markup object. In the following
4676 example, @code{markFormatter} is set to a canned procedure. After a
4677 few measures, it is set to function that produces a boxed number.
4679 @lilypond[quote,verbatim,fragment,relative=2]
4680 \set Score.markFormatter = #format-mark-numbers
4683 \set Score.markFormatter
4684 = #(lambda (mark context)
4685 (make-bold-markup (make-box-markup (number->string mark))))
4690 The file @file{scm/translation-functions.scm} contains the definitions
4691 of @code{format-mark-numbers} (the default format) and
4692 @code{format-mark-letters}. They can be used as inspiration for other
4693 formatting functions.
4696 @cindex coda on bar line
4697 @cindex segno on bar line
4698 @cindex fermata on bar line
4699 @cindex bar lines, symbols on
4701 The @code{\mark} command can also be used to put signs like coda,
4702 segno and fermatas on a bar line. Use @code{\markup} to
4703 to access the appropriate symbol
4705 @lilypond[quote,fragment,verbatim,relative=2]
4706 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4710 In the case of a line break, marks must also be printed at the end of
4711 the line, and not at the beginning. Use the following to force that
4714 \override Score.RehearsalMark
4715 #'break-visibility = #begin-of-line-invisible
4721 @cindex bar lines, putting symbols on
4725 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4727 Init files: @file{scm/translation-functions.scm} contains the
4728 definition of @code{format-mark-numbers} and
4729 @code{format-mark-letters}. They can be used as inspiration for other
4730 formatting functions.
4732 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4733 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4737 @subsection Bar numbers
4741 @cindex measure numbers
4742 @cindex @code{currentBarNumber}
4744 Bar numbers are printed by default at the start of the line. The
4745 number itself is stored in the @code{currentBarNumber} property, which
4746 is normally updated automatically for every measure.
4748 Bar numbers can be typeset at regular intervals instead of at the
4749 beginning of each line. This is illustrated in the following example,
4750 whose source is available as
4751 @inputfileref{input/test,bar-number-regular-interval.ly}
4753 @lilypondfile[quote]{bar-number-regular-interval.ly}
4757 Program reference: @internalsref{BarNumber}.
4759 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4760 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4764 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4765 there is one at the top. To solve this, the
4766 @code{padding} property of @internalsref{BarNumber} can be
4767 used to position the number correctly.
4769 @node Instrument names
4770 @subsection Instrument names
4772 In an orchestral score, instrument names are printed left side of the
4775 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4776 and @internalsref{Staff}.@code{instr}. This will print a string before
4777 the start of the staff. For the first start, @code{instrument} is
4778 used, for the next ones @code{instr} is used.
4780 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
4781 \set Staff.instrument = "Ploink "
4782 \set Staff.instr = "Plk "
4788 You can also use markup texts to construct more complicated instrument
4791 @lilypond[quote,fragment,verbatim,raggedright]
4793 \set Staff.instrument = \markup {
4794 \column < "Clarinetti" { "in B"
4795 \smaller \flat } > }
4800 For longer instrument names, it may be useful to increase the
4801 @code{indent} setting in the @code{\paper} block.
4805 Program reference: @internalsref{InstrumentName}.
4809 When you put a name on a grand staff or piano staff the width of the
4810 brace is not taken into account. You must add extra spaces to the end of
4811 the name to avoid a collision.
4814 @subsection Transpose
4816 @cindex transposition of pitches
4817 @cindex @code{\transpose}
4819 A music expression can be transposed with @code{\transpose}. The
4822 \transpose @var{from} @var{to} @var{musicexpr}
4825 This means that @var{musicexpr} is transposed by the interval between
4826 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4827 is changed to @code{to}.
4830 For example, consider a piece written in the key of D major. If
4831 this piece is a little too low for its performer, it can be
4832 transposed up to E major with
4834 \transpose d e @dots{}
4837 Consider a part written for violin (a C instrument). If
4838 this part is to be played on the A clarinet, the following
4839 transposition will produce the appropriate part
4842 \transpose a c @dots{}
4845 @code{\transpose} distinguishes between enharmonic pitches: both
4846 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4847 half a tone. The first version will print sharps and the second
4848 version will print flats
4850 @lilypond[quote,raggedright,verbatim]
4851 mus = { \key d \major cis d fis g }
4855 \transpose c g' \mus
4856 \transpose c f' \mus
4863 Program reference: @internalsref{TransposedMusic}, and
4864 @internalsref{UntransposableMusic}.
4868 If you want to use both @code{\transpose} and @code{\relative},
4869 you must put @code{\transpose} outside of @code{\relative}, since
4870 @code{\relative} will have no effect music that appears inside a
4873 @node Instrument transpositions
4874 @subsection Instrument transpositions
4876 The key of a transposing instrument can also be specified. This
4877 applies to many wind instruments, for example, clarinets (B-flat, A and
4878 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4881 The transposition is entered after the keyword @code{\transposition}
4884 \transposition bes %% B-flat clarinet
4887 This command sets the property @code{instrumentTransposition}. The value of
4888 this property is used for MIDI output and quotations. It does not
4889 affect how notes are printed in the current staff.
4891 @cindex transposition, MIDI
4892 @cindex transposition, instrument
4895 @node Multi measure rests
4896 @subsection Multi measure rests
4897 @cindex multi measure rests
4898 @cindex Rests, multi measure
4902 Multi measure rests are entered using `@code{R}'. It is specifically
4903 meant for full bar rests and for entering parts: the rest can expand
4904 to fill a score with rests, or it can be printed as a single
4905 multimeasure rest. This expansion is controlled by the property
4906 @code{Score.skipBars}. If this is set to true, empty measures will not
4907 be expanded, and the appropriate number is added automatically
4909 @lilypond[quote,fragment,verbatim]
4910 \time 4/4 r1 | R1 | R1*2
4911 \set Score.skipBars = ##t R1*17 R1*4
4914 The @code{1} in @code{R1} is similar to the duration notation used for
4915 notes. Hence, for time signatures other than 4/4, you must enter other
4916 durations. This can be done with augmentation dots or fractions
4918 @lilypond[quote,fragment,verbatim]
4919 \set Score.skipBars = ##t
4927 An @code{R} spanning a single measure is printed as either a whole rest
4928 or a breve, centered in the measure regardless of the time signature.
4930 @cindex text on multi-measure rest
4931 @cindex script on multi-measure rest
4932 @cindex fermata on multi-measure rest
4934 Texts can be added to multi-measure rests by using the
4935 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4936 replaced. If you need both texts and the number, you must add the
4937 number by hand. A variable (@code{\fermataMarkup}) is provided for
4941 @lilypond[quote,verbatim,fragment]
4943 R2._\markup { "Ad lib" }
4947 If you want to have a text on the left end of a multi-measure rest,
4948 attach the text to a zero-length skip note, i.e.
4956 @cindex whole rests for a full measure
4960 Program reference: @internalsref{MultiMeasureRestEvent},
4961 @internalsref{MultiMeasureTextEvent},
4962 @internalsref{MultiMeasureRestMusicGroup}, and
4963 @internalsref{MultiMeasureRest}.
4965 The layout object @internalsref{MultiMeasureRestNumber} is for the
4966 default number, and @internalsref{MultiMeasureRestText} for user
4971 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4972 over multi-measure rests.
4974 @cindex condensing rests
4976 There is no way to automatically condense multiple rests into a single
4977 multimeasure rest. Multi measure rests do not take part in rest
4980 Be careful when entering multimeasure rests followed by whole
4981 notes. The following will enter two notes lasting four measures each
4985 When @code{skipBars} is set, the result will look OK, but the bar
4986 numbering will be off.
4988 @node Automatic part combining
4989 @subsection Automatic part combining
4990 @cindex automatic part combining
4991 @cindex part combiner
4994 Automatic part combining is used to merge two parts of music onto a
4995 staff. It is aimed at typesetting orchestral scores. When the two
4996 parts are identical for a period of time, only one is shown. In
4997 places where the two parts differ, they are typeset as separate
4998 voices, and stem directions are set automatically. Also, solo and
4999 @emph{a due} parts are identified and can be marked.
5001 The syntax for part combining is
5004 \partcombine @var{musicexpr1} @var{musicexpr2}
5007 The music expressions will be interpreted as @internalsref{Voice}
5008 contexts. If using relative octaves, @code{\relative} should be
5009 specified for both music expressions, i.e.
5012 \partcombine \relative @dots{} @var{musicexpr1}
5013 \relative @dots{} @var{musicexpr2}
5017 A @code{\relative} section that is outside of @code{\partcombine} has
5018 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5021 The following example demonstrates the basic functionality of the part
5022 combiner: putting parts on one staff, and setting stem directions and
5025 @lilypond[quote,verbatim,raggedright,fragment]
5026 \new Staff \partcombine
5027 \relative g' { g g a( b) c c r r }
5028 \relative g' { g g r4 r e e g g }
5031 The first @code{g} appears only once, although it was
5032 specified twice (once in each part). Stem, slur and tie directions are
5033 set automatically, depending whether there is a solo or unisono. The
5034 first part (with context called @code{one}) always gets up stems, and
5035 `solo', while the second (called @code{two}) always gets down stems and
5038 If you just want the merging parts, and not the textual markings, you
5039 may set the property @code{soloADue} to false
5041 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5043 \set Staff.soloADue = ##f
5045 \relative g' { g a( b) r }
5046 \relative g' { g r4 r f }
5052 Program reference: @internalsref{PartCombineMusic},
5053 @internalsref{SoloOneEvent}, and
5054 @internalsref{SoloTwoEvent}, and
5055 @internalsref{UnisonoEvent}.
5059 In @code{soloADue} mode, when the two voices play the same notes on and
5060 off, the part combiner may typeset @code{a2} more than once in a
5063 @code{\partcombine} cannot be inside @code{\times}.
5065 @code{\partcombine} cannot be inside @code{\relative}.
5067 Internally, the @code{\partcombine} interprets both arguments as
5068 @code{Voice}s named @code{one} and @code{two}, and then decides when
5069 the parts can be combined. Consequently, if the arguments switch to
5070 differently named @internalsref{Voice} contexts, the events in those
5074 @subsection Hiding staves
5076 @cindex Frenched scores
5077 @cindex Hiding staves
5079 In orchestral scores, staff lines that only have rests are usually
5080 removed. This saves some space. This style is called `French Score'.
5081 For @internalsref{Lyrics},
5082 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5083 switched on by default. When these line of these contexts turn out
5084 empty after the line-breaking process, they are removed.
5086 For normal staves, a specialized @internalsref{Staff} context is
5087 available, which does the same: staves containing nothing (or only
5088 multi measure rests) are removed. The context definition is stored in
5089 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5090 in this example disappears in the second line
5093 @lilypond[quote,verbatim]
5096 \context { \RemoveEmptyStaffContext }
5101 \new Staff { e4 f g a \break c1 }
5102 \new Staff { c4 d e f \break R1 }
5107 The first page shows all staves in full. If empty staves should be
5108 removed from the first page too, set @code{remove-first} to false in
5109 @internalsref{RemoveEmptyVerticalGroup}.
5111 Another application is making ossia sections, i.e. alternative
5112 melodies on a separate piece of staff, with help of a Frenched
5113 staff. See @inputfileref{input/test,ossia.ly} for an example.
5116 @node Different editions from one source
5117 @subsection Different editions from one source
5119 The @code{\tag} command marks music expressions with a name. These
5120 tagged expressions can be filtered out later. With this mechanism it
5121 is possible to make different versions of the same music source.
5123 In the following example, we see two versions of a piece of music, one
5124 for the full score, and one with cue notes for the instrumental part
5140 The same can be applied to articulations, texts, etc.: they are
5143 -\tag #@var{your-tag}
5145 to an articulation, for example,
5150 This defines a note with a conditional fingering indication.
5152 By applying the @code{remove-tag} function, tagged expressions can be
5153 filtered. For example,
5157 \applymusic #(remove-tag 'score) @var{the music}
5158 \applymusic #(remove-tag 'part) @var{the music}
5163 @lilypondfile[quote]{tag-filter.ly}
5165 The argument of the @code{\tag} command should be a symbol, or a list
5166 of symbols, for example,
5168 \tag #'(original-part transposed-part) @dots{}
5173 Examples: @inputfileref{input/regression,tag-filter.ly}.
5176 @node Quoting other voices
5177 @subsection Quoting other voices
5179 With quotations, fragments of other parts can be inserted into a part
5180 directly. Before a part can be quoted, it must be marked especially as
5181 quotable. This is done with code @code{\addquote} command. The
5182 quotation may then be done with @code{\quote}
5185 \addquote @var{name} @var{music}
5186 \quote @var{name} @var{duration}
5191 Here, @var{name} is an identifying string. The @var{music} is any kind
5192 of music. This is an example of @code{\addquote}
5195 \addquote clarinet \relative c' {
5200 During a part, a piece of music can be quoted with the @code{\quote}
5207 This would cite 3 quarter notes (a dotted half note) of the previously
5208 added clarinet voice.
5210 Quotations take into account the transposition both source and target
5211 instruments, if they are specified using the @code{\transposition} command.
5213 @lilypond[quote,raggedright,verbatim]
5214 \addquote clarinet \relative c' {
5220 e'8 f'8 \quote clarinet 2
5226 Only the contents of the first @internalsref{Voice} occurring in an
5227 @code{\addquote} command will be considered for quotation, so
5228 @var{music} can not contain @code{\new} and @code{\context Voice}
5229 statements that would switch to a different Voice.
5234 In this manual: @ref{Instrument transpositions}.
5236 Examples: @inputfileref{input/regression,quote.ly}
5237 @inputfileref{input/regression,quote-transposition.ly}
5239 Program reference: @internalsref{QuoteMusic}.
5241 @node Formatting cue notes
5242 @section Formatting cue notes
5245 The previous section deals with inserting notes from another
5246 voice. When making a part, these notes need to be specially formatted.
5247 Here is an example of formatted cue notes
5252 \override Stem #'length = #5.5
5253 \override Beam #'thickness = #0.384
5254 \override Beam #'space-function =
5255 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5259 \set Staff.instrument = #"Horn in F"
5260 \set Score.skipBars = ##t
5263 \once \override Staff.MultiMeasureRest #'staff-position = #-6
5270 r8^"Bsn." c'8 f'8[ f'8]
5280 There are a couple of points to take care of:
5284 The multi rest of the original part should be moved up or down during
5287 Cue notes have smaller font sizes.
5289 When cued notes have a clef change relative to the original part, the
5290 clef should be restored after the cue section. This minimizes
5291 confusion for the reader,
5293 When the original part starts, this should be marked with the name of
5294 the instrument, in this case ``Horn.'' Of course, the cue part is
5295 marked with the instrument playing the cue.
5300 @node Ancient notation
5301 @section Ancient notation
5303 @cindex Vaticana, Editio
5304 @cindex Medicaea, Editio
5309 Support for ancient notation includes features for mensural notation
5310 and Gregorian Chant notation. There is also limited support for
5311 figured bass notation.
5313 Many graphical objects provide a @code{style} property, see
5314 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
5315 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
5316 signatures}. By manipulating such a grob property, the typographical
5317 appearance of the affected graphical objects can be accommodated for a
5318 specific notation flavor without need for introducing any new
5321 Other aspects of ancient notation can not that easily be expressed as
5322 in terms of just changing a style property of a graphical object.
5323 Therefore, some notational concepts are introduced specifically for
5324 ancient notation, see @ref{Custodes}, @ref{Divisiones},
5325 @ref{Ligatures}, and @ref{Figured bass}.
5329 * Ancient note heads::
5330 * Ancient accidentals::
5334 * Ancient time signatures::
5338 * Vaticana style contexts::
5342 If this all is way too much of documentation for you, and you just
5343 want to dive into typesetting without worrying too much about the
5344 details on how to customize a context, you may have a look at the
5345 predefined contexts (see @ref{Vaticana style contexts}). Use them to
5346 set up predefined style-specific voice and staff contexts, and
5347 directly go ahead with the note entry.
5351 Ligatures need special spacing that has not yet been implemented. As
5352 a result, there is too much space between ligatures most of the time,
5353 and line breaking often is unsatisfactory. Also, lyrics do not
5354 correctly align with ligatures.
5356 Accidentals must not be printed within a ligature, but instead need to
5357 be collected and printed in front of it.
5359 Augmentum dots within ligatures are not handled correctly.
5362 @node Ancient note heads
5363 @subsection Ancient note heads
5368 For ancient notation, a note head style other than the @code{default}
5369 style may be chosen. This is accomplished by setting the @code{style}
5370 property of the NoteHead object to the desired value (@code{baroque},
5371 @code{neomensural} or @code{mensural}). The @code{baroque} style
5372 differs from the @code{default} style only in using a square shape for
5373 @code{\breve} note heads. The @code{neomensural} style differs from
5374 the @code{baroque} style in that it uses rhomboidal heads for whole
5375 notes and all smaller durations. Stems are centered on the note
5376 heads. This style is in particular useful when transcribing mensural
5377 music, e.g. for the incipit. The @code{mensural} style finally
5378 produces note heads that mimic the look of note heads in historic
5379 printings of the 16th century.
5381 The following example demonstrates the @code{neomensural} style
5383 @lilypond[quote,fragment,raggedright,verbatim]
5384 \override NoteHead #'style = #'neomensural
5385 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5388 When typesetting a piece in Gregorian Chant notation, a Gregorian
5389 ligature engraver will automatically select the proper note heads,
5390 such there is no need to explicitly set the note head style. Still,
5391 the note head style can be set e.g. to @code{vaticana_punctum} to
5392 produce punctum neumes. Similarly, a mensural ligature engraver is
5393 used to automatically assemble mensural ligatures. See
5394 @ref{Ligatures} for how ligature engravers work.
5399 @ref{Percussion staves} use note head styles of their own that are
5400 frequently used in contemporary music notation.
5402 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
5403 overview over all available note head styles.
5406 @node Ancient accidentals
5407 @subsection Ancient accidentals
5412 Use the @code{style} property of grob @internalsref{Accidental} to
5413 select ancient accidentals. Supported styles are
5414 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5416 @lilypond[quote,raggedright,staffsize=26]
5424 { " " \musicglyph #"accidentals-vaticana-1"
5425 " " \musicglyph #"accidentals-vaticana0" }
5429 { " " \musicglyph #"accidentals-medicaea-1" }
5433 { " " \musicglyph #"accidentals-hufnagel-1" }
5437 { " " \musicglyph #"accidentals-mensural-1"
5438 " " \musicglyph #"accidentals-mensural1" }
5447 \remove "Bar_number_engraver"
5451 \remove "Clef_engraver"
5452 \remove "Key_engraver"
5453 \remove "Time_signature_engraver"
5454 \remove "Staff_symbol_engraver"
5455 minimumVerticalExtent = ##f
5461 As shown, not all accidentals are supported by each style. When
5462 trying to access an unsupported accidental, LilyPond will switch to a
5463 different style, as demonstrated in
5464 @inputfileref{input/test,ancient-accidentals.ly}.
5466 Similarly to local accidentals, the style of the key signature can be
5467 controlled by the @code{style} property of the
5468 @internalsref{KeySignature} grob.
5472 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5473 @ref{Accidentals} give a general introduction into the use of
5474 accidentals. @ref{Key signature} gives a general introduction into
5475 the use of key signatures.
5477 Program reference: @internalsref{KeySignature}.
5479 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
5482 @subsection Ancient rests
5487 Use the @code{style} property of grob @internalsref{Rest} to select
5488 ancient accidentals. Supported styles are @code{classical},
5489 @code{neomensural} and @code{mensural}. @code{classical} differs
5490 from the @code{default} style only in that the quarter rest looks like
5491 a horizontally mirrored 8th rest. The @code{neomensural} style suits
5492 well for e.g. the incipit of a transcribed mensural piece of music.
5493 The @code{mensural} style finally mimics the appearance of rests as
5494 in historic prints of the 16th century.
5496 The following example demonstrates the @code{neomensural} style
5498 @lilypond[quote,fragment,raggedright,verbatim]
5499 \override Rest #'style = #'neomensural
5500 r\longa r\breve r1 r2 r4 r8 r16
5503 There are no 32th and 64th rests specifically for the mensural or
5504 neo-mensural style. Instead, the rests from the default style will be
5505 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5508 There are no rests in Gregorian Chant notation; instead, it uses
5513 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5517 @subsection Ancient clefs
5522 LilyPond supports a variety of clefs, many of them ancient.
5524 The following table shows all ancient clefs that are supported via the
5525 @code{\clef} command. Some of the clefs use the same glyph, but
5526 differ only with respect to the line they are printed on. In such
5527 cases, a trailing number in the name is used to enumerate these clefs.
5528 Still, you can manually force a clef glyph to be typeset on an
5529 arbitrary line, as described in @ref{Clef}. The note printed to the
5530 right side of each clef in the example column denotes the @code{c'}
5531 with respect to that clef.
5533 @multitable @columnfractions .4 .4 .2
5536 @b{Description} @tab
5537 @b{Supported Clefs} @tab
5541 modern style mensural C clef @tab
5542 @code{neomensural_c1}, @code{neomensural_c2},
5543 @code{neomensural_c3}, @code{neomensural_c4} @tab
5544 @lilypond[fragment,quote,relative=1,notime]
5545 \override Staff.TimeSignature #'transparent = ##t
5546 \clef "neomensural_c2" c
5550 petrucci style mensural C clefs, for use on different staff lines
5551 (the examples shows the 2nd staff line C clef).
5561 @lilypond[fragment,quote,relative=1,notime]
5562 \override Staff.TimeSignature #'transparent = ##t
5563 \clef "petrucci_c2" c
5567 petrucci style mensural F clef @tab
5568 @code{petrucci_f} @tab
5569 @lilypond[fragment,quote,relative=1,notime]
5570 \override Staff.TimeSignature #'transparent = ##t
5571 \clef "petrucci_f" c
5575 petrucci style mensural G clef @tab
5576 @code{petrucci_g} @tab
5577 @lilypond[fragment,quote,relative=1,notime]
5578 \override Staff.TimeSignature #'transparent = ##t
5579 \clef "petrucci_g" c
5583 historic style mensural C clef @tab
5584 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5585 @code{mensural_c4} @tab
5586 @lilypond[fragment,quote,relative=1,notime]
5587 \override Staff.TimeSignature #'transparent = ##t
5588 \clef "mensural_c2" c
5592 historic style mensural F clef @tab
5593 @code{mensural_f} @tab
5594 @lilypond[fragment,quote,relative=1,notime]
5595 \override Staff.TimeSignature #'transparent = ##t
5596 \clef "mensural_f" c
5600 historic style mensural G clef @tab
5601 @code{mensural_g} @tab
5602 @lilypond[fragment,quote,relative=1,notime]
5603 \override Staff.TimeSignature #'transparent = ##t
5604 \clef "mensural_g" c
5608 Editio Vaticana style do clef @tab
5609 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5610 @lilypond[fragment,quote,relative=1,notime]
5611 \override Staff.StaffSymbol #'line-count = #4
5612 \override Staff.TimeSignature #'transparent = ##t
5613 \clef "vaticana_do2" c
5617 Editio Vaticana style fa clef @tab
5618 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5619 @lilypond[quote,relative=1,notime,fragment]
5620 \override Staff.StaffSymbol #'line-count = #4
5621 \override Staff.TimeSignature #'transparent = ##t
5622 \clef "vaticana_fa2" c
5626 Editio Medicaea style do clef @tab
5627 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5628 @lilypond[fragment,quote,relative=1,notime]
5629 \override Staff.StaffSymbol #'line-count = #4
5630 \override Staff.TimeSignature #'transparent = ##t
5631 \clef "medicaea_do2" c
5635 Editio Medicaea style fa clef @tab
5636 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5637 @lilypond[fragment,quote,relative=1,notime]
5638 \override Staff.StaffSymbol #'line-count = #4
5639 \override Staff.TimeSignature #'transparent = ##t
5640 \clef "medicaea_fa2" c
5644 historic style hufnagel do clef @tab
5645 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5646 @lilypond[fragment,quote,relative=1,notime]
5647 \override Staff.StaffSymbol #'line-count = #4
5648 \override Staff.TimeSignature #'transparent = ##t
5649 \clef "hufnagel_do2" c
5653 historic style hufnagel fa clef @tab
5654 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5655 @lilypond[fragment,quote,relative=1,notime]
5656 \override Staff.StaffSymbol #'line-count = #4
5657 \override Staff.TimeSignature #'transparent = ##t
5658 \clef "hufnagel_fa2" c
5662 historic style hufnagel combined do/fa clef @tab
5663 @code{hufnagel_do_fa} @tab
5664 @lilypond[fragment,quote,relative=1,notime]
5665 \override Staff.TimeSignature #'transparent = ##t
5666 \clef "hufnagel_do_fa" c
5673 @emph{Modern style} means ``as is typeset in contemporary editions of
5674 transcribed mensural music''.
5676 @emph{Petrucci style} means ``inspired by printings published by the
5677 famous engraver Petrucci (1466-1539)''.
5679 @emph{Historic style} means ``as was typeset or written in historic
5680 editions (other than those of Petrucci)''.
5682 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5684 Petrucci used C clefs with differently balanced left-side vertical
5685 beams, depending on which staff line it is printed.
5689 In this manual: see @ref{Clef}.
5693 The mensural g clef is mapped to the Petrucci g clef, until a new
5694 mensural g clef is implemented.
5699 @subsection Ancient flags
5704 Use the @code{flag-style} property of grob @internalsref{Stem} to
5705 select ancient flags. Besides the @code{default} flag style,
5706 only @code{mensural} style is supported
5708 @lilypond[quote,fragment,raggedright,verbatim]
5709 \override Stem #'flag-style = #'mensural
5710 \override Stem #'thickness = #1.0
5711 \override NoteHead #'style = #'mensural
5713 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
5714 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5717 Note that the innermost flare of each mensural flag always is
5718 vertically aligned with a staff line. If you do not like this
5719 behavior, you can set the @code{adjust-if-on-staffline} property of
5720 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5721 of the end of each flare is different between notes on staff lines and
5722 notes between staff lines
5724 @lilypond[quote,fragment,raggedright]
5725 \override Stem #'flag-style = #'mensural
5726 \override Stem #'thickness = #1.0
5727 \override Stem #'adjust-if-on-staffline = ##f
5728 \override NoteHead #'style = #'mensural
5730 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
5731 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5734 There is no particular flag style for neo-mensural notation. Hence,
5735 when typesetting e.g. the incipit of a transcribed piece of mensural
5736 music, the default flag style should be used. There are no flags in
5737 Gregorian Chant notation.
5740 @node Ancient time signatures
5741 @subsection Ancient time signatures
5743 @cindex time signatures
5746 There is limited support for mensural time signatures. The
5747 glyphs are hard-wired to particular time fractions. In other words,
5748 to get a particular mensural signature glyph with the @code{\time n/m}
5749 command, @code{n} and @code{m} have to be chosen according to the
5758 \remove Staff_symbol_engraver
5759 \remove Clef_engraver
5760 \remove Time_signature_engraver
5763 \set Score.timing = ##f
5764 \set Score.barAlways = ##t
5765 s_\markup { "$\\backslash$time 4/4" }
5766 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
5768 s_\markup { "$\\backslash$time 2/2" }
5769 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
5771 s_\markup { "$\\backslash$time 6/4" }
5772 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
5774 s_\markup { "$\\backslash$time 6/8" }
5775 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
5777 s_\markup { "$\\backslash$time 3/2" }
5778 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
5780 s_\markup { "$\\backslash$time 3/4" }
5781 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
5783 s_\markup { "$\\backslash$time 9/4" }
5784 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
5786 s_\markup { "$\\backslash$time 9/8" }
5787 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
5789 s_\markup { "$\\backslash$time 4/8" }
5790 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
5792 s_\markup { "$\\backslash$time 2/4" }
5793 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
5798 Use the @code{style} property of grob @internalsref{TimeSignature} to
5799 select ancient time signatures. Supported styles are
5800 @code{neomensural} and @code{mensural}. The above table uses the
5801 @code{neomensural} style. This style is appropriate e.g. for the
5802 incipit of transcriptions of mensural pieces. The @code{mensural}
5803 style mimics the look of historical printings of the 16th century.
5805 The following examples shows the differences in style,
5806 @lilypond[raggedright]
5809 c1^\markup { \hspace #-2.0 \typewriter default }
5811 \override TimeSignature #'style = #'numbered
5813 c1^\markup { \hspace #-2.0 \typewriter numbered }
5815 \override TimeSignature #'style = #'mensural
5817 c1^\markup { \hspace #-2.0 \typewriter mensural }
5819 \override TimeSignature #'style = #'neomensural
5821 c1^\markup { \hspace #-2.0 \typewriter neomensural }
5822 \override TimeSignature #'style = #'single-digit
5824 c1^\markup { \hspace #-2.0 \typewriter single-digit }
5830 This manual: @ref{Time signature} gives a general introduction into
5831 the use of time signatures.
5835 Ratios of note durations do not change with the time signature. For
5836 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
5837 be made by hand, by setting
5840 breveTP = #(ly:make-duration -1 0 3 2)
5844 This sets breveTP to 3/2 times 2 = 3 times a whole note.
5846 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
5847 addressable with @code{\time}. Use a @code{\markup} instead
5850 @subsection Custodes
5855 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5856 symbol that appears at the end of a staff. It anticipates the pitch
5857 of the first note(s) of the following line and thus helps the player
5858 or singer to manage line breaks during performance, thus enhancing
5859 readability of a score.
5861 Custodes were frequently used in music notation until the 17th
5862 century. Nowadays, they have survived only in a few particular forms
5863 of musical notation such as contemporary editions of Gregorian chant
5864 like the @emph{editio vaticana}. There are different custos glyphs
5865 used in different flavors of notational style.
5867 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5868 @internalsref{Staff} context when declaring the @code{\paper} block,
5869 as shown in the following example
5875 \consists Custos_engraver
5876 Custos \override #'style = #'mensural
5881 The result looks like this
5883 @lilypond[quote,raggedright]
5887 \override Staff.Custos #'style = #'mensural
5894 \consists Custos_engraver
5900 The custos glyph is selected by the @code{style} property. The styles
5901 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5902 @code{mensural}. They are demonstrated in the following fragment
5906 \new Lyrics \lyrics {
5910 { " " \musicglyph #"custodes-vaticana-u0" }
5914 { " " \musicglyph #"custodes-medicaea-u0" }
5919 { " " \musicglyph #"custodes-hufnagel-u0" }
5924 { " " \musicglyph #"custodes-mensural-u0" }
5936 Program reference: @internalsref{Custos}.
5938 Examples: @inputfileref{input/regression,custos.ly}.
5942 @subsection Divisiones
5948 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5949 `division') is a staff context symbol that is used to structure
5950 Gregorian music into phrases and sections. The musical meaning of
5951 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5952 can be characterized as short, medium and long pause, somewhat like
5953 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5954 a chant, but is also frequently used within a single
5955 antiphonal/responsorial chant to mark the end of each section.
5958 To use divisiones, include the file @code{gregorian-init.ly}. It
5959 contains definitions that you can apply by just inserting
5960 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5961 and @code{\finalis} at proper places in the input. Some editions use
5962 @emph{virgula} or @emph{caesura} instead of divisio minima.
5963 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5966 @lilypondfile[quote,raggedright]{divisiones.ly}
5970 @cindex @code{\virgula}
5972 @cindex @code{\caesura}
5974 @cindex @code{\divisioMinima}
5975 @code{\divisioMinima},
5976 @cindex @code{\divisioMaior}
5977 @code{\divisioMaior},
5978 @cindex @code{\divisioMaxima}
5979 @code{\divisioMaxima},
5980 @cindex @code{\finalis}
5985 In this manual: @ref{Breath marks}.
5987 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5989 Examples: @inputfileref{input/test,divisiones.ly}.
5992 @subsection Ligatures
5996 @c TODO: Should double check if I recalled things correctly when I wrote
5997 @c down the following paragraph by heart.
5999 A ligature is a coherent graphical symbol that represents at least two
6000 distinct notes. Ligatures originally appeared in the manuscripts of
6001 Gregorian chant notation roughly since the 9th century to denote
6002 ascending or descending sequences of notes.
6004 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6005 Some ligature styles may need additional input syntax specific for
6006 this particular type of ligature. By default, the
6007 @internalsref{LigatureBracket} engraver just puts a square bracket
6010 @lilypond[quote,raggedright,verbatim]
6018 To select a specific style of ligatures, a proper ligature engraver
6019 has to be added to the @internalsref{Voice} context, as explained in
6020 the following subsections. Only white mensural ligatures
6021 are supported with certain limitations.
6024 * White mensural ligatures::
6025 * Gregorian square neumes ligatures::
6028 @node White mensural ligatures
6029 @subsubsection White mensural ligatures
6031 @cindex Mensural ligatures
6032 @cindex White mensural ligatures
6034 There is limited support for white mensural ligatures.
6036 To engrave white mensural ligatures, in the paper block the
6037 @internalsref{Mensural_ligature_engraver} has to be put into the
6038 @internalsref{Voice} context, and remove the
6039 @internalsref{Ligature_bracket_engraver}
6045 \remove Ligature_bracket_engraver
6046 \consists Mensural_ligature_engraver
6051 There is no additional input language to describe the shape of a
6052 white mensural ligature. The shape is rather determined solely from
6053 the pitch and duration of the enclosed notes. While this approach may
6054 take a new user a while to get accustomed, it has the great advantage
6055 that the full musical information of the ligature is known internally.
6056 This is not only required for correct MIDI output, but also allows for
6057 automatic transcription of the ligatures.
6062 \set Score.timing = ##f
6063 \set Score.defaultBarType = "empty"
6064 \override NoteHead #'style = #'neomensural
6065 \override Staff.TimeSignature #'style = #'neomensural
6067 \[ g\longa c\breve a\breve f\breve d'\longa \]
6069 \[ e1 f1 a\breve g\longa \]
6071 @lilypond[quote,raggedright]
6074 \set Score.timing = ##f
6075 \set Score.defaultBarType = "empty"
6076 \override NoteHead #'style = #'neomensural
6077 \override Staff.TimeSignature #'style = #'neomensural
6079 \[ g\longa c\breve a\breve f\breve d'\longa \]
6081 \[ e1 f1 a\breve g\longa \]
6086 \remove Ligature_bracket_engraver
6087 \consists Mensural_ligature_engraver
6093 Without replacing @internalsref{Ligature_bracket_engraver} with
6094 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6097 @lilypond[quote,raggedright]
6099 \set Score.timing = ##f
6100 \set Score.defaultBarType = "empty"
6101 \override NoteHead #'style = #'neomensural
6102 \override Staff.TimeSignature #'style = #'neomensural
6104 \[ g\longa c\breve a\breve f\breve d'\longa \]
6106 \[ e1 f1 a\breve g\longa \]
6112 The implementation is experimental; it may output strange warnings or
6113 even crash in some cases or produce weird results on more complex
6116 @node Gregorian square neumes ligatures
6117 @subsubsection Gregorian square neumes ligatures
6119 @cindex Square neumes ligatures
6120 @cindex Gregorian square neumes ligatures
6122 Gregorian square neumes notation (following the style of the Editio
6123 Vaticana) is under heavy development, but not yet really usable for
6124 production purposes. Core ligatures can already be typeset, but
6125 essential issues for serious typesetting are still under development,
6126 such as (among others) horizontal alignment of multiple ligatures,
6127 lyrics alignment and proper accidentals handling. Still, this section
6128 gives a sneak preview of what Gregorian chant may look like once it
6131 The following table contains the extended neumes table of the 2nd
6132 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6133 1983 by the monks of Solesmes.
6135 @multitable @columnfractions .4 .2 .2 .2
6138 @b{Neuma aut@*Neumarum Elementa} @tab
6139 @b{Figurae@*Rectae} @tab
6140 @b{Figurae@*Liquescentes Auctae} @tab
6141 @b{Figurae@*Liquescentes Deminutae}
6143 @c TODO: \paper block is identical in all of the below examples.
6144 @c Therefore, it should somehow be included rather than duplicated all
6147 @c why not make identifiers in ly/engraver-init.ly? --hwn
6149 @c Because it's just used to typeset plain notes without
6150 @c a staff for demonstration purposes rather than something
6151 @c special of Gregorian chant notation. --jr
6156 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
6157 \include "gregorian-init.ly"
6162 \noBreak s^\markup {"a"} \noBreak
6164 % Punctum Inclinatum
6166 \noBreak s^\markup {"b"}
6168 \paper { \neumeDemoPaper }}
6171 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
6172 \include "gregorian-init.ly"
6175 % Punctum Auctum Ascendens
6176 \[ \auctum \ascendens b \]
6177 \noBreak s^\markup {"c"} \noBreak
6179 % Punctum Auctum Descendens
6180 \[ \auctum \descendens b \]
6181 \noBreak s^\markup {"d"} \noBreak
6183 % Punctum Inclinatum Auctum
6184 \[ \inclinatum \auctum b \]
6185 \noBreak s^\markup {"e"}
6187 \paper { \neumeDemoPaper }}
6190 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6191 \include "gregorian-init.ly"
6194 % Punctum Inclinatum Parvum
6195 \[ \inclinatum \deminutum b \]
6196 \noBreak s^\markup {"f"}
6198 \paper { \neumeDemoPaper }}
6204 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6205 \include "gregorian-init.ly"
6210 \noBreak s^\markup {"g"}
6212 \paper { \neumeDemoPaper }}
6218 @code{3. Apostropha vel Stropha}
6220 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6221 \include "gregorian-init.ly"
6226 \noBreak s^\markup {"h"}
6228 \paper { \neumeDemoPaper }}
6231 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6232 \include "gregorian-init.ly"
6236 \[ \stropha \auctum b \]
6237 \noBreak s^\markup {"i"}
6239 \paper { \neumeDemoPaper }}
6246 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6247 \include "gregorian-init.ly"
6252 \noBreak s^\markup {"j"}
6254 \paper { \neumeDemoPaper }}
6260 @code{5. Clivis vel Flexa}
6262 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6263 \include "gregorian-init.ly"
6270 \paper { \neumeDemoPaper }}
6273 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6274 \include "gregorian-init.ly"
6277 % Clivis Aucta Descendens
6278 \[ b \flexa \auctum \descendens g \]
6279 \noBreak s^\markup {"l"} \noBreak
6281 % Clivis Aucta Ascendens
6282 \[ b \flexa \auctum \ascendens g \]
6283 \noBreak s^\markup {"m"}
6285 \paper { \neumeDemoPaper }}
6288 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6289 \include "gregorian-init.ly"
6293 \[ b \flexa \deminutum g \]
6296 \paper { \neumeDemoPaper }}
6300 @code{6. Podatus vel Pes}
6302 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6303 \include "gregorian-init.ly"
6310 \paper { \neumeDemoPaper }}
6313 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6314 \include "gregorian-init.ly"
6317 % Pes Auctus Descendens
6318 \[ g \pes \auctum \descendens b \]
6319 \noBreak s^\markup {"p"} \noBreak
6321 % Pes Auctus Ascendens
6322 \[ g \pes \auctum \ascendens b \]
6323 \noBreak s^\markup {"q"}
6325 \paper { \neumeDemoPaper }}
6328 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6329 \include "gregorian-init.ly"
6333 \[ g \pes \deminutum b \]
6336 \paper { \neumeDemoPaper }}
6340 @code{7. Pes Quassus}
6342 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6343 \include "gregorian-init.ly"
6347 \[ \oriscus g \pes \virga b \]
6350 \paper { \neumeDemoPaper }}
6353 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6354 \include "gregorian-init.ly"
6357 % Pes Quassus Auctus Descendens
6358 \[ \oriscus g \pes \auctum \descendens b \]
6361 \paper { \neumeDemoPaper }}
6366 @code{8. Quilisma Pes}
6368 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6369 \include "gregorian-init.ly"
6373 \[ \quilisma g \pes b \]
6376 \paper { \neumeDemoPaper }}
6379 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6380 \include "gregorian-init.ly"
6383 % Quilisma Pes Auctus Descendens
6384 \[ \quilisma g \pes \auctum \descendens b \]
6387 \paper { \neumeDemoPaper }}
6392 @code{9. Podatus Initio Debilis}
6394 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6395 \include "gregorian-init.ly"
6398 % Pes Initio Debilis
6399 \[ \deminutum g \pes b \]
6402 \paper { \neumeDemoPaper }}
6405 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6406 \include "gregorian-init.ly"
6409 % Pes Auctus Descendens Initio Debilis
6410 \[ \deminutum g \pes \auctum \descendens b \]
6413 \paper { \neumeDemoPaper }}
6420 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6421 \include "gregorian-init.ly"
6425 \[ a \pes b \flexa g \]
6428 \paper { \neumeDemoPaper }}
6431 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6432 \include "gregorian-init.ly"
6435 % Torculus Auctus Descendens
6436 \[ a \pes b \flexa \auctum \descendens g \]
6439 \paper { \neumeDemoPaper }}
6442 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6443 \include "gregorian-init.ly"
6446 % Torculus Deminutus
6447 \[ a \pes b \flexa \deminutum g \]
6450 \paper { \neumeDemoPaper }}
6454 @code{11. Torculus Initio Debilis}
6456 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6457 \include "gregorian-init.ly"
6460 % Torculus Initio Debilis
6461 \[ \deminutum a \pes b \flexa g \]
6464 \paper { \neumeDemoPaper }}
6467 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6468 \include "gregorian-init.ly"
6471 % Torculus Auctus Descendens Initio Debilis
6472 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6475 \paper { \neumeDemoPaper }}
6478 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6479 \include "gregorian-init.ly"
6482 % Torculus Deminutus Initio Debilis
6483 \[ \deminutum a \pes b \flexa \deminutum g \]
6486 \paper { \neumeDemoPaper }}
6490 @code{12. Porrectus}
6492 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6493 \include "gregorian-init.ly"
6497 \[ a \flexa g \pes b \]
6500 \paper { \neumeDemoPaper }}
6503 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6504 \include "gregorian-init.ly"
6507 % Porrectus Auctus Descendens
6508 \[ a \flexa g \pes \auctum \descendens b \]
6511 \paper { \neumeDemoPaper }}
6514 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6515 \include "gregorian-init.ly"
6518 % Porrectus Deminutus
6519 \[ a \flexa g \pes \deminutum b \]
6522 \paper { \neumeDemoPaper }}
6528 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6529 \include "gregorian-init.ly"
6533 \[ \virga b \inclinatum a \inclinatum g \]
6536 \paper { \neumeDemoPaper }
6540 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6541 \include "gregorian-init.ly"
6545 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6548 \paper { \neumeDemoPaper }}
6551 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6552 \include "gregorian-init.ly"
6555 % Climacus Deminutus
6556 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6559 \paper { \neumeDemoPaper }}
6563 @code{14. Scandicus}
6565 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6566 \include "gregorian-init.ly"
6570 \[ g \pes a \virga b \]
6573 \paper { \neumeDemoPaper }}
6576 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6577 \include "gregorian-init.ly"
6580 % Scandicus Auctus Descendens
6581 \[ g \pes a \pes \auctum \descendens b \]
6584 \paper { \neumeDemoPaper }}
6587 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6588 \include "gregorian-init.ly"
6591 % Scandicus Deminutus
6592 \[ g \pes a \pes \deminutum b \]
6595 \paper { \neumeDemoPaper }}
6601 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6602 \include "gregorian-init.ly"
6606 \[ g \oriscus a \pes \virga b \]
6609 \paper { \neumeDemoPaper }}
6612 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6613 \include "gregorian-init.ly"
6616 % Salicus Auctus Descendens
6617 \[ g \oriscus a \pes \auctum \descendens b \]
6620 \paper { \neumeDemoPaper }}
6627 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6628 \include "gregorian-init.ly"
6632 \[ \stropha b \stropha b \stropha a \]
6635 \paper { \neumeDemoPaper }
6644 Unlike most other neumes notation systems, the input language for
6645 neumes does not necessarily reflect directly the typographical
6646 appearance, but is designed to solely focuse on musical meaning. For
6647 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6648 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6649 a Porrectus with a curved flexa shape and only a single Punctum head.
6650 There is no command to explicitly typeset the curved flexa shape; the
6651 decision of when to typeset a curved flexa shape is purely taken from
6652 the musical input. The idea of this approach is to separate the
6653 musical aspects of the input from the notation style of the output.
6654 This way, the same input can be reused to typeset the same music in a
6655 different style of Gregorian chant notation.
6657 The following table shows the code fragments that produce the
6658 ligatures in the above neumes table. The letter in the first column
6659 in each line of the below table indicates to which ligature in the
6660 above table it refers. The second column gives the name of the
6661 ligature. The third column shows the code fragment that produces this
6662 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6664 @multitable @columnfractions .1 .4 .5
6678 Punctum Inclinatum @tab
6679 @code{\[ \inclinatum b \]}
6683 Punctum Auctum Ascendens @tab
6684 @code{\[ \auctum \ascendens b \]}
6688 Punctum Auctum Descendens @tab
6689 @code{\[ \auctum \descendens b \]}
6693 Punctum Inclinatum Auctum @tab
6694 @code{\[ \inclinatum \auctum b \]}
6698 Punctum Inclinatum Parvum @tab
6699 @code{\[ \inclinatum \deminutum b \]}
6704 @code{\[ \virga b \]}
6709 @code{\[ \stropha b \]}
6714 @code{\[ \stropha \auctum b \]}
6719 @code{\[ \oriscus b \]}
6723 Clivis vel Flexa @tab
6724 @code{\[ b \flexa g \]}
6728 Clivis Aucta Descendens @tab
6729 @code{\[ b \flexa \auctum \descendens g \]}
6733 Clivis Aucta Ascendens @tab
6734 @code{\[ b \flexa \auctum \ascendens g \]}
6739 @code{\[ b \flexa \deminutum g \]}
6743 Podatus vel Pes @tab
6744 @code{\[ g \pes b \]}
6748 Pes Auctus Descendens @tab
6749 @code{\[ g \pes \auctum \descendens b \]}
6753 Pes Auctus Ascendens @tab
6754 @code{\[ g \pes \auctum \ascendens b \]}
6759 @code{\[ g \pes \deminutum b \]}
6764 @code{\[ \oriscus g \pes \virga b \]}
6768 Pes Quassus Auctus Descendens @tab
6769 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6774 @code{\[ \quilisma g \pes b \]}
6778 Quilisma Pes Auctus Descendens @tab
6779 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6783 Pes Initio Debilis @tab
6784 @code{\[ \deminutum g \pes b \]}
6788 Pes Auctus Descendens Initio Debilis @tab
6789 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6794 @code{\[ a \pes b \flexa g \]}
6798 Torculus Auctus Descendens @tab
6799 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6803 Torculus Deminutus @tab
6804 @code{\[ a \pes b \flexa \deminutum g \]}
6808 Torculus Initio Debilis @tab
6809 @code{\[ \deminutum a \pes b \flexa g \]}
6813 Torculus Auctus Descendens Initio Debilis @tab
6814 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6818 Torculus Deminutus Initio Debilis @tab
6819 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6824 @code{\[ a \flexa g \pes b \]}
6828 Porrectus Auctus Descendens @tab
6829 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6833 Porrectus Deminutus @tab
6834 @code{\[ a \flexa g \pes \deminutum b \]}
6839 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6843 Climacus Auctus @tab
6844 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6848 Climacus Deminutus @tab
6849 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6854 @code{\[ g \pes a \virga b \]}
6858 Scandicus Auctus Descendens @tab
6859 @code{\[ g \pes a \pes \auctum \descendens b \]}
6863 Scandicus Deminutus @tab
6864 @code{\[ g \pes a \pes \deminutum b \]}
6869 @code{\[ g \oriscus a \pes \virga b \]}
6873 Salicus Auctus Descendens @tab
6874 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6879 @code{\[ \stropha b \stropha b \stropha a \]}
6885 The following head prefixes are supported
6887 @cindex @code{\virga}
6889 @cindex @code{\stropha}
6891 @cindex @code{\inclinatum}
6893 @cindex @code{\auctum}
6895 @cindex @code{\descendens}
6897 @cindex @code{\ascendens}
6899 @cindex @code{\oriscus}
6901 @cindex @code{\quilisma}
6903 @cindex @code{\deminutum}
6906 Head prefixes can be accumulated, though restrictions apply. For
6907 example, either @code{\descendens} or @code{\ascendens} can be applied
6908 to a head, but not both to the same head.
6911 @cindex @code{\flexa}
6912 Two adjacent heads can be tied together with the @code{\pes} and
6913 @code{\flexa} infix commands for a rising and falling line of melody,
6918 @node Vaticana style contexts
6919 @subsection Vaticana style contexts
6921 @cindex VaticanaVoiceContext
6922 @cindex VaticanaStaffContext
6924 The predefined @code{VaticanaVoiceContext} and
6925 @code{VaticanaStaffContext} can be used to easily engrave a piece of
6926 Gregorian Chant in the style of the Editio Vaticana. These contexts
6927 initialize all relevant context properties and grob properties to
6928 proper values. With these contexts, you can immediately go ahead
6929 entering the chant, as the following short excerpt demonstrates
6931 @lilypond[quote,raggedright,verbatim,noindent]
6932 \include "gregorian-init.ly"
6935 \context VaticanaVoice = "cantus" {
6936 \override Score.BarNumber #'transparent = ##t
6938 \[ c'\melisma c' \flexa a \]
6939 \[ a \flexa \deminutum g\melismaEnd \]
6941 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
6942 c' \divisioMinima \break
6943 \[ c'\melisma c' \flexa a \]
6944 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
6947 \lyricsto "cantus" \new Lyrics {
6948 San- ctus, San- ctus, San- ctus
6955 @subsection Figured bass
6957 @cindex Basso continuo
6959 @c TODO: musicological blurb about FB
6962 LilyPond has limited support for figured bass
6964 @lilypond[quote,verbatim,fragment]
6966 \context Voice { \clef bass dis4 c d ais }
6967 \context FiguredBass \figures {
6968 < 6 >4 < 7 >8 < 6+ [_!] >
6974 The support for figured bass consists of two parts: there is an input
6975 mode, introduced by @code{\figures}, where you can enter bass figures
6976 as numbers, and there is a context called @internalsref{FiguredBass} that
6977 takes care of making @internalsref{BassFigure} objects.
6979 In figures input mode, a group of bass figures is delimited by
6980 @code{<} and @code{>}. The duration is entered after the @code{>>}
6984 @lilypond[quote,fragment]
6985 \context FiguredBass
6989 Accidentals are added when you append @code{-}, @code{!} and @code{+}
6995 @lilypond[quote,fragment]
6996 \context FiguredBass
6997 \figures { <4- 6+ 7!> }
7000 Spaces or dashes may be inserted by using @code{_}. Brackets are
7001 introduced with @code{[} and @code{]}
7006 @lilypond[quote,fragment]
7007 \context FiguredBass
7008 \figures { < [4 6] 8 [_! 12]> }
7011 Although the support for figured bass may superficially resemble chord
7012 support, it works much simpler. The @code{\figures} mode simply
7013 stores the numbers , and @internalsref{FiguredBass} context prints
7014 them as entered. There is no conversion to pitches, and no
7015 realizations of the bass are played in the MIDI file.
7017 Internally, the code produces markup texts. You can use any of the
7018 markup text properties to override formatting. For example, the
7019 vertical spacing of the figures may be set with @code{baseline-skip}.
7023 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7024 and @internalsref{FiguredBass} context.
7028 Slash notation for alterations is not supported.
7030 @node Contemporary notation
7031 @section Contemporary notation
7033 In the 20th century, composers have greatly expanded the musical
7034 vocabulary. With this expansion, many innovations in musical notation
7035 have been tried. The book by Stone (1980) gives a comprehensive
7036 overview (see @ref{Literature list}). In general, the use of new,
7037 innovative notation makes a piece harder to understand and perform and
7038 its use should therefore be avoided if possible. For this reason,
7039 support for contemporary notation in LilyPond is limited.
7043 * Polymetric notation::
7048 @node Polymetric notation
7049 @subsection Polymetric notation
7051 Double time signatures are not supported explicitly, but they can be
7052 faked. In the next example, the markup for the time signature is
7053 created with a markup text. This markup text is inserted in the
7054 @internalsref{TimeSignature} grob.
7056 @lilypond[verbatim,raggedright]
7062 \musicglyph #"scripts-stopped"
7063 \bracket \column < "5" "8" >
7068 \override Staff.TimeSignature #'print-function = #Text_item::print
7069 \override Staff.TimeSignature #'text = #tsMarkup
7071 c'2 \bar ":" c'4 c'4.
7075 Each staff can also have its own time signature. This is done by
7076 moving the @internalsref{Timing_engraver} to @internalsref{Staff}
7083 \remove "Timing_engraver"
7087 \consists "Timing_engraver"
7093 Now, each staff has its own time signature.
7107 c4. c8 c c c4. c8 c c
7112 @lilypond[raggedright]
7116 \remove "Timing_engraver"
7120 \consists "Timing_engraver"
7136 c4. c8 c c c4. c8 c c
7142 A different form of polymetric notation is where note lengths have
7143 different values across staves.
7145 This notation can be created by setting a common time signature for
7146 each staff but replacing it manually using
7147 @code{timeSignatureFraction} to the desired fraction. Then the printed
7148 durations in each staff are scaled to the common time signature.
7149 The latter is done with @code{\compressmusic}, which is similar to
7150 @code{\times}, but does not create a tuplet bracket.
7153 In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
7154 used in parallel. In the second staff, shown durations are multiplied by
7155 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7156 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7158 @lilypond[raggedright,verbatim]
7166 \set Staff.timeSignatureFraction = #'(9 . 8)
7167 \compressmusic #'(2 . 3)
7168 \repeat unfold 6 { c8[ c c] }
7172 \set Staff.timeSignatureFraction = #'(10 . 8)
7173 \compressmusic #'(3 . 5)
7174 { \repeat unfold 2 { c8[ c c] }
7175 \repeat unfold 2 { c8[ c] }
7176 | c4. c4. \times 2/3 { c8 c c } c4 }
7186 When using different time signatures in parallel, the spacing is
7187 aligned vertically, but bar lines distort the regular spacing.
7192 @subsection Clusters
7196 A cluster indicates a continuous range of pitches to be played. They
7197 can be denoted as the envelope of a set of notes. They are entered by
7198 applying the function @code{notes-to-clusters} to a sequence of
7201 @lilypond[quote,relative=2,verbatim]
7202 \applymusic #notes-to-clusters { <c e > <b f'> }
7205 The following example (from
7206 @inputfileref{input/regression,cluster.ly}) shows what the result
7209 @lilypondfile[quote]{cluster.ly}
7211 Ordinary notes and clusters can be put together in the same staff,
7212 even simultaneously. In such a case no attempt is made to
7213 automatically avoid collisions between ordinary notes and clusters.
7217 Program reference: @internalsref{ClusterSpanner},
7218 @internalsref{ClusterSpannerBeacon},
7219 @internalsref{Cluster_spanner_engraver}, and
7220 @internalsref{ClusterNoteEvent}.
7222 Examples: @inputfileref{input/regression,cluster.ly}.
7226 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7227 accurately. Use @code{<g a>8 <e a>8} instead.
7232 @subsection Fermatas
7238 Contemporary music notation frequently uses special fermata symbols to
7239 indicate fermatas of differing lengths. The following fermatas are
7242 @lilypond[quote,raggedright]
7264 \context Lyrics \lyrics {
7265 \override LyricText #'font-family = #'typewriter
7266 "shortfermata" "fermata" "longfermata" "verylongfermata"
7271 See @ref{Articulations} for general instructions how to apply scripts
7272 such as fermatas to notes.
7274 @node Feathered beams
7275 @subsection Feathered beams
7277 Feathered beams are not supported natively, but they can be faked by
7278 forcing two beams to overlap. Here is an example,
7280 @lilypond[raggedright]
7281 \relative \new Staff <<
7285 \once \override Voice.Beam #'positions = #'(0 . 0.5)
7290 \once \override Voice.Beam #'positions = #'(0 . -0.5)
7298 @node Educational use
7299 @section Educational use
7303 * Blank music paper::
7304 * Notation for excercises::
7305 * Easy Notation note heads::
7309 @subsection Balloon help
7311 Elements of notation can be marked and named with the help of a square
7312 balloon. The primary purpose of this feature is to explain notation.
7314 The following example demonstrates its use.
7316 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7319 #(add-balloon-text 'NoteHead "heads, or tails?"
7325 The function @code{add-balloon-text} takes the name of a grob, the
7326 label to print, and the position where to put the label relative to
7327 the object. In the above example, the text ``heads or tails?'' ends
7328 3 spaces below the `balloon.'
7331 @cindex notation, explaining
7335 Program reference: @internalsref{text-balloon-interface}.
7337 Examples: @inputfileref{input/regression,balloon.ly}.
7342 @node Blank music paper
7343 @subsection Blank music paper
7345 A blank music paper can be produced also by using invisible notes, and
7346 removing @code{Bar_number_engraver}.
7351 \repeat unfold 2 % Change this for more lines.
7356 \override TimeSignature #'transparent = ##t
7357 defaultBarType = #""
7358 \remove Bar_number_engraver
7360 \context Staff \emptymusic
7361 \context TabStaff \emptymusic
7366 @node Notation for excercises
7367 @subsection Notation for excercises
7371 Invisible (or transparent) notes can be useful, when weird tricks are
7372 needed; especially, a slur cannot be attach to a rest or spacer rest.
7376 blanknotes = { \override NoteHead #'transparent = ##t
7377 \override Stem #'transparent = ##t }
7378 unblanknotes = { \revert NoteHead #'transparent
7379 \revert Stem #'transparent }
7384 \blanknotes e4 f4 \unblanknotes
7390 @node Easy Notation note heads
7391 @subsection Easy Notation note heads
7393 @cindex easy notation
7396 The `easy play' note head includes a note name inside the head. It is
7397 used in music for beginners
7399 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
7404 The command @code{\setEasyHeads} overrides settings for the
7405 @internalsref{NoteHead} object. To make the letters readable, it has
7406 to be printed in a large font size. To print with a larger font, see
7407 @ref{Setting global staff size}.
7412 If you view the result with Xdvi, staff lines may show through the
7413 letters. Printing the PostScript file obtained does produce the
7418 @cindex @code{\setEasyHeads}
7419 @code{\setEasyHeads}
7425 Entered music can also be converted to MIDI output. The performance
7426 is intended for proof-hearing the music for errors.
7428 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7429 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7430 marks translate to a fixed fraction of the available MIDI volume
7431 range, crescendi and decrescendi make the volume vary linearly between
7432 their two extremities. The fractions can be adjusted by
7433 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7434 For each type of MIDI instrument, a volume range can be defined. This
7435 gives a basic equalizer control, which can enhance the quality of
7436 the MIDI output remarkably. The equalizer can be controlled by
7437 setting @code{instrumentEqualizer}.
7441 Many musically interesting effects, such as swing, articulation,
7442 slurring, etc., are not translated to MIDI.
7444 The MIDI output allocates a channel for each Staff, and one for global
7445 settings. Hence, the MIDI file should not have more than 15 staves
7446 (or 14 if you do not use drums). Other staves will remain silent.
7448 Not all MIDI players correctly handle tempo change in the MIDI
7449 output. Players that are known to work include
7450 @uref{http://timidity.sourceforge.net/,timidity}
7455 * MIDI instrument names::
7460 @subsection MIDI block
7464 The MIDI block is analogous to the paper block, but it is somewhat
7465 simpler. The @code{\midi} block can contain
7469 @item a @code{\tempo} definition, and
7470 @item context definitions.
7473 A number followed by a period is interpreted as a real number, so
7474 for setting the tempo for dotted notes, an extra space should be
7475 inserted, for example
7478 \midi @{ \tempo 4 . = 120 @}
7482 @cindex context definition
7484 Context definitions follow precisely the same syntax as within the
7485 \paper block. Translation modules for sound are called performers.
7486 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7489 @node MIDI instrument names
7490 @subsection MIDI instrument names
7492 @cindex instrument names
7493 @cindex @code{Staff.midiInstrument}
7495 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7496 property. The instrument name should be chosen from the list in
7497 @ref{MIDI instruments}.
7501 If the selected string does not exactly match, the default is used,
7502 which is the Grand Piano.