3 @c This file is part of lilypond.tely
5 @c A menu is needed before every deeper *section nesting of @node's; run
6 @c M-x texinfo-all-menus-update
7 @c to automatically fill in these menus before saving changes
10 @chapter Notation manual
12 This chapter describes all the different types of notation supported
13 by LilyPond. It is intended as a reference for users that are already
14 somewhat familiar with LilyPond.
18 * Easier music entry::
28 * Other instrument specific notation::
32 * Formatting cue notes::
34 * 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::
68 A note is printed by specifying its pitch and then its duration,
70 @lilypond[quote,verbatim]
71 { cis'4 d'8 e'16 c'16 }
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used for standard notes and
84 @code{\chordmode} modes. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}. The octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C
90 @lilypond[fragment,verbatim,noindent]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted
104 @lilypond[fragment,quote,verbatim,relative=2]
112 There are predefined sets of note names for various other languages.
113 To use them, include the language specific init file. For
114 example: @code{\include "english.ly"}. The available language files
115 and the note names they define are
120 Note Names sharp flat
121 nederlands.ly c d e f g a bes b -is -es
122 english.ly c d e f g a bf b -s/-sharp -f/-flat
124 deutsch.ly c d e f g a b h -is -es
125 norsk.ly c d e f g a b h -iss/-is -ess/-es
126 svenska.ly c d e f g a b h -iss -ess
127 italiano.ly do re mi fa sol la sib si -d -b
128 catalan.ly do re mi fa sol la sib si -d/-s -b
129 espanol.ly do re mi fa sol la sib si -s -b
138 The optional octave specification takes the form of a series of
139 single quote (`@code{'}') characters or a series of comma
140 (`@code{,}') characters. Each @code{'} raises the pitch by one
141 octave; each @code{,} lowers the pitch by an octave
143 @lilypond[quote,fragment,verbatim]
144 c' c'' es' g' as' gisis' ais'
147 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
149 Notes can be hidden and unhidden with the following commands
151 cindex @code{\hideNotes}
153 @cindex @code{\unHideNotes}
159 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
163 @node Chromatic alterations
164 @subsection Chromatic alterations
166 Normally accidentals are printed automatically, but you may also
167 print them manually. A reminder accidental
168 @cindex reminder accidental
170 can be forced by adding an exclamation mark @code{!}
171 after the pitch. A cautionary accidental
172 @cindex cautionary accidental
173 @cindex parenthesized accidental
174 (i.e. an accidental within parentheses) can be obtained by adding the
175 question mark `@code{?}' after the pitch.
177 @lilypond[quote,fragment,verbatim]
178 cis' cis' cis'! cis'?
184 The automatic production of accidentals can be tuned in many
185 ways. For more information, refer to @ref{Accidentals}.
190 @subsection Micro tones
192 Half-flats and half-sharps are formed by adding @code{-eh} and
193 @code{-ih}; the following is a series of Cs with increasing pitches
195 @cindex quarter tones
196 @cindex semi-flats, semi-sharps
198 @lilypond[verbatim,quote,relative=2,fragment]
199 { ceseh ceh cih cisih }
202 Micro tones are also exported to the MIDI file
207 There are no generally accepted standards for denoting three quarter
208 flats, so LilyPond's symbol does not conform to any standard.
213 A chord is formed by a enclosing a set of pitches in @code{<} and
214 @code{>}. A chord may be followed by a duration, and a set of
215 articulations, just like simple notes
217 @lilypond[verbatim,fragment,quote,relative=1]
229 Rests are entered like notes, with the note name @code{r}
231 @lilypond[fragment,quote,raggedright,verbatim]
235 Whole bar rests, centered in middle of the bar,
236 must be done with multi-measure rests. They are discussed in
237 @ref{Multi measure rests}.
240 A rest's vertical position may be explicitly specified by entering a
241 note with the @code{\rest} keyword appended. This makes manual
242 formatting in polyphonic music easier. Automatic rest collision
243 formatting will leave these rests alone
245 @lilypond[fragment,quote,raggedright,verbatim]
251 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
258 @cindex Invisible rest
263 An invisible rest (also called a `skip') can be entered like a note
264 with note name `@code{s}' or with @code{\skip @var{duration}}
266 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
267 a4 a4 s4 a4 \skip 1 a4
270 The @code{s} syntax is only available in note mode and chord mode. In
271 other situations, for example, when entering lyrics, you should use
272 the @code{\skip} command
274 @lilypond[quote,raggedright,verbatim]
277 \new Lyrics \lyricmode { \skip 2 bla1 }
281 The skip command is merely an empty musical placeholder. It does not
282 produce any output, not even transparent output.
284 The @code{s} skip command does create @internalsref{Staff} and
285 @internalsref{Voice} when necessary, similar to note and rest
286 commands. For example, the following results in an empty staff.
288 @lilypond[quote,raggedright,verbatim]
292 The fragment @code{@{ \skip 4 @} } would produce an empty page.
296 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
301 @subsection Durations
305 @cindex @code{\longa}
306 @cindex @code{\breve}
307 @cindex @code{\maxima}
310 In Note, Chord, and Lyrics mode, durations are designated by numbers
311 and dots: durations are entered as their reciprocal values. For example,
312 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
313 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
314 longer than a whole you must use variables
318 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
320 r1 r2 r4 r8 r16 r32 r64 r64
323 @lilypond[quote,noindent]
326 a\breve*1/2 \autoBeamOff
327 a1 a2 a4 a8 a16 a32 a64 a64
330 r\longa*1/4 r\breve *1/2
331 r1 r2 r4 r8 r16 r32 r64 r64
337 \remove "Clef_engraver"
338 \override StaffSymbol #'transparent = ##t
339 \override TimeSignature #'transparent = ##t
340 \override BarLine #'transparent = ##t
341 \consists "Pitch_squash_engraver"
347 If the duration is omitted then it is set to the previously entered
348 duration. The default for the first note is a quarter note.
350 @lilypond[quote,raggedright,verbatim,fragment]
358 @node Augmentation dots
359 @subsection Augmentation dots
362 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
363 the number. Double-dotted notes are produced in a similar way.
365 @lilypond[quote,fragment,verbatim]
366 a'4 b' c''4. b'8 a'4. b'4.. c''8.
371 Dots are normally moved up to avoid staff lines, except in polyphonic
372 situations. The following commands may be used to force a particular
375 @cindex @code{\dotsUp}
377 @cindex @code{\dotsDown}
379 @cindex @code{\dotsBoth}
384 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
386 @node Scaling durations
387 @subsection Scaling durations
389 You can alter the length of duration by a fraction @var{N/M}
390 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
391 will not affect the appearance of the notes or rests produced.
393 In the following example, the first three notes take up exactly two
394 beats, but no triplet bracket is printed.
395 @lilypond[quote,fragment,relative=2,verbatim]
397 a4*2/3 gis4*2/3 a4*2/3
405 This manual: @ref{Tuplets}
408 @c TODO: I'm not certain that Stems belong here in the manual. -gp
412 Whenever a note is found, a @internalsref{Stem} object is created
413 automatically. For whole notes and rests, they are also created but
418 @cindex @code{\stemUp}
420 @cindex @code{\stemDown}
422 @cindex @code{\stemBoth}
433 A tie connects two adjacent note heads of the same pitch. The tie in
434 effect extends the length of a note. Ties should not be confused with
435 slurs, which indicate articulation, or phrasing slurs, which indicate
436 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
438 @lilypond[quote,fragment,verbatim]
439 e' ~ e' <c' e' g'> ~ <c' e' g'>
442 When a tie is applied to a chord, all note heads whose pitches match
443 are connected. When no note heads match, no ties will be created.
445 A tie is just a way of extending a note duration, similar to the
446 augmentation dot. The following example shows two ways of notating
447 exactly the same concept
449 @lilypond[quote,fragment,raggedright]
450 \time 3/4 c'2. c'2 ~ c'4
454 Ties are used either when the note crosses a bar line, or when dots
455 cannot be used to denote the rhythm. When using ties, larger note
456 values should be aligned to subdivisions of the measure, eg.
460 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
464 If you need to tie a lot of notes over bars, it may be easier to use
465 automatic note splitting (see @ref{Automatic note splitting}). This
466 mechanism automatically splits long notes, and ties them across bar
472 @cindex @code{\tieUp}
474 @cindex @code{\tieDown}
476 @cindex @code{\tieBoth}
478 @cindex @code{\tieDotted}
480 @cindex @code{\tieSolid}
485 In this manual: @ref{Automatic note splitting}.
487 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
492 Switching staves when a tie is active will not produce a slanted tie.
494 Formatting of ties is a difficult subject. The results are often not
502 @cindex @code{\times}
504 Tuplets are made out of a music expression by multiplying all durations
507 @cindex @code{\times}
509 \times @var{fraction} @var{musicexpr}
513 The duration of @var{musicexpr} will be multiplied by the fraction.
514 The fraction's denominator will be printed over the notes, optionally
515 with a bracket. The most common tuplet is the triplet in which 3
516 notes have the length of 2, so the notes are 2/3 of their written
519 @lilypond[quote,fragment,verbatim]
520 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
523 The property @code{tupletSpannerDuration} specifies how long each
524 bracket should last. With this, you can make lots of tuplets while
525 typing @code{\times} only once, thus saving lots of typing. In the next
526 example, there are two triplets shown, while @code{\times} was only
529 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
530 \set tupletSpannerDuration = #(ly:make-moment 1 4)
531 \times 2/3 { c'8 c c c c c }
534 The format of the number is determined by the property
535 @code{tupletNumberFormatFunction}. The default prints only the
536 denominator, but if it is set to the Scheme function
537 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
541 @cindex @code{tupletNumberFormatFunction}
542 @cindex tuplet formatting
547 @cindex @code{\tupletUp}
549 @cindex @code{\tupletDown}
551 @cindex @code{\tupletBoth}
556 User manual: @ref{Changing context properties on the fly} for the
560 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
562 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
566 Nested tuplets are not formatted automatically. In this case, outer
567 tuplet brackets should be moved manually, which is demonstrated in
568 @inputfileref{input/regression,tuplet-nest.ly}.
572 @node Easier music entry
573 @section Easier music entry
576 This section deals with tricks and features of the input language that
577 were added solely to help entering music and finding and correcting
578 mistakes. There are also external tools that make debugging easier.
579 See @ref{Point and click} for more information.
581 It is also possible to enter and edit music using other programs, such as
582 GUI interfaces or MIDI sequencers. Refer to the LilyPond
583 website for more information.
590 * Skipping corrected music::
591 * Automatic note splitting::
597 @node Relative octaves
598 @subsection Relative octaves
600 @cindex relative octave specification
602 Octaves are specified by adding @code{'} and @code{,} to pitch names.
603 When you copy existing music, it is easy to accidentally put a pitch
604 in the wrong octave and hard to find such an error. The relative
605 octave mode prevents these errors by making the mistakes much
606 larger: a single error puts the rest of the piece off by one octave
608 @cindex @code{\relative}
610 \relative @var{startpitch} @var{musicexpr}
614 \relative @var{musicexpr}
617 The octave of notes that appear in @var{musicexpr} are calculated as
618 follows: if no octave changing marks are used, the basic interval
619 between this and the last note is always taken to be a fourth or
620 less. This distance is determined without regarding alterations; a
621 @code{fisis} following a @code{ceses} will be put above the
622 @code{ceses}. In other words, a doubly-augmented fourth is considered
623 a smaller interval than a diminshed fifth, even though the fourth is
624 seven semitones while the fifth is only six semitones.
626 The octave changing marks @code{'} and @code{,} can be added to raise
627 or lower the pitch by an extra octave. Upon entering relative mode,
628 an absolute starting pitch can be specified that will act as the
629 predecessor of the first note of @var{musicexpr}. If no starting pitch
630 is specified, then middle C is used as a start.
632 Here is the relative mode shown in action
633 @lilypond[quote,fragment,raggedright,verbatim]
639 Octave changing marks are used for intervals greater than a fourth
640 @lilypond[quote,fragment,verbatim]
646 If the preceding item is a chord, the first note of the chord is used
647 to determine the first note of the next chord
649 @lilypond[quote,fragment,verbatim]
657 The pitch after the @code{\relative} contains a note name.
660 @c Perfect place for a "refwarning"! -gp
663 The relative conversion will not affect @code{\transpose},
664 @code{\chordmode} or @code{\relative} sections in its argument. To use
665 relative within transposed music, an additional @code{\relative} must
666 be placed inside @code{\transpose}.
669 @subsection Octave check
672 Octave checks make octave errors easier to correct: a note may be
673 followed by @code{=}@var{quotes} which indicates what its absolute
674 octave should be. In the following example,
676 \relative c'' @{ c='' b=' d,='' @}
680 @c take care with @code, adds confusing quotes.
681 the @code{d} will generate a warning, because a @code{d''} is expected
682 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
683 found. In the output, the octave is corrected to be a @code{d''} and
684 the next note is calculated relative to @code{d''} instead of @code{d'}.
688 There is also a syntax that is separate from the notes. The syntax
694 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
695 quotes) in \relative mode. If not, a warning is printed, and the
698 In the example below, the first check passes without incident, since
699 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
700 the second check produces a warning, since the @code{e} is not within
701 a fifth of @code{b'}. The warning message is printed, and the octave
702 is adjusted so that the following notes are in the correct octave
714 The octave of a note following an octave check is determined with
715 respect to the note preceding it. In the next fragment, the last note
716 is a @code{a'}, above middle C. That means that the @code{\octave}
717 check passes successfully, so the check could be deleted without changing
718 the output of the piece.
720 @lilypond[quote,verbatim,fragment]
729 @subsection Bar check
733 @cindex @code{barCheckSynchronize}
736 Bar checks help detect errors in the durations. A bar check is
737 entered using the bar symbol, `@code{|}'. Whenever it is encountered
738 during interpretation, it should fall on a measure boundary. If it
739 does not, a warning is printed. In the next example, the second bar
740 check will signal an error
742 \time 3/4 c2 e4 | g2 |
745 Bar checks can also be used in lyrics, for example
750 Twin -- kle | Twin -- kle
755 @cindex @code{skipTypesetting}
757 Failed bar checks are caused by entering incorrect
758 durations. Incorrect durations often completely garble up the score,
759 especially if the score is polyphonic, so a good place to start correcting
760 input is by scanning for failed bar checks and incorrect durations. To
761 speed up this process, the @code{skipTypesetting} feature may be
762 used. It is described in the next section.
765 @cindex @code{pipeSymbol}
767 It is also possible to redefine the meaning of @code{|}. This is done
768 by assigning a music expression to @code{pipeSymbol},
770 @lilypond[quote,raggedright,verbatim]
771 pipeSymbol = \bar "||"
777 @node Skipping corrected music
778 @subsection Skipping corrected music
780 The property @code{Score.skipTypesetting} can be used to switch on and
781 off typesetting completely during the interpretation phase. When
782 typesetting is switched off, the music is processed much more
783 quickly. This can be used to skip over the parts of a score that
784 have already been checked for errors
786 @lilypond[quote,fragment,raggedright,verbatim]
789 \set Score.skipTypesetting = ##t
791 \set Score.skipTypesetting = ##f
795 In polyphonic music, @code{Score.skipTypesetting} will affect all
796 voices and staves, saving even more time.
798 @node Automatic note splitting
799 @subsection Automatic note splitting
801 Long notes can be converted automatically to tied notes. This is done
802 by replacing the @internalsref{Note_heads_engraver} by the
803 @internalsref{Completion_heads_engraver}.
804 In the following examples, notes crossing the bar line are split and tied.
807 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
809 \remove "Note_heads_engraver"
810 \consists "Completion_heads_engraver"
812 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
816 This engraver splits all running notes at the bar line, and inserts
817 ties. One of its uses is to debug complex scores: if the measures are
818 not entirely filled, then the ties exactly show how much each measure
823 Not all durations (especially those containing tuplets) can be
824 represented exactly with normal notes and dots, but the engraver will
829 Examples: @inputfileref{input/regression,completion-heads.ly}.
833 Program reference: @internalsref{Completion_heads_engraver}.
837 @section Staff notation
839 This section describes music notation that occurs on staff level,
840 such as key signatures, clefs and time signatures.
842 @cindex Staff notation
853 * Time administration::
854 * Controlling formatting of prefatory matter::
858 @subsection Staff symbol
860 @cindex adjusting staff symbol
862 Notes, dynamic signs, etc. are grouped
863 with a set of horizontal lines, into a staff (plural `staves'). In our
864 system, these lines are drawn using a separate layout object called
868 @cindex staff lines, setting number of
869 @cindex staff lines, setting thickness of
870 @cindex thickness of staff lines, setting
871 @cindex number of staff lines, setting
875 Program reference: @internalsref{StaffSymbol}.
877 Examples: @inputfileref{input/test,staff-lines.ly},
878 @inputfileref{input/test,staff-size.ly}.
882 If a staff is ended halfway a piece, the staff symbol may not end
883 exactly on the bar line.
887 @subsection Key signature
888 @cindex Key signature
892 The key signature indicates the scale in which a piece is played. It
893 is denoted by a set of alterations (flats or sharps) at the start of
897 Setting or changing the key signature is done with the @code{\key}
900 @code{\key} @var{pitch} @var{type}
903 @cindex @code{\minor}
904 @cindex @code{\major}
905 @cindex @code{\minor}
906 @cindex @code{\ionian}
907 @cindex @code{\locrian}
908 @cindex @code{\aeolian}
909 @cindex @code{\mixolydian}
910 @cindex @code{\lydian}
911 @cindex @code{\phrygian}
912 @cindex @code{\dorian}
914 Here, @var{type} should be @code{\major} or @code{\minor} to get
915 @var{pitch}-major or @var{pitch}-minor, respectively.
916 The standard mode names @code{\ionian},
917 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
918 @code{\phrygian}, and @code{\dorian} are also defined.
920 This command sets the context property
921 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
922 can be specified by setting this property directly.
924 Accidentals and key signatures often confuse new users, because
925 unaltered notes get natural signs depending on the key signature. For
926 more information, see @ref{More about pitches}.
930 Program reference: @internalsref{KeyChangeEvent},
931 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
933 @cindex @code{keySignature}
940 The clef indicates which lines of the staff correspond to which
944 The clef can be set with the @code{\clef} command
945 @lilypond[quote,fragment,verbatim]
946 { c''2 \clef alto g'2 }
949 Supported clef-names include
950 @c Moved standard clefs to the top /MB
954 @item treble, violin, G, G2
967 G clef on 1st line, so-called French violin clef
972 @cindex mezzosoprano clef
975 @cindex baritone clef
978 @cindex varbaritone clef
989 By adding @code{_8} or @code{^8} to the clef name, the clef is
990 transposed one octave down or up, respectively, and @code{_15} and
991 @code{^15} transposes by two octaves. The argument @var{clefname}
992 must be enclosed in quotes when it contains underscores or digits. For
996 @cindex choral tenor clef
997 @lilypond[quote,verbatim,fragment,relative=1]
1001 This command is equivalent to setting @code{clefGlyph},
1002 @code{clefPosition} (which controls the Y position of the clef),
1003 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
1004 when any of these properties are changed. The following example shows
1005 possibilities when setting properties manually.
1009 \set Staff.clefGlyph = #"clefs-F"
1010 \set Staff.clefPosition = #2
1012 \set Staff.clefGlyph = #"clefs-G"
1014 \set Staff.clefGlyph = #"clefs-C"
1016 \set Staff.clefOctavation = #7
1018 \set Staff.clefOctavation = #0
1019 \set Staff.clefPosition = #0
1029 Program reference: @internalsref{Clef}.
1033 @node Ottava brackets
1034 @subsection Ottava brackets
1036 `Ottava' brackets introduce an extra transposition of an octave for
1037 the staff. They are created by invoking the function
1038 @code{set-octavation}
1044 @lilypond[quote,verbatim,fragment]
1054 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1055 (for 15ma) as arguments. Internally the function sets the properties
1056 @code{ottavation} (e.g. to @code{"8va"}) and
1057 @code{centralCPosition}. For overriding the text of the bracket, set
1058 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1063 \set Staff.ottavation = #"8"
1070 Program reference: @internalsref{OttavaBracket}.
1072 Examples: @inputfileref{input/regression,ottava.ly},
1073 @inputfileref{input/regression,ottava-broken.ly}.
1077 @code{set-octavation} will get confused when clef changes happen
1078 during an octavation bracket.
1083 @node Time signature
1084 @subsection Time signature
1085 @cindex Time signature
1087 @cindex @code{\time}
1089 Time signature indicates the metrum of a piece: a regular pattern of
1090 strong and weak beats. It is denoted by a fraction at the start of the
1094 The time signature is set or changed by the @code{\time}
1096 @lilypond[quote,fragment,verbatim]
1097 \time 2/4 c'2 \time 3/4 c'2.
1100 @c FIXME: broken numbers for 4/4 and 2/2 time.
1101 The symbol that is printed can be customized with the @code{style}
1102 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1105 @lilypond[fragment,verbatim]
1108 \override TimeSignature #'style = #'()
1115 There are many more options for its layout. See @ref{Ancient time
1116 signatures} for more examples.
1119 This command sets the property @code{timeSignatureFraction},
1120 @code{beatLength} and @code{measureLength} in the @code{Timing}
1121 context, which is normally aliased to @internalsref{Score}. The
1122 property @code{measureLength} determines where bar lines should be
1123 inserted, and how automatic beams should be generated. Changing the
1124 value of @code{timeSignatureFraction} also causes the symbol to be
1127 More options are available through the Scheme function
1128 @code{set-time-signature}. In combination with the
1129 @internalsref{Measure_grouping_engraver}, it will create
1130 @internalsref{MeasureGrouping} signs. Such signs ease reading
1131 rhythmically complex modern music. In the following example, the 9/8
1132 measure is subdivided in 2, 2, 2 and 3. This is passed to
1133 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1135 @lilypond[quote,raggedright,verbatim]
1138 #(set-time-signature 9 8 '(2 2 2 3))
1139 g8[ g] d[ d] g[ g] a8[( bes g]) |
1140 #(set-time-signature 5 8 '(3 2))
1146 \consists "Measure_grouping_engraver"
1154 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1159 Automatic beaming does not use the measure grouping specified with
1160 @code{set-time-signature}.
1162 @node Partial measures
1163 @subsection Partial measures
1166 @cindex partial measure
1167 @cindex measure, partial
1168 @cindex shorten measures
1169 @cindex @code{\partial}
1171 Partial measures, for example in upsteps, are entered using the
1172 @code{\partial} command
1173 @lilypond[quote,fragment,verbatim,relative=2]
1174 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1177 The syntax for this command is
1179 \partial @var{duration}
1181 This is internally translated into
1183 \set Timing.measurePosition = -@var{length of duration}
1186 The property @code{measurePosition} contains a rational number
1187 indicating how much of the measure has passed at this point.
1191 This command does not take into account grace notes at the start of
1192 the music. When a piece starts with graces notes in the pickup, then
1193 the @code{\partial} should follow the grace notes
1195 @lilypond[verbatim,relative,fragment]
1205 @node Unmetered music
1206 @subsection Unmetered music
1210 Bar lines and bar numbers are calculated automatically. For unmetered
1211 music (e.g. cadenzas), this is not desirable. By setting
1212 @code{Score.timing} to false, this automatic timing can be switched
1213 off. Empty bar lines,
1220 indicate where line breaks can occur.
1224 @cindex @code{\cadenzaOn}
1226 @cindex @code{\cadenzaOff}
1233 @subsection Bar lines
1237 @cindex measure lines
1241 Bar lines delimit measures, but are also used to indicate repeats.
1242 Normally, they are inserted automatically. Line breaks may only
1243 happen on bar lines.
1245 Special types of bar lines can be forced with the @code{\bar} command
1247 @lilypond[quote,relative=2,fragment,verbatim]
1251 The following bar types are available
1252 @lilypondfile[]{bar-lines.ly}
1254 For allowing line breaks, there is a special command,
1258 This will insert an invisible bar line, and allow line breaks at this
1261 In scores with many staves, a @code{\bar} command in one staff is
1262 automatically applied to all staves. The resulting bar lines are
1263 connected between different staves of a @internalsref{StaffGroup}
1265 @lilypond[quote,fragment,verbatim]
1267 \context StaffGroup <<
1273 \new Staff { \clef bass c4 g e g }
1275 \new Staff { \clef bass c2 c2 }
1280 The command @code{\bar }@var{bartype} is a short cut for doing
1281 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1282 is set to a string, a bar line of that type is created.
1284 A bar line is created whenever the @code{whichBar} property is set.
1285 At the start of a measure it is set to the contents of
1286 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1287 to override default measure bars.
1289 @cindex @code{whichBar}
1290 @cindex @code{repeatCommands}
1291 @cindex @code{defaultBarType}
1293 You are encouraged to use @code{\repeat} for repetitions. See
1300 In this manual: @ref{Repeats}, @ref{System start delimiters}
1303 Program reference: @internalsref{BarLine} (created at
1304 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1306 @cindex bar lines at start of system
1307 @cindex start of system
1311 Examples: @inputfileref{input/test,bar-lines.ly},
1314 @node Time administration
1315 @subsection Time administration
1317 Time is administered by the @internalsref{Time_signature_engraver},
1318 which usually lives in the @internalsref{Score} context.
1319 The bookkeeping deals with the following variables
1322 @item currentBarNumber
1325 the length of the measures in the current time signature. For a 4/4
1326 time this is 1, and for 6/8 it is 3/4.
1327 @item measurePosition
1328 the point within the measure where we currently are. This quantity
1329 is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
1330 @code{currentBarNumber} is incremented.
1332 if set to true, the above variables are updated for every time
1333 step. When set to false, the engraver stays in the current measure
1337 Timing can be changed by setting any of these variables explicitly.
1338 In the next example, the 4/4 time signature is printed, but
1339 @code{measureLength} is set to 5/4. After a while, the measure is
1340 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1341 the measure, so the next bar line will fall at 2/4 + 3/8.
1345 \set Score.measureLength = #(ly:make-moment 5 4)
1349 \set Score.measurePosition = #(ly:make-moment -3 8)
1356 @node Controlling formatting of prefatory matter
1357 @subsection Controlling formatting of prefatory matter
1359 TODO Somebody needs to explain this example, but I don't know what
1360 they're trying to do, so it won't be me. -gp
1362 TODO part 2, build message: programming error: No spacing entry from KeyCancellation to `key-signature'
1366 \override Staff.Clef #'break-visibility = #end-of-line-visible
1367 \override Staff.KeySignature #'break-visibility = #end-of-line-visible
1368 \set Staff.explicitClefVisibility = #end-of-line-visible
1369 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1371 % We want the time sig to take space, otherwise there is not
1372 % enough white at the start of the line.
1375 \override Staff.TimeSignature #'transparent = ##t
1376 \set Score.defaultBarType = #"empty"
1396 Polyphony in music refers to having more than one voice occuring in
1397 a piece of music. Polyphony in LilyPond refers to having more than
1398 one voice on the same staff.
1400 @subsection Writing polyphonic music
1401 @subsection Writing polyphonic music
1404 The easiest way to enter fragments with more than one voice on a staff
1405 is to split chords using the separator @code{\\}. You can use it for
1406 small, short-lived voices or for single chords
1410 @lilypond[quote,verbatim,fragment]
1411 \context Staff \relative c'' {
1412 c4 << { f d e } \\ { b c2 } >>
1413 c4 << g' \\ b, \\ f' \\ d >>
1417 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1418 voices are sometimes called ``layers'' in other notation packages}
1420 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1421 each of these contexts, vertical direction of slurs, stems, etc. is set
1424 @cindex @code{\voiceOne}
1425 @cindex @code{\voiceFour}
1427 This can also be done by instantiating @internalsref{Voice} contexts
1428 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1429 a stem directions and horizontal shift for each part
1432 @lilypond[quote,raggedright,verbatim]
1435 \new Voice { \voiceOne cis2 b }
1436 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1437 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1441 The command @code{\oneVoice} will revert back to the normal setting.
1442 @cindex @code{\oneVoice}
1445 Normally, note heads with a different number of dots are not merged, but
1446 when the object property @code{merge-differently-dotted} is set in
1447 the @internalsref{NoteCollision} object, they are merged
1448 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1451 \override Staff.NoteCollision
1452 #'merge-differently-dotted = ##t
1454 } \\ { g8.[ f16] g8.[ f16] } >>
1457 Similarly, you can merge half note heads with eighth notes, by setting
1458 @code{merge-differently-headed}
1459 @lilypond[quote,fragment,relative=2,verbatim]
1462 \override Staff.NoteCollision
1463 #'merge-differently-headed = ##t
1464 c8 c4. } \\ { c2 c2 } >>
1467 LilyPond also vertically shifts rests that are opposite of a stem,
1470 @lilypond[quote,raggedright,fragment,verbatim]
1471 \context Voice << c''4 \\ r4 >>
1479 @cindex @code{\oneVoice}
1481 @cindex @code{\voiceOne}
1483 @cindex @code{\voiceTwo}
1485 @cindex @code{\voiceThree}
1487 @cindex @code{\voiceFour}
1492 @cindex @code{\shiftOn}
1494 @cindex @code{\shiftOnn}
1496 @cindex @code{\shiftOnnn}
1498 @cindex @code{\shiftOff}
1499 @code{\shiftOff}: these commands specify in what chords of the current
1500 voice should be shifted. The outer voices (normally: voice one and
1501 two) have @code{\shiftOff}, while the inner voices (three and four)
1502 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1503 further shift levels.
1506 When LilyPond cannot cope, the @code{force-hshift}
1507 property of the @internalsref{NoteColumn} object and pitched rests can
1508 be used to override typesetting decisions.
1510 @lilypond[verbatim,raggedright]
1517 \once \override NoteColumn #'force-hshift = #1.7
1526 Program reference: the objects responsible for resolving collisions are
1527 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1530 @inputfileref{input/regression,collision-dots.ly},
1531 @inputfileref{input/regression,collision-head-chords.ly},
1532 @inputfileref{input/regression,collision-heads.ly},
1533 @inputfileref{input/regression,collision-mesh.ly}, and
1534 @inputfileref{input/regression,collisions.ly}.
1540 When using @code{merge-differently-headed} with an upstem eighth or a
1541 shorter note, and a downstem half note, the eighth note gets the wrong
1544 There is no support for clusters where the same note occurs with
1545 different accidentals in the same chord. In this case, it is
1546 recommended to use enharmonic transcription, or to use special cluster
1547 notation (see @ref{Clusters}).
1552 Beams are used to group short notes into chunks that are aligned with
1553 the metrum. LilyPond normally inserts beams automatically, but if you
1554 wish you may control them manually or changed how beams are automatically
1557 @cindex Automatic beams
1561 * Setting automatic beam behavior::
1565 @node Automatic beams
1566 @subsection Automatic beams
1568 LilyPond inserts beams automatically
1570 @lilypond[quote,fragment,verbatim,relative=2]
1571 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1574 When these automatic decisions are not good enough, beaming can be
1575 entered explicitly. It is also possible to define beaming patterns
1576 that differ from the defaults.
1578 Individual notes may be marked with @code{\noBeam}, to prevent them
1581 @lilypond[quote,fragment,verbatim,relative=2]
1582 \time 2/4 c8 c\noBeam c c
1588 Program reference: @internalsref{Beam}.
1592 @subsection Manual beams
1593 @cindex beams, manual
1597 In some cases it may be necessary to override the automatic beaming
1598 algorithm. For example, the autobeamer will not put beams over rests
1599 or bar lines. Such beams are specified manually by marking the begin
1600 and end point with @code{[} and @code{]}
1602 @lilypond[quote,fragment,relative=1,verbatim]
1604 r4 r8[ g' a r8] r8 g[ | a] r8
1608 @cindex @code{stemLeftBeamCount}
1610 Normally, beaming patterns within a beam are determined automatically.
1611 If necessary, the properties @code{stemLeftBeamCount} and
1612 @code{stemRightBeamCount} can be used to override the defaults. If
1613 either property is set, its value will be used only once, and then it
1616 @lilypond[quote,fragment,relative=1,verbatim]
1621 \set stemLeftBeamCount = #1
1625 @cindex @code{stemRightBeamCount}
1628 The property @code{subdivideBeams} can be set in order to subdivide
1629 all 16th or shorter beams at beat positions, as defined by the
1630 @code{beatLength} property.
1633 @lilypond[fragment,quote,relative=2,verbatim,noindent]
1635 \set subdivideBeams = ##t
1637 \set Score.beatLength = #(ly:make-moment 1 8)
1640 @cindex @code{subdivideBeams}
1642 Normally, line breaks are forbidden when beams cross bar lines. This
1643 behavior can be changed by setting @code{allowBeamBreak}.
1645 @cindex @code{allowBeamBreak}
1646 @cindex beams and line breaks
1648 @cindex beams, kneed
1650 @cindex auto-knee-gap
1655 User manual: @ref{Changing context properties on the fly} for the
1661 @cindex Frenched staves
1662 Kneed beams are inserted automatically, when a large gap is detected
1663 between the note heads. This behavior can be tuned through the object.
1666 Automatically kneed cross-staff beams cannot be used together with
1667 hidden staves. See @ref{Hiding staves}.
1669 Beams do not avoid collisions with symbols around the notes, such as
1670 texts and accidentals.
1675 @node Setting automatic beam behavior
1676 @subsection Setting automatic beam behavior
1678 @cindex @code{autoBeamSettings}
1679 @cindex @code{(end * * * *)}
1680 @cindex @code{(begin * * * *)}
1681 @cindex automatic beams, tuning
1682 @cindex tuning automatic beaming
1684 @c [TODO: use \applycontext]
1686 In normal time signatures, automatic beams can start on any note but can
1687 only end in a few positions within the measure: beams can end on a beat,
1688 or at durations specified by the properties in
1689 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1690 are defined in @file{scm/auto-beam.scm}.
1692 The value of @code{autoBeamSettings} is changed with two functions,
1694 #(override-auto-beam-setting
1695 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1697 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1699 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1700 @var{context} is an optional context (default: @code{'Voice}). It
1701 determines whether the rule applies to begin or end-points. The
1702 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1703 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1704 to a time signature (wildcards `@code{* *}' may be entered to
1705 designate all time signatures), @var{a}/@var{b} is a duration. By
1706 default, this command changes settings for the current voice. It is
1707 also possible to adjust settings at higher contexts, by adding a
1708 @var{context} argument.
1710 For example, if automatic beams should end on every quarter note, use
1713 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1715 Since the duration of a quarter note is 1/4 of a whole note, it is
1716 entered as @code{(ly:make-moment 1 4)}.
1718 The same syntax can be used to specify beam starting points. In this
1719 example, automatic beams can only end on a dotted quarter note
1721 #(override-auto-beam-setting '(end * * * *) 3 8)
1723 In 4/4 time signature, this means that automatic beams could end only on
1724 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1725 3/8, has passed within the measure).
1727 Rules can also be restricted to specific time signatures. A rule that
1728 should only be applied in @var{N}/@var{M} time signature is formed by
1729 replacing the second asterisks by @var{N} and @var{M}. For example, a
1730 rule for 6/8 time exclusively looks like
1732 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1735 If a rule should be to applied only to certain types of beams, use the
1736 first pair of asterisks. Beams are classified according to the
1737 shortest note they contain. For a beam ending rule that only applies
1738 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1741 @cindex automatic beam generation
1743 @cindex @code{autoBeaming}
1746 If beams are used to indicate melismata in songs, then automatic
1747 beaming should be switched off. This is done by setting
1748 @code{autoBeaming} to @code{#f}.
1752 @cindex @code{\autoBeamOff}
1753 @code{\autoBeamOff},
1754 @cindex @code{\autoBeamOn}
1760 If a score ends while an automatic beam has not been ended and is
1761 still accepting notes, this last beam will not be typeset at all. The
1762 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1763 >>}. If a polyphonic voice ends while an automatic beam is still
1764 accepting notes, it is not typeset.
1766 The rules for ending a beam depend on the shortest note in a beam.
1767 So, while it is possible to have different ending rules for eight
1768 beams and sixteenth beams, a beam that contains both eight and
1769 sixteenth notes will use the rules for the sixteenth beam.
1771 In the example below, the autobeamer makes eighth beams and sixteenth
1772 end at three eighths. The third beam can only be corrected by
1773 specifying manual beaming.
1775 @lilypond[quote,raggedright,fragment,relative=1]
1776 #(override-auto-beam-setting '(end * * * *) 3 8)
1777 % rather show case where it goes wrong
1778 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1779 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1781 It is not possible to specify beaming parameters that act differently in
1782 different parts of a measure. This means that it is not possible to use
1783 automatic beaming in irregular meters such as @code{5/8}.
1785 @node Beam formatting
1786 @subsection Beam formatting
1789 When a beam falls in the middle of the staff, the beams point normally
1790 down. However, this behaviour can be altered with the
1791 @code{neutral-direction} property.
1794 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1797 \override Beam #'neutral-direction = #-1
1799 \override Beam #'neutral-direction = #1
1805 @section Accidentals
1808 This section describes how to change the way that accidentals are
1809 inserted automatically before the running notes.
1811 Common rules for typesetting accidentals have been canned in a
1812 function. This function is called as follows
1814 @cindex @code{set-accidental-style}
1816 #(set-accidental-style 'modern 'Voice)
1819 The function takes two arguments: a symbol that denotes the style (in
1820 the example, @code{modern}), and another symbol that denotes the
1821 context name (in this example, @code{Voice}). If no context name is
1822 supplied, @code{Staff} is the default.
1824 The following styles are supported
1827 This is the default typesetting behavior. It should correspond
1828 to 18th century common practice: Accidentals are
1829 remembered to the end of the measure in which they occur and
1830 only on their own octave.
1834 The normal behavior is to remember the accidentals on
1835 Staff-level. This variable, however, typesets accidentals
1836 individually for each voice. Apart from that, the rule is similar to
1840 accidentals from one voice do not get canceled in other
1841 voices, which is often unwanted result
1843 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1845 #(set-accidental-style 'voice)
1852 The @code{voice} option should be used if the voices
1853 are to be read solely by individual musicians. If the staff is to be
1854 used by one musician (e.g. a conductor) then
1855 @code{modern} or @code{modern-cautionary}
1856 should be used instead.
1859 @cindex @code{modern} style accidentals
1860 This rule corresponds to the common practice in the 20th
1862 This rule prints the same accidentals as @code{default}, but temporary
1863 accidentals also are canceled in other octaves. Furthermore,
1864 in the same octave, they also get canceled in the following
1867 @lilypond[quote,raggedright,fragment,verbatim]
1868 #(set-accidental-style 'modern)
1869 cis' c'' cis'2 | c'' c'
1872 @item @code{modern-cautionary}
1873 @cindex @code{modern-cautionary}
1874 This rule is similar to @code{modern}, but the
1875 ``extra'' accidentals (the ones not typeset by
1876 @code{default}) are typeset as cautionary accidentals.
1877 They are printed in reduced size or with parentheses
1878 @lilypond[quote,raggedright,fragment,verbatim]
1879 #(set-accidental-style 'modern-cautionary)
1880 cis' c'' cis'2 | c'' c'
1883 @cindex @code{modern-voice}
1885 This rule is used for multivoice accidentals to be read both by musicians
1886 playing one voice and musicians playing all voices. Accidentals are
1887 typeset for each voice, but they @emph{are} canceled across voices in
1888 the same @internalsref{Staff}.
1890 @cindex @code{modern-voice-cautionary}
1891 @item modern-voice-cautionary
1892 This rule is the same as @code{modern-voice}, but with the extra
1893 accidentals (the ones not typeset by @code{voice}) typeset
1894 as cautionaries. Even though all accidentals typeset by
1895 @code{default} @emph{are} typeset by this variable then
1896 some of them are typeset as cautionaries.
1899 @cindex @code{piano} accidentals
1900 This rule reflects 20th century practice for piano notation. Very similar to
1901 @code{modern} but accidentals also get canceled
1902 across the staves in the same @internalsref{GrandStaff} or
1903 @internalsref{PianoStaff}.
1905 @item piano-cautionary
1906 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1907 As @code{#(set-accidental-style 'piano)} but with the extra accidentals
1908 typeset as cautionaries.
1911 @cindex @code{no-reset} accidental style
1913 This is the same as @code{default} but with accidentals lasting
1914 ``forever'' and not only until the next measure
1915 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1916 #(set-accidental-style 'no-reset)
1921 This is sort of the opposite of @code{no-reset}: Accidentals
1922 are not remembered at all---and hence all accidentals are
1923 typeset relative to the key signature, regardless of what was
1926 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1927 #(set-accidental-style 'forget)
1928 \key d\major c4 c cis cis d d dis dis
1935 Program reference: @internalsref{Accidental_engraver},
1936 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1941 Simultaneous notes are considered to be entered in sequential
1942 mode. This means that in a chord the accidentals are typeset as if the
1943 notes in the chord happened once at a time - in the order in which
1944 they appear in the input file.
1946 This is a problem when accidentals in a chord depend on each other,
1947 which does not happen for the default accidental style. The problem
1948 can be solved by manually inserting @code{!} and @code{?} for the
1952 @node Expressive marks
1953 @section Expressive marks
1956 @c todo: should change ordering
1957 @c where to put text spanners, metronome marks,
1966 * Analysis brackets::
1969 * Fingering instructions::
1980 A slur indicates that notes are to be played bound or @emph{legato}.
1982 They are entered using parentheses
1983 @lilypond[quote,relative=2,fragment,verbatim]
1984 f( g a) a8 b( a4 g2 f4)
1988 The direction of a slur can be set with the
1992 \override Slur #'direction = #UP
1993 \slurUp % shortcut for the previous line
1997 However, there is a convenient shorthand for forcing slur
1998 directions. By adding @code{_} or @code{^} before the opening
1999 parentheses, the direction is also set. For example,
2001 @lilypond[relative=2,verbatim,fragment]
2005 Some composers write two slurs when they want legato chords. This can
2006 be achieved in LilyPond, by setting @code{doubleSlurs},
2008 @lilypond[verbatim,raggedright]
2010 \set doubleSlurs = ##t
2011 <c e>4 ( <d f> <c e> <d f> )
2019 @cindex @code{\slurUp}
2021 @cindex @code{\slurDown}
2023 @cindex @code{\slurBoth}
2025 @cindex @code{\slurDotted}
2027 @cindex @code{\slurSolid}
2032 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2035 @node Phrasing slurs
2036 @subsection Phrasing slurs
2038 @cindex phrasing slurs
2039 @cindex phrasing marks
2041 A phrasing slur (or phrasing mark) connects chords and is used to
2042 indicate a musical sentence. It is started using @code{\(} and @code{\)}
2045 @lilypond[quote,fragment,verbatim,relative=1]
2046 \time 6/4 c'\( d( e) f( e) d\)
2049 Typographically, the phrasing slur behaves almost exactly like a
2050 normal slur. However, they are treated as different objects. A
2051 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2052 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2053 @code{\phrasingSlurBoth}.
2055 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
2056 will only affect normal slurs and not phrasing slurs.
2060 @cindex @code{\phrasingSlurUp}
2061 @code{\phrasingSlurUp},
2062 @cindex @code{\phrasingSlurDown}
2063 @code{\phrasingSlurDown},
2064 @cindex @code{\phrasingSlurBoth}
2065 @code{\phrasingSlurBoth}.
2069 Program reference: see also @internalsref{PhrasingSlur}, and
2070 @internalsref{PhrasingSlurEvent}.
2074 Putting phrasing slurs over rests leads to spurious warnings.
2077 @subsection Breath marks
2079 Breath marks are entered using @code{\breathe}
2082 @lilypond[quote,fragment,relative=1,verbatim]
2086 The glyph of the breath mark can be tuned by overriding the
2087 @code{text} property of the @code{BreathingSign} layout object with
2088 any markup text. For example,
2089 @lilypond[quote,fragment,verbatim,relative=1]
2091 \override BreathingSign #'text
2092 = #(make-musicglyph-markup "scripts-rvarcomma")
2099 Program reference: @internalsref{BreathingSign},
2100 @internalsref{BreathingSignEvent}.
2102 Examples: @inputfileref{input/regression,breathing-sign.ly}.
2105 @node Metronome marks
2106 @subsection Metronome marks
2109 @cindex beats per minute
2110 @cindex metronome marking
2112 Metronome settings can be entered as follows
2114 i \tempo @var{duration} = @var{per-minute}
2117 In the MIDI output, they are interpreted as a tempo change, and in the
2118 paper output, a metronome marking is printed
2119 @cindex @code{\tempo}
2120 @lilypond[quote,fragment,verbatim]
2126 Program reference: @internalsref{MetronomeChangeEvent}.
2131 @subsection Text spanners
2132 @cindex Text spanners
2134 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2135 are written as texts, and extended over many measures with dotted
2136 lines. Such texts are created using text spanners: attach
2137 @code{\startTextSpan} and @code{\stopTextSpan} to the start and ending
2138 note of the spanner.
2140 The string to be printed, as well as the style, is set through object
2143 @lilypond[quote,fragment,relative=1,verbatim]
2146 \override TextSpanner #'direction = #-1
2147 \override TextSpanner #'edge-text = #'("rall " . "")
2148 c2\startTextSpan b c\stopTextSpan a
2155 Internals @internalsref{TextSpanEvent},
2156 @internalsref{TextSpanner}.
2158 Examples: @inputfileref{input/regression,text-spanner.ly}.
2161 @node Analysis brackets
2162 @subsection Analysis brackets
2164 @cindex phrasing brackets
2165 @cindex musicological analysis
2166 @cindex note grouping bracket
2168 Brackets are used in musical analysis to indicate structure in musical
2169 pieces. LilyPond supports a simple form of nested horizontal brackets.
2170 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2171 @internalsref{Staff} context. A bracket is started with
2172 @code{\startGroup} and closed with @code{\stopGroup}
2174 @lilypond[quote,raggedright,verbatim]
2177 c4\startGroup\startGroup
2180 c4\stopGroup\stopGroup
2184 \Staff \consists "Horizontal_bracket_engraver"
2190 Program reference: @internalsref{HorizontalBracket},
2191 @internalsref{NoteGroupingEvent}.
2193 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2197 @subsection Articulations
2198 @cindex Articulations
2200 @cindex articulations
2204 A variety of symbols can appear above and below notes to indicate
2205 different characteristics of the performance. They are added to a note
2206 by adding a dash and the character signifying the
2207 articulation. They are demonstrated here
2209 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2211 The meanings of these shorthands can be changed. See
2212 @file{ly/script-init.ly} for examples.
2215 The script is automatically placed, but the direction can be forced as
2216 well. @code{_} will put them down, and @code{^} will put them up,
2219 @lilypond[quote,fragment,verbatim]
2223 Other symbols can be added using the syntax
2224 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2225 can be forced up or down using @code{^} and @code{_},
2228 @lilypond[quote,verbatim,fragment,relative=2]
2229 c\fermata c^\fermata c_\fermata
2236 @cindex staccatissimo
2245 @cindex organ pedal marks
2254 @cindex prallmordent
2258 @cindex thumb marking
2263 Here is a chart showing all scripts available,
2265 @lilypondfile[quote]{script-chart.ly}
2268 The vertical ordering of scripts is controlled with the
2269 @code{script-priority} property. The lower this number, the closer it
2270 will be put to the note. In this example, the
2271 @internalsref{TextScript} (the sharp symbol) first has the lowest
2272 priority, so it is put lowest in the first example. In the second, the
2273 prall trill (the @internalsref{Script}) has the lowest, so it on the
2274 inside. When two objects have the same priority, the order in which
2275 they are entered decides which one comes first.
2278 @lilypond[verbatim,raggedright]
2280 \once \override TextScript #'script-priority = #-100
2281 a4^\prall^\markup { \sharp }
2283 \once \override Script #'script-priority = #-100
2284 a4^\prall^\markup { \sharp }
2293 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2297 These signs appear in the printed output but have no effect on the
2298 MIDI rendering of the music.
2302 @node Running trills
2303 @subsection Running trills
2305 Long running trills are made with @code{\startTrillSpan} and
2306 @code{\stopTrillSpan},
2309 @lilypond[verbatim,raggedright]
2310 \relative \new Voice {
2311 << { c1 \startTrillSpan }
2312 { s2. \grace { d16[\stopTrillSpan e] } } >>
2318 @code{\startTrillSpan},
2319 @cindex @code{\startTrillSpan}
2320 @code{\stopTrillSpan}.
2321 @cindex @code{\stopTrillSpan}
2325 Program reference: @internalsref{TrillSpanner},
2326 @internalsref{TrillSpanEvent}.
2328 @node Fingering instructions
2329 @subsection Fingering instructions
2333 Fingering instructions can be entered using
2335 @var{note}-@var{digit}
2337 For finger changes, use markup texts
2339 @lilypond[quote,verbatim,raggedright,fragment]
2340 c'4-1 c'4-2 c'4-3 c'4-4
2341 c'^\markup { \finger "2-3" }
2344 @cindex finger change
2349 You can use the thumb-script to indicate that a note should be
2350 played with the thumb (e.g. in cello music)
2352 @lilypond[quote,verbatim,raggedright,fragment]
2353 <a'_\thumb a''-3>8 <b'_\thumb b''-3>
2356 Fingerings for chords can also be added to individual notes
2357 of the chord by adding them after the pitches
2358 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2359 < c-1 e-2 g-3 b-5 >4
2363 In this case, setting @code{fingeringOrientations} will put fingerings next
2366 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2367 \set fingeringOrientations = #'(left down)
2368 <c-1 es-2 g-4 bes-5 > 4
2369 \set fingeringOrientations = #'(up right down)
2370 <c-1 es-2 g-4 bes-5 > 4
2373 Using this feature, it is also possible to put fingering instructions
2374 very close to note heads in monophonic music,
2376 @lilypond[verbatim,raggedright]
2378 \set fingeringOrientations = #'(right)
2386 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2388 Examples: @inputfileref{input/regression,finger-chords.ly}.
2391 @subsection Text scripts
2392 @cindex Text scripts
2394 @cindex text items, non-empty
2395 @cindex non-empty texts
2397 It is possible to place arbitrary strings of text or markup text (see
2398 @ref{Text markup}) above or below notes by using a string
2399 @code{c^"text"}. By default, these indications do not influence the
2400 note spacing, but by using the command @code{\fatText}, the widths
2401 will be taken into account
2403 @lilypond[quote,fragment,raggedright,verbatim]
2405 c4^"longtext" \fatText c4_"longlongtext" c4
2409 More complex formatting may also be added to a note by using the
2411 @lilypond[fragment,raggedright,verbatim]
2413 c'4^\markup { bla \bold bla }
2417 The @code{\markup} is described in more detail in
2423 @cindex @code{\fatText}
2425 @cindex @code{\emptyText}
2430 In this manual: @ref{Text markup}.
2432 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2438 @subsection Grace notes
2441 @c should have blurb about accaciatura / appogiatura
2443 @cindex @code{\grace}
2447 Grace notes are ornaments that are written out. The most common ones
2448 are acciaccatura, which should be played as very short. It is denoted
2449 by a slurred small note with a slashed stem. The appoggiatura is a
2450 grace note that takes a fixed fraction of the main note, is and
2451 denoted as a slurred note in small print without a slash.
2452 They are entered with the commands @code{\acciaccatura} and
2453 @code{\appoggiatura}, as demonstrated in the following example
2456 @cindex appoggiatura
2457 @cindex acciaccatura
2459 @lilypond[quote,relative=2,verbatim,fragment]
2460 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2461 \acciaccatura { g16[ f] } e4
2464 Both are special forms of the @code{\grace} command. By prefixing this
2465 keyword to a music expression, a new one is formed, which will be
2466 printed in a smaller font and takes up no logical time in a measure.
2468 @lilypond[quote,relative=2,verbatim,fragment]
2470 \grace { c16[ d16] } c2 c4
2474 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2475 @code{\grace} command does not start a slur.
2477 Internally, timing for grace notes is done using a second, `grace'
2478 time. Every point in time consists of two rational numbers: one
2479 denotes the logical time, one denotes the grace timing. The above
2480 example is shown here with timing tuples
2482 @lilypond[quote,raggedright]
2485 c4 \grace c16 c4 \grace {
2488 \new Lyrics \lyricmode {
2489 \override LyricText #'font-family = #'typewriter
2493 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2494 \markup { (\fraction 1 4 , 0 ) } 4
2496 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2497 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2499 \markup { ( \fraction 2 4 , 0 ) }
2505 The placement of grace notes is synchronized between different staves.
2506 In the following example, there are two sixteenth graces notes for
2507 every eighth grace note
2509 @lilypond[quote,relative=2,verbatim,fragment]
2510 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2511 \new Staff { c4 \grace { g8[ b] } c4 } >>
2516 If you want to end a note with a grace, the standard trick is to put
2517 the grace notes after a ``space note''
2519 @lilypond[quote,fragment,verbatim,relative=2]
2522 { s2 \grace { c16[ d] } } >>
2528 By adjusting the duration of the skip note (here it is a half-note),
2529 the space between the main-note and the grace is adjusted.
2532 A @code{\grace} section will introduce special typesetting settings,
2533 for example, to produce smaller type, and set directions. Hence, when
2534 introducing layout tweaks, they should be inside the grace section,
2536 @lilypond[quote,fragment,verbatim,relative=2]
2539 \override Stem #'direction = #-1
2541 \revert Stem #'direction
2548 The overrides should also be reverted inside the grace section.
2550 The layout of grace sections can be changed throughout the music using
2551 the function @code{add-grace-property}. The following example
2552 undefines the Stem direction for this grace, so stems do not always
2557 #(add-grace-property 'Voice 'Stem 'direction '())
2563 Another option is to change the variables @code{startGraceMusic},
2564 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2565 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2566 @code{stopAppoggiaturaMusic}. More information is in the file
2567 @file{ly/grace-init.ly}.
2572 Program reference: @internalsref{GraceMusic}.
2576 A score that starts with a @code{\grace} section needs an explicit
2577 @code{\context Voice} declaration, otherwise the main note and grace
2578 note end up on different staves.
2580 Grace note synchronization can also lead to surprises. Staff notation,
2581 such as key signatures, bar lines, etc. are also synchronized. Take
2582 care when you mix staves with grace notes and staves without, for example,
2584 @lilypond[quote,relative=2,verbatim,fragment]
2585 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2586 \new Staff { c4 \bar "|:" d4 } >>
2590 This can be remedied by inserting grace skips, for the above example
2593 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2596 Grace sections should only be used within sequential music
2597 expressions. Nesting or juxtaposing grace sections is not supported,
2598 and might produce crashes or other errors.
2602 @subsection Glissando
2605 @cindex @code{\glissando}
2607 A glissando is a smooth change in pitch. It is denoted by a line or a
2608 wavy line between two notes. It is requested by attaching
2609 @code{\glissando} to a note
2611 @lilypond[quote,fragment,relative=1,verbatim]
2617 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2619 Example files: @file{input/regression,glissando.ly}
2625 Printing text over the line (such as @emph{gliss.}) is not supported.
2629 @subsection Dynamics
2642 @cindex @code{\ffff}
2652 Absolute dynamic marks are specified using a command after a note
2653 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2654 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2655 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2656 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2658 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2659 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2669 A crescendo mark is started with @code{\<} and terminated with
2670 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2671 with @code{\!}. Because these marks are bound to notes, if you must
2672 use spacer notes if multiple marks are needed during one note
2674 @lilypond[quote,fragment,verbatim]
2675 c''\< c''\! d''\> e''\!
2676 << f''1 { s4 s4\< s4\! \> s4\! } >>
2678 This may give rise to very short hairpins. Use @code{minimum-length}
2679 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2683 \override Staff.Hairpin #'minimum-length = #5
2686 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2687 is an example how to do it
2689 @lilypond[quote,fragment,relative=2,verbatim]
2699 You can also supply your own texts
2700 @lilypond[quote,fragment,relative=1,verbatim]
2702 \set crescendoText = \markup { \italic "cresc. poco" }
2703 \set crescendoSpanner = #'dashed-line
2713 @cindex @code{\dynamicUp}
2715 @cindex @code{\dynamicDown}
2716 @code{\dynamicDown},
2717 @cindex @code{\dynamicBoth}
2718 @code{\dynamicBoth}.
2720 @cindex direction, of dynamics
2724 Program reference: @internalsref{CrescendoEvent},
2725 @internalsref{DecrescendoEvent}, and
2726 @internalsref{AbsoluteDynamicEvent}.
2728 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2729 objects. Vertical positioning of these symbols is handled by the
2730 @internalsref{DynamicLineSpanner} object.
2738 @cindex @code{\repeat}
2741 Repetition is a central concept in music, and multiple notations exist
2742 for repetitions. In LilyPond, most of these notations can be captured
2743 in a uniform syntax. One of the advantages is that repeats entered in
2744 this way can be rendered in MIDI accurately.
2746 The following types of repetition are supported
2750 Repeated music is fully written (played) out. Useful for MIDI
2751 output, and entering repetitive music.
2754 Repeats are not written out, but alternative endings (volte) are
2755 printed, left to right with brackets. This is the standard notation
2756 for repeats with alternatives.
2760 Alternative endings are written stacked. This has limited use but may be
2761 used to typeset two lines of lyrics in songs with repeats, see
2762 @inputfileref{input,star-spangled-banner.ly}.
2770 Make beat or measure repeats. These look like percent signs.
2776 * Repeats and MIDI::
2777 * Manual repeat commands::
2779 * Tremolo subdivisions::
2784 @subsection Repeat syntax
2787 LilyPond has one syntactic construct for specifying different types of
2788 repeats. The syntax is
2791 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2794 If you have alternative endings, you may add
2795 @cindex @code{\alternative}
2797 \alternative @code{@{} @var{alternative1}
2799 @var{alternative3} @dots{} @code{@}}
2801 where each @var{alternative} is a music expression. If you do not
2802 give enough alternatives for all of the repeats, the first alternative
2803 is assumed to be played more than once.
2805 Standard repeats are used like this
2806 @lilypond[quote,fragment,verbatim,relative=2]
2808 \repeat volta 2 { c4 d e f }
2809 \repeat volta 2 { f e d c }
2812 With alternative endings
2813 @lilypond[quote,fragment,verbatim,relative=2]
2815 \repeat volta 2 {c4 d e f}
2816 \alternative { {d2 d} {f f,} }
2820 @lilypond[quote,fragment,verbatim,relative=2]
2823 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2824 \alternative { { g4 g g } { a | a a a a | b2. } }
2828 It is possible to shorten volta brackets
2829 by setting @code{voltaSpannerDuration}. In the next example, the
2830 bracket only lasts one measure, which is a duration of 3/4.
2834 @lilypond[verbatim,raggedright]
2838 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2839 \repeat "volta" 5 { d d d }
2840 \alternative { { e e e f f f }
2850 Brackets for the repeat are normally only printed over the topmost
2851 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2852 property @inputfileref{input/regression,volta-multi-staff.ly},
2853 @inputfileref{input/regression,volta-chord-names.ly}
2858 A nested repeat like
2867 is ambiguous, since it is is not clear to which @code{\repeat} the
2868 @code{\alternative} belongs. This ambiguity is resolved by always
2869 having the @code{\alternative} belong to the inner @code{\repeat}.
2870 For clarity, it is advisable to use braces in such situations.
2875 Timing information is not remembered at the start of an alternative,
2876 so after a repeat timing information must be reset by hand, for
2877 example by setting @code{Score.measurePosition} or entering
2878 @code{\partial}. Similarly, slurs or ties are also not repeated.
2883 @node Repeats and MIDI
2884 @subsection Repeats and MIDI
2886 @cindex expanding repeats
2888 An advantage of the unified syntax for repeats, is that all repeats
2889 may be played out for the MIDI output. This is achieved by
2890 applying the @code{\unfoldrepeats} music function.
2892 @lilypond[verbatim,raggedright]
2895 \repeat tremolo 8 {c'32 e' }
2896 \repeat percent 2 { c''8 d'' }
2897 \repeat volta 2 {c'4 d' e' f'}
2906 When creating a score file using @code{\unfoldrepeats} for midi, then
2907 it is necessary to make two @code{\score} blocks. One for MIDI, with
2908 unfolded repeats, and one for notation, eg.
2916 \unfoldrepeats @var{..music..}
2921 @node Manual repeat commands
2922 @subsection Manual repeat commands
2924 @cindex @code{repeatCommands}
2926 The property @code{repeatCommands} can be used to control the layout of
2927 repeats. Its value is a Scheme list of repeat commands, where each repeat
2931 @item @code{start-repeat},
2932 which prints a @code{|:} bar line;
2933 @item @code{end-repeat},
2934 which prints a @code{:|} bar line;
2935 @item @code{(volta @var{text})},
2936 which prints a volta bracket saying @var{text}: The text can be specified as
2937 a text string or as a markup text, see @ref{Text markup}. Do not
2938 forget to change the font, as the default number font does not contain
2939 alphabetic characters;
2940 @item @code{(volta #f)}, which
2941 stops a running volta bracket.
2944 @lilypond[quote,verbatim,fragment,relative=2]
2946 \set Score.repeatCommands = #'((volta "93") end-repeat)
2948 \set Score.repeatCommands = #'((volta #f))
2956 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2957 @internalsref{VoltaRepeatedMusic},
2958 @internalsref{UnfoldedRepeatedMusic}, and
2959 @internalsref{FoldedRepeatedMusic}.
2961 @node Tremolo repeats
2962 @subsection Tremolo repeats
2963 @cindex tremolo beams
2965 To place tremolo marks between notes, use @code{\repeat} with tremolo
2967 @lilypond[quote,verbatim,raggedright]
2968 \context Voice \relative c' {
2969 \repeat "tremolo" 8 { c16 d16 }
2970 \repeat "tremolo" 4 { c16 d16 }
2971 \repeat "tremolo" 2 { c16 d16 }
2975 Tremolo marks can also be put on a single note. In this case, the
2976 note should not be surrounded by braces.
2977 @lilypond[quote,verbatim,raggedright]
2978 \repeat "tremolo" 4 c'16
2981 Similar output is obtained using the tremolo subdivision, described in
2982 @ref{Tremolo subdivisions}.
2986 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2988 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2989 tremolos are @internalsref{StemTremolo} objects. The music expression is
2990 @internalsref{TremoloEvent}.
2992 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2993 @inputfileref{input/regression,stem-tremolo.ly}.
2995 @node Tremolo subdivisions
2996 @subsection Tremolo subdivisions
2997 @cindex tremolo marks
2998 @cindex @code{tremoloFlags}
3000 Tremolo marks can be printed on a single note by adding
3001 `@code{:}[@var{number}]' after the note. The number indicates the
3002 duration of the subdivision, and it must be at least 8. A
3003 @var{length} value of 8 gives one line across the note stem. If the
3004 length is omitted, the last value (stored in @code{tremoloFlags}) is
3007 @lilypond[quote,verbatim,fragment]
3008 c'2:8 c':32 | c': c': |
3011 @c [TODO : stok is te kort bij 32en]
3015 Tremolos entered in this way do not carry over into the MIDI output.
3019 In this manual: @ref{Tremolo repeats}.
3021 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3023 @node Measure repeats
3024 @subsection Measure repeats
3026 @cindex percent repeats
3027 @cindex measure repeats
3029 In the @code{percent} style, a note pattern can be repeated. It is
3030 printed once, and then the pattern is replaced with a special sign.
3031 Patterns of one and two measures are replaced by percent-like signs,
3032 patterns that divide the measure length are replaced by slashes
3034 @lilypond[quote,verbatim,raggedright]
3036 \repeat "percent" 4 { c'4 }
3037 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
3043 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3044 @internalsref{PercentRepeatedMusic}, and
3045 @internalsref{DoublePercentRepeat}.
3049 @node Rhythmic music
3050 @section Rhythmic music
3054 * Showing melody rhythms::
3055 * Entering percussion::
3056 * Percussion staves::
3060 @node Showing melody rhythms
3061 @subsection Showing melody rhythms
3063 Sometimes you might want to show only the rhythm of a melody. This
3064 can be done with the rhythmic staff. All pitches of notes on such a
3065 staff are squashed, and the staff itself has a single line
3067 @lilypond[quote,fragment,relative=1,verbatim]
3068 \context RhythmicStaff {
3070 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3076 Program reference: @internalsref{RhythmicStaff}.
3078 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
3081 @node Entering percussion
3082 @subsection Entering percussion
3088 Percussion notes may be entered in @code{\drummode} mode, which is
3089 similar to the standard mode for entering notes. Each piece of
3090 percussion has a full name and an abbreviated name, and both can be used
3093 @lilypond[quote,raggedright,verbatim]
3095 hihat hh bassdrum bd
3099 The complete list of drum names is in the init file
3100 @file{ly/drumpitch-init.ly}.
3101 @c TODO: properly document this.
3105 Program reference: @internalsref{DrumNoteEvent}.
3107 @node Percussion staves
3108 @subsection Percussion staves
3112 A percussion part for more than one instrument typically uses a
3113 multi line staff where each position in the staff refers to one piece
3117 To typeset the music, the notes must be interpreted in a
3118 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3121 @lilypond[quote,raggedright,verbatim]
3122 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3123 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3125 \new DrumVoice { \voiceOne \up }
3126 \new DrumVoice { \voiceTwo \down }
3130 The above example shows verbose polyphonic notation. The short
3131 polyphonic notation, described in @ref{Polyphony}, can also be used if
3132 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3134 @lilypond[quote,fragment,verbatim]
3136 \context DrumVoice = "1" { s1 *2 }
3137 \context DrumVoice = "2" { s1 *2 }
3141 { \repeat unfold 16 hh16 }
3150 There are also other layout possibilities. To use these, set the
3151 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3152 The following variables have been predefined
3156 This is the default. It typesets a typical drum kit on a five-line staff
3158 @lilypond[quote,noindent]
3159 nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc
3160 bd sn ss tomh tommh tomml toml tomfh tomfl }
3161 mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
3162 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3164 << \new DrumStaff\with {
3165 \remove Bar_engraver
3166 \remove Time_signature_engraver
3167 \override Stem #'transparent = ##t
3168 \override Stem #'Y-extent-callback = ##f
3169 minimumVerticalExtent = #'(-4.0 . 5.0)
3171 \context Lyrics \nam
3174 %% need to do this, because of indented @itemize
3177 \override LyricText #'font-family = #'typewriter
3178 \override BarNumber #'transparent =##T
3182 The drum scheme supports six different toms. When there fewer toms, simply
3183 select the toms that produce the desired result, i.e. to get toms on
3184 the three middle lines you use @code{tommh}, @code{tomml} and
3187 @item timbales-style
3188 This typesets timbales on a two line staff
3190 @lilypond[quote,raggedright]
3191 nam = \lyricmode { timh ssh timl ssl cb }
3192 mus = \drummode { timh ssh timl ssl cb s16 }
3195 \context DrumStaff \with {
3196 \remove Bar_engraver
3197 \remove Time_signature_engraver
3198 \override Stem #'transparent = ##t
3199 \override Stem #'Y-extent-callback = ##f
3200 \override StaffSymbol #'line-count = #2
3201 \override StaffSymbol #'staff-space = #2
3202 minimumVerticalExtent = #'(-3.0 . 4.0)
3203 drumStyleTable = #timbales-style
3206 \override LyricText #'font-family = #'typewriter
3212 This typesets congas on a two line staff
3214 @lilypond[quote,raggedright]
3215 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3216 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3218 \context DrumStaff\with {
3219 \remove Bar_engraver
3220 \remove Time_signature_engraver
3221 drumStyleTable = #congas-style
3222 \override StaffSymbol #'line-count = #2
3224 %% this sucks; it will lengthen stems.
3225 \override StaffSymbol #'staff-space = #2
3226 \override Stem #'transparent = ##t
3227 \override Stem #'Y-extent-callback = ##f
3230 \override LyricText #'font-family = #'typewriter
3235 This typesets bongos on a two line staff
3237 @lilypond[quote,raggedright]
3238 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3239 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3241 \context DrumStaff\with {
3242 \remove Bar_engraver
3243 \remove Time_signature_engraver
3244 \override StaffSymbol #'line-count = #2
3245 drumStyleTable = #bongos-style
3247 %% this sucks; it will lengthen stems.
3248 \override StaffSymbol #'staff-space = #2
3249 \override Stem #'transparent = ##t
3250 \override Stem #'Y-extent-callback = ##f
3253 \override LyricText #'font-family = #'typewriter
3258 @item percussion-style
3259 to typeset all kinds of simple percussion on one line staves
3260 @lilypond[quote,raggedright]
3261 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3262 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3264 \context DrumStaff\with{
3265 \remove Bar_engraver
3266 drumStyleTable = #percussion-style
3267 \override StaffSymbol #'line-count = #1
3268 \remove Time_signature_engraver
3269 \override Stem #'transparent = ##t
3270 \override Stem #'Y-extent-callback = ##f
3273 \override LyricText #'font-family = #'typewriter
3280 If you do not like any of the predefined lists you can define your own
3281 list at the top of your file
3283 @lilypond[quote,raggedright,verbatim]
3285 (bassdrum default #f -1)
3286 (snare default #f 0)
3288 (pedalhihat xcircle "stopped" 2)
3289 (lowtom diamond #f 3)))
3290 up = \drummode { hh8 hh hh hh hhp4 hhp }
3291 down = \drummode { bd4 sn bd toml8 toml }
3294 \set DrumStaff.drumStyleTable
3295 = #(alist->hash-table mydrums)
3296 \new DrumVoice { \voiceOne \up }
3297 \new DrumVoice { \voiceTwo \down }
3304 Init files: @file{ly/drumpitch-init.ly}.
3306 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3310 Because general MIDI does not contain rim shots, the sidestick is used
3311 for this purpose instead.
3314 @section Piano music
3316 Piano staves are two normal staves coupled with a brace. The staves
3317 are largely independent, but sometimes voices can cross between the
3318 two staves. The same notation is also used for harps and other key
3319 instruments. The @internalsref{PianoStaff} is especially built to
3320 handle this cross-staffing behavior. In this section we discuss the
3321 @internalsref{PianoStaff} and some other pianistic peculiarities.
3325 * Automatic staff changes::
3326 * Manual staff switches::
3329 * Staff switch lines::
3330 * Cross staff stems::
3335 Dynamics are not centered, but workarounds do exist. See
3336 @inputfileref{input/template,piano-dynamics.ly}.
3338 @cindex cross staff stem
3339 @cindex stem, cross staff
3340 @cindex distance between staves in piano music
3342 The distance between the two staves is the same for all systems in the
3343 score. It is possible to override this per system, but it does require
3344 an arcane command incantation. See
3345 @inputfileref{input/test,piano-staff-distance.ly}.
3348 @node Automatic staff changes
3349 @subsection Automatic staff changes
3350 @cindex Automatic staff changes
3352 Voices can be made to switch automatically between the top and the bottom
3353 staff. The syntax for this is
3357 \autochange @dots{}@var{music}@dots{}
3362 This will create two staves inside the current PianoStaff, called
3363 @code{up} and @code{down}. The lower staff will be in bass clef by
3366 A @code{\relative} section that is outside of @code{\autochange} has
3367 no effect on the pitches of @var{music}, so, if necessary, put
3368 @code{\relative} inside @code{\autochange} like
3372 \autochange \relative @dots{} @dots{}
3377 The autochanger switches on basis of pitch (middle C is the turning
3378 point), and it looks ahead skipping over rests to switch in
3379 advance. Here is a practical example
3381 @lilypond[quote,verbatim,raggedright]
3383 \autochange \relative c'
3392 In this manual: @ref{Manual staff switches}.
3394 Program reference: @internalsref{AutoChangeMusic}.
3400 The staff switches may not end up in optimal places. For high
3401 quality output, staff switches should be specified manually.
3404 @code{\autochange} cannot be inside @code{\times}.
3406 Internally, the @code{\partcombine} interprets both arguments as
3407 @code{Voice}s named @code{one} and @code{two}, and then decides when
3408 the parts can be combined. Consequently, if the arguments switch to
3409 differently named @internalsref{Voice} contexts, the events in those
3413 @node Manual staff switches
3414 @subsection Manual staff switches
3416 @cindex manual staff switches
3417 @cindex staff switch, manual
3419 Voices can be switched between staves manually, using the command
3421 \change Staff = @var{staffname} @var{music}
3425 The string @var{staffname} is the name of the staff. It switches the
3426 current voice from its current staff to the Staff called
3427 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3428 @code{"down"}. The @context{Staff} referred to must already exist, so
3429 usually the setup for a score will start with a setup of the staves,
3433 \context Staff = up @{
3434 \skip 1 * 10 %@emph{ keep staff alive}
3436 \context Staff = down @{
3437 \skip 1 * 10 %@emph{idem}
3443 and the @context{Voice} is inserted afterwards
3446 \context Staff = down
3447 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3455 Pianos have pedals that alter the way sound is produced. Generally, a
3456 piano has three pedals, sustain, una corda, and sostenuto.
3459 Piano pedal instruction can be expressed by attaching
3460 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3461 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3464 @lilypond[quote,fragment,verbatim]
3465 c'4\sustainDown c'4\sustainUp
3468 What is printed can be modified by setting @code{pedal@var{X}Strings},
3469 where @var{X} is one of the pedal types: @code{Sustain},
3470 @code{Sostenuto} or @code{UnaCorda}. Refer to
3471 @internalsref{SustainPedal} in the program reference for more
3474 Pedals can also be indicated by a sequence of brackets, by setting the
3475 @code{pedalSustainStyle} property to bracket objects
3477 @lilypond[quote,fragment,verbatim,relative=2]
3478 \set Staff.pedalSustainStyle = #'bracket
3480 b\sustainUp\sustainDown
3481 b g \sustainUp a \sustainDown \bar "|."
3484 A third style of pedal notation is a mixture of text and brackets,
3485 obtained by setting the @code{pedalSustainStyle} style property to
3488 @lilypond[quote,fragment,verbatim,relative=2]
3489 \set Staff.pedalSustainStyle = #'mixed
3491 b\sustainUp\sustainDown
3492 b g \sustainUp a \sustainDown \bar "|."
3495 The default `*Ped.' style for sustain and damper pedals corresponds to
3496 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3499 @lilypond[quote,fragment,verbatim,relative=2]
3500 c\sostenutoDown d e c, f g a\sostenutoUp
3503 For fine-tuning of the appearance of a pedal bracket, the properties
3504 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3505 @code{PianoPedalBracket} objects (see
3506 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3507 bracket may be extended to the right edge of the note head
3509 @lilypond[quote,fragment,verbatim,relative=2]
3510 \override Staff.PianoPedalBracket
3511 #'shorten-pair = #'(0 . -1.0)
3512 c\sostenutoDown d e c, f g a\sostenutoUp
3516 @subsection Arpeggio
3519 @cindex broken arpeggio
3520 @cindex @code{\arpeggio}
3522 You can specify an arpeggio sign on a chord by attaching an
3523 @code{\arpeggio} to a chord
3526 @lilypond[quote,fragment,relative=1,verbatim]
3530 When an arpeggio crosses staves, you attach an arpeggio to the chords
3531 in both staves, and set
3532 @internalsref{PianoStaff}.@code{connectArpeggios}
3534 @lilypond[quote,fragment,relative=1,verbatim]
3535 \context PianoStaff <<
3536 \set PianoStaff.connectArpeggios = ##t
3537 \new Staff { <c' e g c>\arpeggio }
3538 \new Staff { \clef bass <c,, e g>\arpeggio }
3542 The direction of the arpeggio is sometimes denoted by adding an
3543 arrowhead to the wiggly line
3545 @lilypond[quote,fragment,relative=1,verbatim]
3554 A square bracket on the left indicates that the player should not
3555 arpeggiate the chord
3557 @c todo: ugh, lousy typography. Look for real example. --hwn
3559 @lilypond[quote,fragment,relative=1,verbatim]
3566 @cindex @code{\arpeggio}
3568 @cindex @code{\arpeggioUp}
3570 @cindex @code{\arpeggioDown}
3571 @code{\arpeggioDown},
3572 @cindex @code{\arpeggioBoth}
3573 @code{\arpeggioBoth},
3574 @cindex @code{\arpeggioBracket}
3575 @code{\arpeggioBracket}.
3579 Program reference: @internalsref{ArpeggioEvent},
3580 @internalsref{Arpeggio}.
3584 It is not possible to mix connected arpeggios and unconnected
3585 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3587 @node Staff switch lines
3588 @subsection Staff switch lines
3591 @cindex follow voice
3592 @cindex staff switching
3595 @cindex @code{followVoice}
3597 Whenever a voice switches to another staff a line connecting the notes
3598 can be printed automatically. This is switched on by setting
3599 @code{PianoStaff.followVoice} to true
3601 @lilypond[quote,fragment,relative=1,verbatim]
3602 \context PianoStaff <<
3603 \set PianoStaff.followVoice = ##t
3604 \context Staff \context Voice {
3609 \context Staff=two { \clef bass \skip 1*2 }
3615 Program reference: @internalsref{VoiceFollower}.
3619 @cindex @code{\showStaffSwitch}
3620 @code{\showStaffSwitch},
3621 @cindex @code{\hideStaffSwitch}
3622 @code{\hideStaffSwitch}.
3625 @node Cross staff stems
3626 @subsection Cross staff stems
3628 The chords which cross staves may be produced by increasing the length
3629 of the stem in the lower stave, so it reaches the stem in the upper
3630 stave, or vice versa.
3632 @lilypond[raggedright,verbatim]
3633 stemExtend = \once \override Stem #'length = #22
3634 noFlag = \once \override Stem #'flag-style = #'no-flag
3635 \context PianoStaff <<
3637 \stemDown \stemExtend
3651 @section Vocal music
3653 There are three different issues when printing vocal music
3657 Song texts must be entered as texts, not notes. For example, for
3658 lyrics, the input @code{a} should be interpreted as
3659 a one letter text, and not the note A.
3661 Song texts must be printed as text, and not as notes.
3663 Song texts must be aligned with the notes of their melody
3666 The simplest solution to printing music uses the @code{\addlyrics}
3667 function to deal with these three problems in one go. However, these
3668 three functions can be controlled separately, which is necessary
3669 for complex vocal music.
3673 * Setting simple songs::
3675 * Hyphens and extenders::
3676 * The Lyrics context::
3677 * Flexibility in alignment::
3682 @node Setting simple songs
3683 @subsection Setting simple songs
3685 The easiest way to add lyrics to a melody is to append
3688 \addlyrics @{ @var{the lyrics} @}
3692 to a melody. Here is an example,
3694 @lilypond[raggedright,verbatim]
3697 \relative { c2 e4 g2. }
3698 \addlyrics { play the game }
3702 More stanzas can be added by adding more
3703 @code{\addlyrics} sections
3705 @lilypond[raggedright,verbatim]
3708 \relative { c2 e4 g2. }
3709 \addlyrics { play the game }
3710 \addlyrics { speel het spel }
3711 \addlyrics { joue le jeu }
3715 @node Entering lyrics
3716 @subsection Entering lyrics
3720 @cindex @code{\lyricmode}
3723 Lyrics are entered in a special input mode. This mode is is introduced
3724 by the keyword @code{\lyricmode}. In this mode you can enter lyrics,
3725 with punctuation and accents, and the input @code{a} is not parsed as
3726 a pitch, but rather as a one letter syllable. Syllables are entered
3727 like notes, but with pitches replaced by text. For example,
3729 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3733 A word lyrics mode begins with an alphabetic character, and ends with
3734 any space or digit. The following characters can be any character
3735 that is not a digit or white space. One important consequence of this
3736 is that a word can end with @code{@}}. The following example is
3737 usually a bug. The syllable includes a @code{@}}, so the
3738 opening brace is not balanced
3740 \lyricmode @{ twinkle@}
3743 @cindex @code{\property}, in @code{\lyricmode}
3745 Similarly, a period following an alphabetic sequence, is included in
3746 the resulting string. As a consequence, spaces must be inserted around
3749 \override Score . LyricText #'font-shape = #'italic
3753 @cindex spaces, in lyrics
3754 @cindex quotes, in lyrics
3756 Any @code{_} character which appears in an unquoted word is converted
3757 to a space. This provides a mechanism for introducing spaces into words
3758 without using quotes. Quoted words can also be used in Lyrics mode to
3759 specify words that cannot be written with the above rules. The
3760 following example incorporates double quotes
3763 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3766 This example is slightly academic, since it gives better looking
3767 results to use single quotes, @code{``} and @code{''}
3769 \lyricmode @{ He said: ``Let my peo ple go'' @}
3773 The full definition of a word start in Lyrics mode is somewhat more
3776 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3777 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3778 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3779 any 8-bit character with ASCII code over 127, or a two-character
3780 combination of a backslash followed by one of @code{`}, @code{'},
3781 @code{"}, or @code{^}.
3787 Program reference: events @internalsref{LyricEvent}, and
3788 @internalsref{LyricText}.
3792 The definition of lyrics mode is too complex.
3794 @node Hyphens and extenders
3795 @subsection Hyphens and extenders
3799 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3800 The hyphen will have variable length depending on the space between
3801 the syllables and it will be centered between the syllables.
3806 When a lyric is sung over many notes (this is called a melisma), this is
3807 indicated with a horizontal line centered between a syllable and the
3808 next one. Such a line is called an extender line, and it is entered as
3814 Program reference: @internalsref{HyphenEvent},
3815 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3816 @internalsref{LyricExtender}
3818 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3822 @node The Lyrics context
3823 @subsection The Lyrics context
3826 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3828 \context Lyrics \lyricmode @dots{}
3831 @cindex automatic syllable durations
3832 @cindex @code{\lyricsto}
3833 @cindex lyrics and melodies
3835 This will place the lyrics according to the durations that were
3836 entered. The lyrics can also be aligned under a given melody
3837 automatically. In this case, it is no longer necessary to enter the
3838 correct duration for each syllable. This is achieved by combining the
3839 melody and the lyrics with the @code{\lyricsto} expression
3841 \lyricsto @var{name} \new Lyrics @dots{}
3844 This aligns the lyrics to the
3846 notes of the @internalsref{Voice} context called @var{name}, which has
3847 to exist. Therefore, normally the @code{Voice} is specified first, and
3848 then the lyrics are specified with @code{\lyricsto}. The command
3849 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
3850 @code{\lyricmode} keyword may be omitted.
3852 For different or more complex orderings, the best way is to setup the
3853 hierarchy of staves and lyrics first, e.g.
3855 \context ChoirStaff <<
3856 \context Lyrics = sopranoLyrics @{ s1 @}
3857 \context Voice = soprano @{ @emph{music} @}
3858 \context Lyrics = tenorLyrics @{ s1 @}
3859 \context Voice = tenor @{ @emph{music} @}
3862 and then combine the appropriate melodies and lyric lines
3864 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3869 The final input would resemble
3872 << \context ChoirStaff << @emph{setup the music} >>
3873 \lyricsto "soprano" @emph{etc}
3874 \lyricsto "alto" @emph{etc}
3880 The @code{\lyricsto} command detects melismata: it only puts one
3881 syllable under a tied or slurred group of notes. If you want to force
3882 an unslurred group of notes to be a melisma, insert @code{\melisma}
3883 after the first note of the group, and @code{\melismaEnd} after the
3886 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3888 \context Voice = "lala" {
3896 \lyricsto "lala" \new Lyrics {
3902 In addition, notes are considered a melisma if they are manually
3903 beamed, and automatic beaming (see @ref{Setting automatic beam
3904 behavior}) is switched off.
3910 The criteria for deciding melismata can
3911 be tuned with the property @code{melismaBusyProperties}. See
3912 @internalsref{Melisma_translator} in the program reference for more
3917 Lyrics can also be entered without @code{\lyricsto}. In this case the
3918 durations of each syllable must be entered explicitly, for example,
3925 The alignment to a melody can be specified with the
3926 @code{associatedVoice} property,
3929 \set associatedVoice = #"lala"
3933 The value of the property (here: @code{"lala"}) should be the name of
3934 a @internalsref{Voice} context. Without this setting, extender lines
3935 will not be formatted properly.
3937 Here is an example demonstrating manual lyric durations,
3939 @lilypond[relative=1,verbatim,fragment]
3940 << \context Voice = melody {
3944 \new Lyrics \lyricmode {
3945 \set associatedVoice = #"melody"
3951 @cindex choral score
3953 A complete example of a SATB score setup is in the file
3954 @inputfileref{input/template,satb.ly}.
3959 @code{\melisma}, @code{\melismaEnd}
3960 @cindex @code{\melismaEnd}
3961 @cindex @code{\melisma}
3965 Program reference: @internalsref{LyricCombineMusic},
3966 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3968 Examples: @inputfileref{input/template,satb.ly},
3969 @inputfileref{input/regression,lyric-combine-new.ly},
3970 @c TODO: make separate section for melismata
3971 @inputfileref{input/test,lyrics-melisma-variants.ly}.
3972 @inputfileref{input/test,lyrics-melisma-faster.ly}.
3976 Melismata are not detected automatically, and extender lines must be
3980 @c TODO: document \new Staff << Voice \lyricsto >> bug
3982 @node Flexibility in alignment
3983 @subsection Flexibility in alignment
3986 Often, different stanzas of one song are put to one melody in slightly
3987 differing ways. Such variations can still be captured with
3990 One possibility is that the text has a melisma in one stanza, but
3991 multiple syllables in another one. One solution is to make the faster
3992 voice ignore the melisma. This is done by setting
3993 @code{ignoreMelismata} in the Lyrics context.
3995 There has one tricky aspect. The setting for @code{ignoreMelismata}
3996 must be set one syllable @emph{before} the non-melismatic syllable
3997 in the text, as shown here,
3999 @lilypond[verbatim,raggedright]
4001 \relative \context Voice = "lahlah" {
4002 \set Staff.autoBeaming = ##f
4008 \new Lyrics \lyricsto "lahlah" {
4011 \new Lyrics \lyricsto "lahlah" {
4012 \set ignoreMelismata = ##t % applies to "fas"
4014 \unset ignoreMelismata
4021 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4022 should bev entered before ``go''.
4024 The reverse is also possible: making a lyric line slower than the
4025 standard. This can be achieved by insert @code{\skip}s into the
4026 lyrics. For every @code{\skip}, the text will be delayed another note.
4029 @lilypond[verbatim,raggedright]
4030 \relative { c c g' }
4037 More complex variations in text underlay are possible. It is possible
4038 to switch the melody for a line of lyrics during the text. This is
4039 done by setting the @code{associatedVoice} property. In the example
4041 @lilypond[raggedright]
4043 \relative \context Voice = "lahlah" {
4044 \set Staff.autoBeaming = ##f
4047 \context Voice = alternative {
4051 % show associations clearly.
4052 \override NoteColumn #'force-hshift = #-3
4064 \new Lyrics \lyricsto "lahlah" {
4065 Ju -- ras -- sic Park
4067 \new Lyrics \lyricsto "lahlah" {
4069 % Tricky: need to set associatedVoice
4070 % one syllable too soon!
4071 \set associatedVoice = alternative % applies to "ran"
4075 \set associatedVoice = lahlah % applies to "rus"
4081 the text for the first stanza is set to a melody called ``lahlah'',
4084 \new Lyrics \lyricsto "lahlah" {
4085 Ju -- ras -- sic Park
4090 The second stanza initially is set to the @code{lahlah} context, but
4091 for the syllable ``ran'', it switches to a different melody.
4092 This is achieved with
4094 \set associatedVoice = alternative
4098 Here, @code{alternative} is the name of the @code{Voice} context
4099 containing the triplet.
4101 Again, the command must be one syllable too early, before ``Ty'' in
4105 \new Lyrics \lyricsto "lahlah" {
4106 \set associatedVoice = alternative % applies to "ran"
4110 \set associatedVoice = lahlah % applies to "rus"
4116 The underlay is switched back to the starting situation by assigning
4117 @code{lahlah} to @code{associatedVoice}.
4123 @subsection More stanzas
4125 @cindex phrasing, in lyrics
4128 @cindex stanza number
4129 @cindex singer's names
4130 @cindex name of singer
4132 Stanza numbers can be added by setting @code{stanza}, e.g.
4134 @lilypond[quote,verbatim,relative=2,fragment]
4136 \time 3/4 g2 e4 a2 f4 g2.
4139 Hi, my name is Bert.
4142 Oh, che -- ri, je t'aime
4146 These numbers are put just before the start of first syllable.
4148 Names of singers can also be added. They are printed at the start of
4149 the line, just like instrument names. They are created by setting
4150 @code{vocalName}. A short version may be entered as @code{vocNam}.
4153 @lilypond[fragment,quote,verbatim,relative=2]
4155 \time 3/4 g2 e4 a2 f4 g2.
4157 \set vocalName = "Bert "
4158 Hi, my name is Bert.
4160 \set vocalName = "Ernie "
4161 Oh, che -- ri, je t'aime
4167 Program reference: Layout objects @internalsref{LyricText} and
4168 @internalsref{VocalName}. Music expressions
4169 @internalsref{LyricEvent}.
4177 The term @emph{ambitus} denotes a range of pitches for a given voice
4178 in a part of music. It also may denote the pitch range that a musical
4179 instrument is capable of playing. Ambits are printed on vocal parts,
4180 so performers can easily determine it meets their capabilities.
4182 It denoted at the beginning of a piece near the initial clef. The
4183 range is graphically specified by two note heads, that represent the
4184 minimum and maximum pitch. To print such ambits, add the
4185 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4192 \consists Ambitus_engraver
4197 This results in the following output
4199 @lilypond[quote,raggedright]
4203 \consists Ambitus_engraver
4207 \relative \new Staff {
4212 If you have multiple voices in a single staff, and you want a single
4213 ambitus per staff rather than per each voice, add the
4214 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4215 rather than to the @internalsref{Voice} context. Here is an example,
4217 @lilypond[verbatim,raggedright]
4220 \consists "Ambitus_engraver"
4222 \override Ambitus #'X-offset-callbacks
4223 = #(list (lambda (grob axis) -1.0))
4228 \consists "Ambitus_engraver"
4237 This example uses one advanced feature,
4240 \override Ambitus #'X-offset-callbacks
4241 = #(list (lambda (grob axis) -1.0))
4245 This code moves the ambitus to the left. The same effect could have
4246 been achieved with @code{extra-offset}, but then the formatting system
4247 would not reserve space for the moved object.
4251 Program reference: @internalsref{Ambitus},
4252 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4253 @internalsref{AmbitusAccidental}.
4255 Examples: @inputfileref{input/regression,ambitus.ly}.
4259 There is no collision handling in the case of multiple per-voice
4262 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4263 @section Other instrument specific notation
4269 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4270 @subsection Harmonic notes
4272 @cindex artificial harmonics
4275 Artificial harmonics are notated with a different notehead style. They
4277 marking the harmonic pitch with @code{\harmonic}.
4279 @lilypond[raggedright,verbatim]
4286 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4290 @cindex guitar tablature
4292 Tablature notation is used for notating music for plucked string
4293 instruments. Pitches are not denoted with note heads, but by
4294 indicating on which string and fret a note must be played. LilyPond
4295 offers limited support for tablature.
4298 * Tablatures basic::
4299 * Non-guitar tablatures::
4302 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4303 @subsection Tablatures basic
4304 @cindex Tablatures basic
4306 The string number associated to a note is given as a backslash
4307 followed by a number, e.g. @code{c4\3} for a C quarter on the third
4308 string. By default, string 1 is the highest one, and the tuning
4309 defaults to the standard guitar tuning (with 6 strings). The notes
4310 are printed as tablature, by using @internalsref{TabStaff} and
4311 @internalsref{TabVoice} contexts
4313 @lilypond[quote,fragment,verbatim]
4320 @cindex @code{minimumFret}
4323 When no string is specified, the first string that does not give a
4324 fret number less than @code{minimumFret} is selected. The default
4325 value for @code{minimumFret} is 0
4330 \set TabStaff.minimumFret = #8
4333 @lilypond[quote,noindent,raggedright]
4337 \set TabStaff.minimumFret = #8
4340 \context StaffGroup <<
4341 \context Staff { \clef "G_8" \frag }
4342 \context TabStaff { \frag }
4348 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4349 @internalsref{StringNumberEvent}.
4353 Chords are not handled in a special way, and hence the automatic
4354 string selector may easily select the same string to two notes in a
4358 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4359 @subsection Non-guitar tablatures
4360 @cindex Non-guitar tablatures
4362 You can change the number of strings, by setting the number of lines
4363 in the @internalsref{TabStaff}.
4365 You can change the tuning of the strings. A string tuning is given as
4366 a Scheme list with one integer number for each string, the number
4367 being the pitch (measured in semitones relative to middle C) of an
4368 open string. The numbers specified for @code{stringTuning} are the
4369 numbers of semitones to subtract or add, starting the specified pitch
4370 by default middle C, in string order. In the next example,
4371 @code{stringTunings} is set for the pitches e, a, d, and g
4373 @lilypond[quote,fragment,verbatim]
4374 \context TabStaff <<
4375 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4378 a,4 c' a e' e c' a e'
4385 No guitar special effects have been implemented.
4389 Program reference: @internalsref{Tab_note_heads_engraver}.
4392 @node Popular music, Orchestral music, Tablatures, Notation manual
4393 @section Popular music
4400 * Printing chord names::
4404 @node Chord names, Chords mode, Popular music, Popular music
4405 @subsection Chord names
4408 LilyPond has support for both printing chord names. Chords may be
4409 entered in musical chord notation, i.e. @code{< .. >}, but they can
4410 also be entered by name. Internally, the chords are represented as a
4411 set of pitches, so they can be transposed
4414 @lilypond[quote,verbatim,raggedright]
4415 twoWays = \transpose c c' {
4424 << \context ChordNames \twoWays
4425 \context Voice \twoWays >>
4428 This example also shows that the chord printing routines do not try to
4429 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4435 * Printing chord names::
4440 @subsection Chords mode
4443 In chord mode sets of pitches (chords) are entered with common names.
4444 A chord is entered by the root, which is entered like a common pitch
4446 @lilypond[quote,fragment,verbatim,relative=2]
4447 \chordmode { es4. d8 c2 }
4451 The mode is introduced by the keyword @code{\chordmode}.
4456 Other chords may be entered by suffixing a colon, and introducing a
4457 modifier, and optionally, a number
4459 @lilypond[quote,fragment,verbatim]
4460 \chordmode { e1:m e1:7 e1:m7 }
4462 The first number following the root is taken to be the `type' of the
4463 chord, thirds are added to the root until it reaches the specified
4465 @lilypond[quote,fragment,verbatim]
4466 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4469 @cindex root of chord
4470 @cindex additions, in chords
4471 @cindex removals, in chords
4473 More complex chords may also be constructed adding separate steps
4474 to a chord. Additions are added after the number following
4475 the colon, and are separated by dots
4477 @lilypond[quote,verbatim,fragment]
4478 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4480 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4482 @lilypond[quote,verbatim,fragment]
4483 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4485 Removals are specified similarly, and are introduced by a caret. They
4486 must come after the additions
4487 @lilypond[quote,verbatim,fragment]
4488 \chordmode { c^3 c:7^5 c:9^3.5 }
4491 Modifiers can be used to change pitches. The following modifiers are
4495 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4497 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
4500 is the augmented chord. This modifier raises the 5th step.
4502 is the major 7th chord. This modifier raises the 7th step if present.
4504 is the suspended 4th or 2nd. This modifier removes the 3rd
4505 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4508 Modifiers can be mixed with additions
4509 @lilypond[quote,verbatim,fragment]
4510 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4513 @cindex modifiers, in chords.
4520 Since an unaltered 11 does not sound good when combined with an
4521 unaltered 3, the 11 is removed in this case (unless it is added
4524 @lilypond[quote,fragment,verbatim]
4525 \chordmode { c:13 c:13.11 c:m13 }
4530 An inversion (putting one pitch of the chord on the bottom), as well
4531 as bass notes, can be specified by appending
4532 @code{/}@var{pitch} to the chord
4533 @lilypond[quote,fragment,verbatim]
4534 \chordmode { c1 c/g c/f }
4538 A bass note can be added instead of transposed out of the chord,
4539 by using @code{/+}@var{pitch}.
4541 @lilypond[quote,fragment,verbatim]
4542 \chordmode { c1 c/+g c/+f }
4545 Chords is a mode similar to @code{\lyricmode} etc. Most
4546 of the commands continue to work, for example, @code{r} and
4547 @code{\skip} can be used to insert rests and spaces, and property
4548 commands may be used to change various settings.
4554 Each step can only be present in a chord once. The following
4555 simply produces the augmented chord, since @code{5+} is interpreted
4558 @lilypond[quote,verbatim,fragment]
4559 \chordmode { c:5.5-.5+ }
4563 @node Printing chord names
4564 @subsection Printing chord names
4566 @cindex printing chord names
4570 For displaying printed chord names, use the @internalsref{ChordNames} context.
4571 The chords may be entered either using the notation
4572 described above, or directly using @code{<} and @code{>}
4574 @lilypond[quote,verbatim,raggedright]
4576 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4580 \context ChordNames \scheme
4581 \context Staff \scheme
4585 You can make the chord changes stand out by setting
4586 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4587 display chord names when there is a change in the chords scheme and at
4588 the start of a new line
4590 @lilypond[quote,verbatim,linewidth=9\cm]
4591 scheme = \chordmode {
4592 c1:m c:m \break c:m c:m d
4595 \context ChordNames {
4596 \set chordChanges = ##t
4598 \context Staff \transpose c c' \scheme
4602 The previous examples all show chords over a staff. This is not
4603 necessary. Chords may also be printed separately. It may be necessary
4604 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4605 for showing repeats.
4607 @lilypond[raggedright,verbatim]
4608 \new ChordNames \with {
4609 \override BarLine #'bar-size = #4
4610 voltaOnThisStaff = ##t
4611 \consists Bar_engraver
4612 \consists "Volta_engraver"
4614 \repeat volta 2 \chordmode {
4623 The default chord name layout is a system for Jazz music, proposed by
4624 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4625 following properties
4628 @cindex @code{chordNameExceptions}
4629 @item chordNameExceptions
4630 This is a list that contains the chords that have special formatting.
4631 For an example of tuning this property, see
4632 @inputfileref{input/regression,chord-name-exceptions.ly}.
4633 @cindex exceptions, chord names.
4636 @cindex @code{majorSevenSymbol}
4637 @item majorSevenSymbol
4638 This property contains the markup object used for the 7th step, when
4639 it is major. Predefined options are @code{whiteTriangleMarkup} and
4640 @code{blackTriangleMarkup}. See
4641 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4643 @cindex @code{chordNameSeparator}
4644 @item chordNameSeparator
4645 Different parts of a chord name are normally separated by a
4646 slash. By setting @code{chordNameSeparator}, you can specify other
4648 @lilypond[quote,fragment,verbatim]
4649 \context ChordNames \chordmode {
4651 \set chordNameSeparator
4652 = \markup { \typewriter "|" }
4657 @cindex @code{chordRootNamer}
4658 @item chordRootNamer
4659 The root of a chord is usually printed as a letter with an optional
4660 alteration. The transformation from pitch to letter is done by this
4661 function. Special note names (for example, the German ``H'' for a
4662 B-chord) can be produced by storing a new function in this property.
4664 @cindex @code{chordNoteNamer}
4665 @item chordNoteNamer
4666 The default is to print single pitch, e.g. the bass note, using the
4667 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4668 to a specialized function to change this behavior. For example, the
4669 base can be printed in lower case.
4673 The predefined variables @code{\germanChords},
4674 @code{\semiGermanChords} set these variables. The effect is
4677 @lilypondfile[]{chord-names-german.ly}
4679 There are also two other chord name schemes implemented: an alternate
4680 Jazz chord notation, and a systematic scheme called Banter chords. The
4681 alternate jazz notation is also shown on the chart in @ref{Chord name
4682 chart}. Turning on these styles is described in the input file
4683 @inputfileref{input/test,chord-names-jazz.ly}.
4687 @cindex chords, jazz
4692 @cindex @code{\germanChords}
4693 @code{\germanChords},
4694 @cindex @code{\semiGermanChords}
4695 @code{\semiGermanChords}.
4702 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4703 @inputfileref{input/regression,chord-name-exceptions.ly},
4704 @inputfileref{input/test,chord-names-jazz.ly},
4705 @inputfileref{input/test,chords-without-melody.ly}.
4708 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4713 Chord names are determined solely from the list of pitches. Chord
4714 inversions are not identified, and neither are added bass notes. This
4715 may result in strange chord names when chords are entered with the
4716 @code{< .. >} syntax.
4720 @subsection Improvisation
4722 Improvisation is sometimes denoted with slashed note heads. Such note
4723 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4724 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4728 \set squashedPosition = #0
4729 \override NoteHead #'style = #'slash
4733 switches on the slashes.
4735 There are shortcuts @code{\improvisationOn} (and an accompanying
4736 @code{\improvisationOff}) for this command sequence. They are used in
4737 the following example
4739 @lilypond[verbatim,raggedright]
4741 \consists Pitch_squash_engraver
4743 e8 e g a a16(bes)(a8) g \improvisationOn
4746 ~fis2 \improvisationOff a16(bes) a8 g e
4752 @node Orchestral music
4753 @section Orchestral music
4755 @cindex Writing parts
4757 Orchestral music involves some special notation, both in the full
4758 score and the individual parts. This section explains how to tackle
4759 some common problems in orchestral music.
4764 * System start delimiters::
4765 * Aligning to cadenzas::
4768 * Instrument names::
4770 * Instrument transpositions::
4771 * Multi measure rests::
4772 * Automatic part combining::
4774 * Different editions from one source::
4775 * Quoting other voices::
4778 @node System start delimiters
4779 @subsection System start delimiters
4781 Polyphonic scores consist of many staves. These staves can be
4782 constructed in three different ways
4784 @item The group is started with a brace at the left, and bar lines are
4785 connected. This is done with the @internalsref{GrandStaff} context.
4796 @item The group is started with a bracket, and bar lines are connected. This is done with the
4797 @internalsref{StaffGroup} context
4808 @item The group is started with a vertical line. Bar lines are not
4809 connected. This is the default for the score.
4820 @cindex Staff, multiple
4821 @cindex bracket, vertical
4822 @cindex brace, vertical
4829 The bar lines at the start of each system are
4830 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
4831 @internalsref{SystemStartBracket}. Only one of these types is created
4832 in every context, and that type is determined by the property
4833 @code{systemStartDelimiter}.
4835 @node Aligning to cadenzas
4836 @subsection Aligning to cadenzas
4839 In an orchestral context, cadenzas present a special problem:
4840 when constructing a score that includes a cadenza, all other
4841 instruments should skip just as many notes as the length of the
4842 cadenza, otherwise they will start too soon or too late.
4844 A solution to this problem are the functions @code{mmrest-of-length}
4845 and @code{skip-of-length}. These Scheme functions take a piece music
4846 as argument, and generate a @code{\skip} or multi rest, exactly as
4847 long as the piece. The use of @code{mmrest-of-length} is demonstrated
4848 in the following example.
4850 @lilypond[verbatim,raggedright]
4851 cadenza = \relative c' {
4852 c4 d8 << { e f g } \\ { d4. } >>
4857 \new Staff { \cadenza c'4 }
4859 #(ly:export (mmrest-of-length cadenza))
4869 @node Rehearsal marks
4870 @subsection Rehearsal marks
4871 @cindex Rehearsal marks
4873 @cindex @code{\mark}
4875 To print a rehearsal mark, use the @code{\mark} command
4877 @lilypond[quote,fragment,verbatim,relative=1]
4888 (The letter I is skipped in accordance with engraving traditions.)
4890 @c FIXME - should make that tunable.
4892 The mark is incremented automatically if you use @code{\mark
4893 \default}, but you can also use an integer argument to set the mark
4894 manually. The value to use is stored in the property
4895 @code{rehearsalMark}.
4897 The style is defined by the property @code{markFormatter}. It is a
4898 function taking the current mark (an integer) and the current context
4899 as argument. It should return a markup object. In the following
4900 example, @code{markFormatter} is set to a canned procedure. After a
4901 few measures, it is set to function that produces a boxed number.
4903 @lilypond[quote,verbatim,fragment,relative=2]
4904 \set Score.markFormatter = #format-mark-numbers
4907 \set Score.markFormatter
4908 = #(lambda (mark context)
4910 (make-box-markup (number->string mark))))
4915 The file @file{scm/translation-functions.scm} contains the definitions
4916 of @code{format-mark-numbers} (the default format) and
4917 @code{format-mark-letters}. These can be used as inspiration for other
4918 formatting functions.
4921 @cindex coda on bar line
4922 @cindex segno on bar line
4923 @cindex fermata on bar line
4924 @cindex bar lines, symbols on
4926 The @code{\mark} command can also be used to put signs like coda,
4927 segno and fermatas on a bar line. Use @code{\markup} to
4928 to access the appropriate symbol
4930 @lilypond[quote,fragment,verbatim,relative=2]
4931 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4935 In the case of a line break, marks must also be printed at the end of
4936 the line, and not at the beginning. Use the following to force that
4939 \override Score.RehearsalMark
4940 #'break-visibility = #begin-of-line-invisible
4946 @cindex bar lines, putting symbols on
4950 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4952 Init files: @file{scm/translation-functions.scm} contains the
4953 definition of @code{format-mark-numbers} and
4954 @code{format-mark-letters}. They can be used as inspiration for other
4955 formatting functions.
4957 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4959 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4963 @subsection Bar numbers
4967 @cindex measure numbers
4968 @cindex @code{currentBarNumber}
4970 Bar numbers are printed by default at the start of the line. The
4971 number itself is stored in the @code{currentBarNumber} property, which
4972 is normally updated automatically for every measure.
4974 Bar numbers can be typeset at regular intervals instead of at the
4975 beginning of each line. This is illustrated in the following example,
4976 whose source is available as
4977 @inputfileref{input/test,bar-number-regular-interval.ly}
4979 @lilypondfile[quote]{bar-number-regular-interval.ly}
4983 Program reference: @internalsref{BarNumber}.
4985 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4986 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4990 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4991 there is one at the top. To solve this, the
4992 @code{padding} property of @internalsref{BarNumber} can be
4993 used to position the number correctly.
4995 @node Instrument names
4996 @subsection Instrument names
4998 In an orchestral score, instrument names are printed left side of the
5001 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5002 and @internalsref{Staff}.@code{instr}. This will print a string before
5003 the start of the staff. For the first start, @code{instrument} is
5004 used, for the next ones @code{instr} is used.
5006 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5007 \set Staff.instrument = "Ploink "
5008 \set Staff.instr = "Plk "
5014 You can also use markup texts to construct more complicated instrument
5017 @lilypond[quote,fragment,verbatim,raggedright]
5019 \set Staff.instrument = \markup {
5020 \column < "Clarinetti" { "in B"
5021 \smaller \flat } > }
5026 For longer instrument names, it may be useful to increase the
5027 @code{indent} setting in the @code{\paper} block.
5031 Program reference: @internalsref{InstrumentName}.
5035 When you put a name on a grand staff or piano staff the width of the
5036 brace is not taken into account. You must add extra spaces to the end of
5037 the name to avoid a collision.
5040 @subsection Transpose
5042 @cindex transposition of pitches
5043 @cindex @code{\transpose}
5045 A music expression can be transposed with @code{\transpose}. The
5048 \transpose @var{from} @var{to} @var{musicexpr}
5051 This means that @var{musicexpr} is transposed by the interval between
5052 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5053 is changed to @code{to}.
5056 For example, consider a piece written in the key of D major. If
5057 this piece is a little too low for its performer, it can be
5058 transposed up to E major with
5060 \transpose d e @dots{}
5063 Consider a part written for violin (a C instrument). If
5064 this part is to be played on the A clarinet, the following
5065 transposition will produce the appropriate part
5068 \transpose a c @dots{}
5071 @code{\transpose} distinguishes between enharmonic pitches: both
5072 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5073 half a tone. The first version will print sharps and the second
5074 version will print flats
5076 @lilypond[quote,raggedright,verbatim]
5077 mus = { \key d \major cis d fis g }
5081 \transpose c g' \mus
5082 \transpose c f' \mus
5089 Program reference: @internalsref{TransposedMusic}, and
5090 @internalsref{UntransposableMusic}.
5094 If you want to use both @code{\transpose} and @code{\relative},
5095 you must put @code{\transpose} outside of @code{\relative}, since
5096 @code{\relative} will have no effect music that appears inside a
5099 @node Instrument transpositions
5100 @subsection Instrument transpositions
5102 The key of a transposing instrument can also be specified. This
5103 applies to many wind instruments, for example, clarinets (B-flat, A and
5104 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
5107 The transposition is entered after the keyword @code{\transposition}
5110 \transposition bes %% B-flat clarinet
5113 This command sets the property @code{instrumentTransposition}. The value of
5114 this property is used for MIDI output and quotations. It does not
5115 affect how notes are printed in the current staff.
5117 @cindex transposition, MIDI
5118 @cindex transposition, instrument
5121 @node Multi measure rests
5122 @subsection Multi measure rests
5123 @cindex multi measure rests
5124 @cindex Rests, multi measure
5128 Multi measure rests are entered using `@code{R}'. It is specifically
5129 meant for full bar rests and for entering parts: the rest can expand
5130 to fill a score with rests, or it can be printed as a single
5131 multimeasure rest. This expansion is controlled by the property
5132 @code{Score.skipBars}. If this is set to true, empty measures will not
5133 be expanded, and the appropriate number is added automatically
5135 @lilypond[quote,fragment,verbatim]
5136 \time 4/4 r1 | R1 | R1*2
5137 \set Score.skipBars = ##t R1*17 R1*4
5140 The @code{1} in @code{R1} is similar to the duration notation used for
5141 notes. Hence, for time signatures other than 4/4, you must enter other
5142 durations. This can be done with augmentation dots or fractions
5144 @lilypond[quote,fragment,verbatim]
5145 \set Score.skipBars = ##t
5154 An @code{R} spanning a single measure is printed as either a whole rest
5155 or a breve, centered in the measure regardless of the time signature.
5157 @cindex text on multi-measure rest
5158 @cindex script on multi-measure rest
5159 @cindex fermata on multi-measure rest
5161 Texts can be added to multi-measure rests by using the
5162 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
5163 replaced. If you need both texts and the number, you must add the
5164 number by hand. A variable (@code{\fermataMarkup}) is provided for
5168 @lilypond[quote,verbatim,fragment]
5170 R2._\markup { "Ad lib" }
5174 If you want to have a text on the left end of a multi-measure rest,
5175 attach the text to a zero-length skip note, i.e.
5183 @cindex whole rests for a full measure
5187 Program reference: @internalsref{MultiMeasureRestEvent},
5188 @internalsref{MultiMeasureTextEvent},
5189 @internalsref{MultiMeasureRestMusicGroup}, and
5190 @internalsref{MultiMeasureRest}.
5192 The layout object @internalsref{MultiMeasureRestNumber} is for the
5193 default number, and @internalsref{MultiMeasureRestText} for user
5198 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
5199 over multi-measure rests.
5201 @cindex condensing rests
5203 There is no way to automatically condense multiple rests into a single
5204 multimeasure rest. Multi measure rests do not take part in rest
5207 Be careful when entering multimeasure rests followed by whole
5208 notes. The following will enter two notes lasting four measures each
5212 When @code{skipBars} is set, the result will look OK, but the bar
5213 numbering will be off.
5215 @node Automatic part combining
5216 @subsection Automatic part combining
5217 @cindex automatic part combining
5218 @cindex part combiner
5221 Automatic part combining is used to merge two parts of music onto a
5222 staff. It is aimed at typesetting orchestral scores. When the two
5223 parts are identical for a period of time, only one is shown. In
5224 places where the two parts differ, they are typeset as separate
5225 voices, and stem directions are set automatically. Also, solo and
5226 @emph{a due} parts are identified and can be marked.
5228 The syntax for part combining is
5231 \partcombine @var{musicexpr1} @var{musicexpr2}
5236 The following example demonstrates the basic functionality of the part
5237 combiner: putting parts on one staff, and setting stem directions and
5240 @lilypond[quote,verbatim,raggedright,fragment]
5241 \new Staff \partcombine
5242 \relative g' { g g a( b) c c r r }
5243 \relative g' { g g r4 r e e g g }
5246 The first @code{g} appears only once, although it was
5247 specified twice (once in each part). Stem, slur and tie directions are
5248 set automatically, depending whether there is a solo or unisono. The
5249 first part (with context called @code{one}) always gets up stems, and
5250 `solo', while the second (called @code{two}) always gets down stems and
5253 If you just want the merging parts, and not the textual markings, you
5254 may set the property @code{printPartCombineTexts} to false
5256 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5258 \set Staff.printPartCombineTexts = ##f
5260 \relative g' { g a( b) r }
5261 \relative g' { g r4 r f }
5266 Both arguments to @code{\partcombine} will be interpreted as
5267 @internalsref{Voice} contexts. If using relative octaves,
5268 @code{\relative} should be specified for both music expressions, i.e.
5272 \relative @dots{} @var{musicexpr1}
5273 \relative @dots{} @var{musicexpr2}
5277 A @code{\relative} section that is outside of @code{\partcombine} has
5278 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5282 Program reference: @internalsref{PartCombineMusic},
5283 @internalsref{SoloOneEvent}, and
5284 @internalsref{SoloTwoEvent}, and
5285 @internalsref{UnisonoEvent}.
5289 When @code{printPartCombineTexts} is set, when the two voices play the
5290 same notes on and off, the part combiner may typeset @code{a2} more
5291 than once in a measure.
5293 @code{\partcombine} cannot be inside @code{\times}.
5295 @code{\partcombine} cannot be inside @code{\relative}.
5297 Internally, the @code{\partcombine} interprets both arguments as
5298 @code{Voice}s named @code{one} and @code{two}, and then decides when
5299 the parts can be combined. Consequently, if the arguments switch to
5300 differently named @internalsref{Voice} contexts, the events in those
5304 @subsection Hiding staves
5306 @cindex Frenched scores
5307 @cindex Hiding staves
5309 In orchestral scores, staff lines that only have rests are usually
5310 removed. This saves some space. This style is called `French Score'.
5311 For @internalsref{Lyrics},
5312 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5313 switched on by default. When these line of these contexts turn out
5314 empty after the line-breaking process, they are removed.
5316 For normal staves, a specialized @internalsref{Staff} context is
5317 available, which does the same: staves containing nothing (or only
5318 multi measure rests) are removed. The context definition is stored in
5319 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5320 in this example disappears in the second line
5323 @lilypond[quote,verbatim]
5325 \context { \RemoveEmptyStaffContext }
5330 \new Staff { e4 f g a \break c1 }
5331 \new Staff { c4 d e f \break R1 }
5336 The first system shows all staves in full. If empty staves should be
5337 removed from the first system too, set @code{remove-first} to false in
5338 @internalsref{RemoveEmptyVerticalGroup}.
5340 Another application is making ossia sections, i.e. alternative
5341 melodies on a separate piece of staff, with help of a Frenched
5342 staff. See @inputfileref{input/test,ossia.ly} for an example.
5345 @node Different editions from one source
5346 @subsection Different editions from one source
5348 The @code{\tag} command marks music expressions with a name. These
5349 tagged expressions can be filtered out later. With this mechanism it
5350 is possible to make different versions of the same music source.
5352 In the following example, we see two versions of a piece of music, one
5353 for the full score, and one with cue notes for the instrumental part
5369 The same can be applied to articulations, texts, etc.: they are
5372 -\tag #@var{your-tag}
5374 to an articulation, for example,
5379 This defines a note with a conditional fingering indication.
5381 By applying the @code{remove-tag} function, tagged expressions can be
5382 filtered. For example,
5386 \applymusic #(remove-tag 'score) @var{the music}
5387 \applymusic #(remove-tag 'part) @var{the music}
5392 @lilypondfile[quote]{tag-filter.ly}
5394 The argument of the @code{\tag} command should be a symbol, or a list
5395 of symbols, for example,
5397 \tag #'(original-part transposed-part) @dots{}
5402 Examples: @inputfileref{input/regression,tag-filter.ly}.
5405 @node Quoting other voices
5406 @subsection Quoting other voices
5408 With quotations, fragments of other parts can be inserted into a part
5409 directly. Before a part can be quoted, it must be marked especially as
5410 quotable. This is done with code @code{\addquote} command.
5413 \addquote @var{name} @var{music}
5418 Here, @var{name} is an identifying string. The @var{music} is any kind
5419 of music. This is an example of @code{\addquote}
5422 \addquote clarinet \relative c' {
5427 This command must be entered at toplevel, i.e. outside any music
5430 After calling @code{\addquote}, the quotation may then be done with
5434 \quote @var{name} @var{duration}
5437 During a part, a piece of music can be quoted with the @code{\quote}
5444 This would cite three quarter notes (@code{2.} is a dotted half note)
5445 of the previously added @code{clarinet} voice.
5447 More precisely, it takes the current time-step of the part being
5448 printed, and extracts the notes at the corresponding point of the
5449 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5450 should be the entire part of the voice to be quoted, including any
5451 rests at the beginning.
5453 Quotations take into account the transposition of both source and target
5454 instruments, if they are specified using the @code{\transposition} command.
5456 @lilypond[quote,raggedright,verbatim]
5457 \addquote clarinet \relative c' {
5463 e'8 f'8 \quote clarinet 2
5467 The type of events that are present in cue notes can be trimmed with
5468 the @code{quotedEventTypes} property. The default value is
5469 @code{(note-event rest-event)}, which means that only notes of and
5470 rests of the cued voice end up in the @code{\quote}.
5474 \set Staff.quotedEventTypes = #'(note-event articulation-event dynamic-event)
5478 will quote notes (but no rests), together with scripts and dynamics.
5482 Only the contents of the first @internalsref{Voice} occurring in an
5483 @code{\addquote} command will be considered for quotation, so
5484 @var{music} can not contain @code{\new} and @code{\context Voice}
5485 statements that would switch to a different Voice.
5490 In this manual: @ref{Instrument transpositions}.
5492 Examples: @inputfileref{input/regression,quote.ly}
5493 @inputfileref{input/regression,quote-transposition.ly}
5495 Program reference: @internalsref{QuoteMusic}.
5497 @node Formatting cue notes
5498 @section Formatting cue notes
5501 The previous section deals with inserting notes from another
5502 voice. When making a part, these notes need to be specially formatted.
5503 Here is an example of formatted cue notes
5508 \override Stem #'length = #5.5
5509 \override Beam #'thickness = #0.384
5510 \override Beam #'space-function =
5511 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5515 \set Staff.instrument = #"Horn in F"
5516 \set Score.skipBars = ##t
5519 \once \override Staff.MultiMeasureRest #'staff-position = #-6
5526 r8^"Bsn." c'8 f'8[ f'8]
5536 There are a couple of points to take care of:
5540 The multi rest of the original part should be moved up or down during
5543 Cue notes have smaller font sizes.
5545 When cued notes have a clef change relative to the original part, the
5546 clef should be restored after the cue section. This minimizes
5547 confusion for the reader,
5549 When the original part starts, this should be marked with the name of
5550 the instrument, in this case ``Horn.'' Of course, the cue part is
5551 marked with the instrument playing the cue.
5556 @node Ancient notation
5557 @section Ancient notation
5559 @cindex Vaticana, Editio
5560 @cindex Medicaea, Editio
5565 Support for ancient notation includes features for mensural notation
5566 and Gregorian Chant notation. There is also limited support for
5567 figured bass notation.
5569 Many graphical objects provide a @code{style} property, see
5572 @ref{Ancient note heads},
5574 @ref{Ancient accidentals},
5579 @ref{Ancient clefs},
5583 @ref{Ancient time signatures}.
5586 By manipulating such a grob property, the typographical appearance of
5587 the affected graphical objects can be accommodated for a specific
5588 notation flavor without need for introducing any new notational
5591 Other aspects of ancient notation can not that easily be expressed as
5592 in terms of just changing a style property of a graphical object.
5593 Therefore, some notational concepts are introduced specifically for
5608 * Ancient note heads::
5609 * Ancient accidentals::
5613 * Ancient time signatures::
5617 * Vaticana style contexts::
5621 If this all is too much of documentation for you, and you just want to
5622 dive into typesetting without worrying too much about the details on
5623 how to customize a context, you may have a look at the predefined
5624 contexts (see @ref{Vaticana style contexts}). Use them to set up
5625 predefined style-specific voice and staff contexts, and directly go
5626 ahead with the note entry.
5628 @node Ancient note heads
5629 @subsection Ancient note heads
5634 For ancient notation, a note head style other than the @code{default}
5635 style may be chosen. This is accomplished by setting the @code{style}
5636 property of the NoteHead object to @code{baroque}, @code{neomensural}
5637 or @code{mensural}. The @code{baroque} style differs from the
5638 @code{default} style only in using a square shape for @code{\breve}
5639 note heads. The @code{neomensural} style differs from the
5640 @code{baroque} style in that it uses rhomboidal heads for whole notes
5641 and all smaller durations. Stems are centered on the note heads.
5642 This style is in particular useful when transcribing mensural music,
5643 e.g. for the incipit. The @code{mensural} style finally produces note
5644 heads that mimic the look of note heads in historic printings of the
5647 The following example demonstrates the @code{neomensural} style
5649 @lilypond[quote,fragment,raggedright]
5650 \set Score.skipBars = ##T
5651 \override NoteHead #'style = #'neomensural
5652 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5655 When typesetting a piece in Gregorian Chant notation, the
5656 @internalsref{Gregorian_ligature_engraver} will automatically select
5657 the proper note heads, such there is no need to explicitly set the
5658 note head style. Still, the note head style can be set e.g.@: to
5659 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5660 @internalsref{Mensural_ligature_engraver} is used to automatically
5661 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5666 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
5667 overview over all available note head styles.
5670 @node Ancient accidentals
5671 @subsection Ancient accidentals
5676 Use the @code{style} property of grob @internalsref{Accidental} to
5677 select ancient accidentals. Supported styles are
5678 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5680 @lilypond[quote,raggedright,staffsize=26]
5688 { " " \musicglyph #"accidentals-vaticana-1"
5689 " " \musicglyph #"accidentals-vaticana0" }
5693 { " " \musicglyph #"accidentals-medicaea-1" }
5697 { " " \musicglyph #"accidentals-hufnagel-1" }
5701 { " " \musicglyph #"accidentals-mensural-1"
5702 " " \musicglyph #"accidentals-mensural1" }
5711 \remove "Bar_number_engraver"
5715 \remove "Clef_engraver"
5716 \remove "Key_engraver"
5717 \remove "Time_signature_engraver"
5718 \remove "Staff_symbol_engraver"
5719 minimumVerticalExtent = ##f
5725 As shown, not all accidentals are supported by each style. When
5726 trying to access an unsupported accidental, LilyPond will switch to a
5727 different style, as demonstrated in
5728 @inputfileref{input/test,ancient-accidentals.ly}.
5730 Similarly to local accidentals, the style of the key signature can be
5731 controlled by the @code{style} property of the
5732 @internalsref{KeySignature} grob.
5736 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5737 @ref{Accidentals} give a general introduction into the use of
5738 accidentals. @ref{Key signature} gives a general introduction into
5739 the use of key signatures.
5741 Program reference: @internalsref{KeySignature}.
5743 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
5746 @subsection Ancient rests
5751 Use the @code{style} property of grob @internalsref{Rest} to select
5752 ancient accidentals. Supported styles are @code{classical},
5753 @code{neomensural} and @code{mensural}. @code{classical} differs
5754 from the @code{default} style only in that the quarter rest looks like
5755 a horizontally mirrored 8th rest. The @code{neomensural} style suits
5756 well for e.g. the incipit of a transcribed mensural piece of music.
5757 The @code{mensural} style finally mimics the appearance of rests as
5758 in historic prints of the 16th century.
5760 The following example demonstrates the @code{neomensural} style
5762 @lilypond[quote,fragment,raggedright]
5763 \override Rest #'style = #'neomensural
5764 \set Score.skipBars = ##t
5765 r\longa r\breve r1 r2 r4 r8 r16
5768 There are no 32th and 64th rests specifically for the mensural or
5769 neo-mensural style. Instead, the rests from the default style will be
5770 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5773 There are no rests in Gregorian Chant notation; instead, it uses
5778 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5782 @subsection Ancient clefs
5787 LilyPond supports a variety of clefs, many of them ancient.
5789 The following table shows all ancient clefs that are supported via the
5790 @code{\clef} command. Some of the clefs use the same glyph, but
5791 differ only with respect to the line they are printed on. In such
5792 cases, a trailing number in the name is used to enumerate these clefs.
5793 Still, you can manually force a clef glyph to be typeset on an
5794 arbitrary line, as described in @ref{Clef}. The note printed to the
5795 right side of each clef in the example column denotes the @code{c'}
5796 with respect to that clef.
5798 @multitable @columnfractions .4 .4 .2
5801 @b{Description} @tab
5802 @b{Supported Clefs} @tab
5806 modern style mensural C clef @tab
5807 @code{neomensural-c1}, @code{neomensural-c2},
5808 @code{neomensural-c3}, @code{neomensural-c4} @tab
5809 @lilypond[fragment,quote,relative=1,notime]
5811 \clef "neomensural-c2" c
5815 petrucci style mensural C clefs, for use on different staff lines
5816 (the examples shows the 2nd staff line C clef).
5826 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5828 \clef "petrucci-c2" c
5832 petrucci style mensural F clef @tab
5833 @code{petrucci-f} @tab
5834 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5836 \clef "petrucci-f" c
5840 petrucci style mensural G clef @tab
5841 @code{petrucci-g} @tab
5842 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5844 \clef "petrucci-g" c
5848 historic style mensural C clef @tab
5849 @code{mensural-c1}, @code{mensural-c2}, @code{mensural-c3},
5850 @code{mensural-c4} @tab
5851 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5853 \clef "mensural-c2" c
5857 historic style mensural F clef @tab
5858 @code{mensural-f} @tab
5859 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5861 \clef "mensural-f" c
5865 historic style mensural G clef @tab
5866 @code{mensural-g} @tab
5867 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5869 \clef "mensural-g" c
5873 Editio Vaticana style do clef @tab
5874 @code{vaticana-do1}, @code{vaticana-do2}, @code{vaticana-do3} @tab
5875 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5876 \override Staff.StaffSymbol #'line-count = #4
5878 \clef "vaticana-do2" c
5882 Editio Vaticana style fa clef @tab
5883 @code{vaticana-fa1}, @code{vaticana-fa2} @tab
5884 @lilypond[quote,relative=1,notime,indent=0.0\mm,fragment]
5885 \override Staff.StaffSymbol #'line-count = #4
5887 \clef "vaticana-fa2" c
5891 Editio Medicaea style do clef @tab
5892 @code{medicaea-do1}, @code{medicaea-do2}, @code{medicaea-do3} @tab
5893 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5894 \override Staff.StaffSymbol #'line-count = #4
5896 \clef "medicaea-do2" c
5900 Editio Medicaea style fa clef @tab
5901 @code{medicaea-fa1}, @code{medicaea-fa2} @tab
5902 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5903 \override Staff.StaffSymbol #'line-count = #4
5905 \clef "medicaea-fa2" c
5909 historic style hufnagel do clef @tab
5910 @code{hufnagel-do1}, @code{hufnagel-do2}, @code{hufnagel-do3} @tab
5911 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5912 \override Staff.StaffSymbol #'line-count = #4
5914 \clef "hufnagel-do2" c
5918 historic style hufnagel fa clef @tab
5919 @code{hufnagel-fa1}, @code{hufnagel-fa2} @tab
5920 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5921 \override Staff.StaffSymbol #'line-count = #4
5923 \clef "hufnagel-fa2" c
5927 historic style hufnagel combined do/fa clef @tab
5928 @code{hufnagel-do-fa} @tab
5929 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5930 \clef "hufnagel-do-fa" c
5937 @emph{Modern style} means ``as is typeset in contemporary editions of
5938 transcribed mensural music''.
5940 @emph{Petrucci style} means ``inspired by printings published by the
5941 famous engraver Petrucci (1466-1539)''.
5943 @emph{Historic style} means ``as was typeset or written in historic
5944 editions (other than those of Petrucci)''.
5946 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5948 Petrucci used C clefs with differently balanced left-side vertical
5949 beams, depending on which staff line it is printed.
5953 In this manual: see @ref{Clef}.
5957 The mensural g clef is mapped to the Petrucci g clef.
5962 @subsection Ancient flags
5967 Use the @code{flag-style} property of grob @internalsref{Stem} to
5968 select ancient flags. Besides the @code{default} flag style,
5969 only @code{mensural} style is supported
5971 @lilypond[quote,fragment,raggedright,verbatim]
5972 \override Stem #'flag-style = #'mensural
5973 \override Stem #'thickness = #1.0
5974 \override NoteHead #'style = #'mensural
5976 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
5977 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5980 Note that the innermost flare of each mensural flag always is
5981 vertically aligned with a staff line. If you do not like this
5982 behavior, you can set the @code{adjust-if-on-staffline} property of
5983 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5984 of the end of each flare is different between notes on staff lines and
5985 notes between staff lines
5987 @lilypond[quote,fragment,raggedright]
5988 \override Stem #'flag-style = #'mensural
5989 \override Stem #'thickness = #1.0
5990 \override Stem #'adjust-if-on-staffline = ##f
5991 \override NoteHead #'style = #'mensural
5993 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
5994 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5997 There is no particular flag style for neo-mensural notation. Hence,
5998 when typesetting the incipit of a transcribed piece of mensural
5999 music, the default flag style should be used. There are no flags in
6000 Gregorian Chant notation.
6003 @node Ancient time signatures
6004 @subsection Ancient time signatures
6006 @cindex time signatures
6009 There is limited support for mensural time signatures. The
6010 glyphs are hard-wired to particular time fractions. In other words,
6011 to get a particular mensural signature glyph with the @code{\time n/m}
6012 command, @code{n} and @code{m} have to be chosen according to the
6021 \remove Staff_symbol_engraver
6022 \remove Clef_engraver
6023 \remove Time_signature_engraver
6026 \set Score.timing = ##f
6027 \set Score.barAlways = ##t
6028 s_\markup { "$\\backslash$time 4/4" }
6029 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6031 s_\markup { "$\\backslash$time 2/2" }
6032 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6034 s_\markup { "$\\backslash$time 6/4" }
6035 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6037 s_\markup { "$\\backslash$time 6/8" }
6038 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6040 s_\markup { "$\\backslash$time 3/2" }
6041 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6043 s_\markup { "$\\backslash$time 3/4" }
6044 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6046 s_\markup { "$\\backslash$time 9/4" }
6047 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6049 s_\markup { "$\\backslash$time 9/8" }
6050 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6052 s_\markup { "$\\backslash$time 4/8" }
6053 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6055 s_\markup { "$\\backslash$time 2/4" }
6056 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6061 Use the @code{style} property of grob @internalsref{TimeSignature} to
6062 select ancient time signatures. Supported styles are
6063 @code{neomensural} and @code{mensural}. The above table uses the
6064 @code{neomensural} style. This style is appropriate for the
6065 incipit of transcriptions of mensural pieces. The @code{mensural}
6066 style mimics the look of historical printings of the 16th century.
6068 The following examples shows the differences in style,
6069 @lilypond[raggedright]
6072 c1^\markup { \hspace #-2.0 \typewriter default }
6074 \override Staff.TimeSignature #'style = #'numbered
6076 c1^\markup { \hspace #-2.0 \typewriter numbered }
6078 \override Staff.TimeSignature #'style = #'mensural
6080 c1^\markup { \hspace #-2.0 \typewriter mensural }
6082 \override Staff.TimeSignature #'style = #'neomensural
6084 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6085 \override Staff.TimeSignature #'style = #'single-digit
6087 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6093 This manual: @ref{Time signature} gives a general introduction into
6094 the use of time signatures.
6098 Ratios of note durations do not change with the time signature. For
6099 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6100 be made by hand, by setting
6103 breveTP = #(ly:make-duration -1 0 3 2)
6109 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6111 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6112 addressable with @code{\time}. Use a @code{\markup} instead
6115 @subsection Custodes
6120 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6121 symbol that appears at the end of a staff. It anticipates the pitch
6122 of the first note(s) of the following line thus helping the performer
6123 to manage line breaks during performance.
6125 Custodes were frequently used in music notation until the 17th
6126 century. Nowadays, they have survived only in a few particular forms
6127 of musical notation such as contemporary editions of Gregorian chant
6128 like the @emph{editio vaticana}. There are different custos glyphs
6129 used in different flavors of notational style.
6131 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6132 @internalsref{Staff} context when declaring the @code{\paper} block,
6133 as shown in the following example
6139 \consists Custos_engraver
6140 Custos \override #'style = #'mensural
6145 The result looks like this
6147 @lilypond[quote,raggedright]
6151 \override Staff.Custos #'style = #'mensural
6158 \consists Custos_engraver
6164 The custos glyph is selected by the @code{style} property. The styles
6165 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
6166 @code{mensural}. They are demonstrated in the following fragment
6170 \new Lyrics \lyricmode {
6173 \typewriter "vaticana"
6174 { " " \musicglyph #"custodes-vaticana-u0" }
6177 \typewriter "medicaea"
6178 { " " \musicglyph #"custodes-medicaea-u0" }
6182 \typewriter "hufnagel"
6183 { " " \musicglyph #"custodes-hufnagel-u0" }
6187 \typewriter "mensural"
6188 { " " \musicglyph #"custodes-mensural-u0" }
6200 Program reference: @internalsref{Custos}.
6202 Examples: @inputfileref{input/regression,custos.ly}.
6206 @subsection Divisiones
6212 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6213 `division') is a staff context symbol that is used to structure
6214 Gregorian music into phrases and sections. The musical meaning of
6215 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
6216 can be characterized as short, medium and long pause, somewhat like
6217 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6218 only marks the end of a chant, but is also frequently used within a
6219 single antiphonal/responsorial chant to mark the end of each section.
6222 To use divisiones, include the file @code{gregorian-init.ly}. It
6223 contains definitions that you can apply by just inserting
6224 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6225 and @code{\finalis} at proper places in the input. Some editions use
6226 @emph{virgula} or @emph{caesura} instead of divisio minima.
6227 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
6230 @lilypondfile[quote,raggedright]{divisiones.ly}
6234 @cindex @code{\virgula}
6236 @cindex @code{\caesura}
6238 @cindex @code{\divisioMinima}
6239 @code{\divisioMinima},
6240 @cindex @code{\divisioMaior}
6241 @code{\divisioMaior},
6242 @cindex @code{\divisioMaxima}
6243 @code{\divisioMaxima},
6244 @cindex @code{\finalis}
6249 In this manual: @ref{Breath marks}.
6251 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6253 Examples: @inputfileref{input/test,divisiones.ly}.
6256 @subsection Ligatures
6260 @c TODO: Should double check if I recalled things correctly when I wrote
6261 @c down the following paragraph by heart.
6263 A ligature is a graphical symbol that represents at least two distinct
6264 notes. Ligatures originally appeared in the manuscripts of Gregorian
6265 chant notation to denote ascending or descending sequences of notes.
6267 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6268 Some ligature styles may need additional input syntax specific for
6269 this particular type of ligature. By default, the
6270 @internalsref{LigatureBracket} engraver just puts a square bracket
6273 @lilypond[quote,raggedright,verbatim]
6281 To select a specific style of ligatures, a proper ligature engraver
6282 has to be added to the @internalsref{Voice} context, as explained in
6283 the following subsections. Only white mensural ligatures
6284 are supported with certain limitations.
6290 Ligatures need special spacing that has not yet been implemented. As
6291 a result, there is too much space between ligatures most of the time,
6292 and line breaking often is unsatisfactory. Also, lyrics do not
6293 correctly align with ligatures.
6295 Accidentals must not be printed within a ligature, but instead need to
6296 be collected and printed in front of it.
6298 Augmentum dots within ligatures are not handled correctly.
6302 * White mensural ligatures::
6303 * Gregorian square neumes ligatures::
6306 @node White mensural ligatures
6307 @subsubsection White mensural ligatures
6309 @cindex Mensural ligatures
6310 @cindex White mensural ligatures
6312 There is limited support for white mensural ligatures.
6314 To engrave white mensural ligatures, in the paper block the
6315 @internalsref{Mensural_ligature_engraver} has to be put into the
6316 @internalsref{Voice} context, and remove the
6317 @internalsref{Ligature_bracket_engraver}
6323 \remove Ligature_bracket_engraver
6324 \consists Mensural_ligature_engraver
6329 There is no additional input language to describe the shape of a
6330 white mensural ligature. The shape is rather determined solely from
6331 the pitch and duration of the enclosed notes. While this approach may
6332 take a new user a while to get accustomed, it has the great advantage
6333 that the full musical information of the ligature is known internally.
6334 This is not only required for correct MIDI output, but also allows for
6335 automatic transcription of the ligatures.
6340 \set Score.timing = ##f
6341 \set Score.defaultBarType = "empty"
6342 \override NoteHead #'style = #'neomensural
6343 \override Staff.TimeSignature #'style = #'neomensural
6345 \[ g\longa c\breve a\breve f\breve d'\longa \]
6347 \[ e1 f1 a\breve g\longa \]
6349 @lilypond[quote,raggedright]
6352 \set Score.timing = ##f
6353 \set Score.defaultBarType = "empty"
6354 \override NoteHead #'style = #'neomensural
6355 \override Staff.TimeSignature #'style = #'neomensural
6357 \[ g\longa c\breve a\breve f\breve d'\longa \]
6359 \[ e1 f1 a\breve g\longa \]
6364 \remove Ligature_bracket_engraver
6365 \consists Mensural_ligature_engraver
6371 Without replacing @internalsref{Ligature_bracket_engraver} with
6372 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6375 @lilypond[quote,raggedright]
6377 \set Score.timing = ##f
6378 \set Score.defaultBarType = "empty"
6379 \override NoteHead #'style = #'neomensural
6380 \override Staff.TimeSignature #'style = #'neomensural
6382 \[ g\longa c\breve a\breve f\breve d'\longa \]
6384 \[ e1 f1 a\breve g\longa \]
6390 The implementation is experimental. It may output strange warnings,
6391 incorrect results, and might even crash on more complex ligatures.
6393 @node Gregorian square neumes ligatures
6394 @subsubsection Gregorian square neumes ligatures
6396 @cindex Square neumes ligatures
6397 @cindex Gregorian square neumes ligatures
6399 There is limited support for Gregorian square neumes notation
6400 (following the style of the Editio Vaticana). Core ligatures can
6401 already be typeset, but essential issues for serious typesetting are
6402 still lacking, such as (among others) horizontal alignment of multiple
6403 ligatures, lyrics alignment and proper accidentals handling.
6406 The following table contains the extended neumes table of the 2nd
6407 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6408 1983 by the monks of Solesmes.
6410 @multitable @columnfractions .4 .2 .2 .2
6413 @b{Neuma aut@*Neumarum Elementa} @tab
6414 @b{Figurae@*Rectae} @tab
6415 @b{Figurae@*Liquescentes Auctae} @tab
6416 @b{Figurae@*Liquescentes Deminutae}
6418 @c TODO: \paper block is identical in all of the below examples.
6419 @c Therefore, it should somehow be included rather than duplicated all
6422 @c why not make identifiers in ly/engraver-init.ly? --hwn
6424 @c Because it's just used to typeset plain notes without
6425 @c a staff for demonstration purposes rather than something
6426 @c special of Gregorian chant notation. --jr
6431 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
6432 \include "gregorian-init.ly"
6437 \noBreak s^\markup {"a"} \noBreak
6439 % Punctum Inclinatum
6441 \noBreak s^\markup {"b"}
6443 \paper { \neumeDemoPaper }}
6446 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
6447 \include "gregorian-init.ly"
6450 % Punctum Auctum Ascendens
6451 \[ \auctum \ascendens b \]
6452 \noBreak s^\markup {"c"} \noBreak
6454 % Punctum Auctum Descendens
6455 \[ \auctum \descendens b \]
6456 \noBreak s^\markup {"d"} \noBreak
6458 % Punctum Inclinatum Auctum
6459 \[ \inclinatum \auctum b \]
6460 \noBreak s^\markup {"e"}
6462 \paper { \neumeDemoPaper }}
6465 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6466 \include "gregorian-init.ly"
6469 % Punctum Inclinatum Parvum
6470 \[ \inclinatum \deminutum b \]
6471 \noBreak s^\markup {"f"}
6473 \paper { \neumeDemoPaper }}
6479 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6480 \include "gregorian-init.ly"
6485 \noBreak s^\markup {"g"}
6487 \paper { \neumeDemoPaper }}
6493 @code{3. Apostropha vel Stropha}
6495 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6496 \include "gregorian-init.ly"
6501 \noBreak s^\markup {"h"}
6503 \paper { \neumeDemoPaper }}
6506 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6507 \include "gregorian-init.ly"
6511 \[ \stropha \auctum b \]
6512 \noBreak s^\markup {"i"}
6514 \paper { \neumeDemoPaper }}
6521 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6522 \include "gregorian-init.ly"
6527 \noBreak s^\markup {"j"}
6529 \paper { \neumeDemoPaper }}
6535 @code{5. Clivis vel Flexa}
6537 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6538 \include "gregorian-init.ly"
6545 \paper { \neumeDemoPaper }}
6548 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6549 \include "gregorian-init.ly"
6552 % Clivis Aucta Descendens
6553 \[ b \flexa \auctum \descendens g \]
6554 \noBreak s^\markup {"l"} \noBreak
6556 % Clivis Aucta Ascendens
6557 \[ b \flexa \auctum \ascendens g \]
6558 \noBreak s^\markup {"m"}
6560 \paper { \neumeDemoPaper }}
6563 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6564 \include "gregorian-init.ly"
6568 \[ b \flexa \deminutum g \]
6571 \paper { \neumeDemoPaper }}
6575 @code{6. Podatus vel Pes}
6577 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6578 \include "gregorian-init.ly"
6585 \paper { \neumeDemoPaper }}
6588 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6589 \include "gregorian-init.ly"
6592 % Pes Auctus Descendens
6593 \[ g \pes \auctum \descendens b \]
6594 \noBreak s^\markup {"p"} \noBreak
6596 % Pes Auctus Ascendens
6597 \[ g \pes \auctum \ascendens b \]
6598 \noBreak s^\markup {"q"}
6600 \paper { \neumeDemoPaper }}
6603 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6604 \include "gregorian-init.ly"
6608 \[ g \pes \deminutum b \]
6611 \paper { \neumeDemoPaper }}
6615 @code{7. Pes Quassus}
6617 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6618 \include "gregorian-init.ly"
6622 \[ \oriscus g \pes \virga b \]
6625 \paper { \neumeDemoPaper }}
6628 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6629 \include "gregorian-init.ly"
6632 % Pes Quassus Auctus Descendens
6633 \[ \oriscus g \pes \auctum \descendens b \]
6636 \paper { \neumeDemoPaper }}
6641 @code{8. Quilisma Pes}
6643 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6644 \include "gregorian-init.ly"
6648 \[ \quilisma g \pes b \]
6651 \paper { \neumeDemoPaper }}
6654 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6655 \include "gregorian-init.ly"
6658 % Quilisma Pes Auctus Descendens
6659 \[ \quilisma g \pes \auctum \descendens b \]
6662 \paper { \neumeDemoPaper }}
6667 @code{9. Podatus Initio Debilis}
6669 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6670 \include "gregorian-init.ly"
6673 % Pes Initio Debilis
6674 \[ \deminutum g \pes b \]
6677 \paper { \neumeDemoPaper }}
6680 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6681 \include "gregorian-init.ly"
6684 % Pes Auctus Descendens Initio Debilis
6685 \[ \deminutum g \pes \auctum \descendens b \]
6688 \paper { \neumeDemoPaper }}
6695 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6696 \include "gregorian-init.ly"
6700 \[ a \pes b \flexa g \]
6703 \paper { \neumeDemoPaper }}
6706 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6707 \include "gregorian-init.ly"
6710 % Torculus Auctus Descendens
6711 \[ a \pes b \flexa \auctum \descendens g \]
6714 \paper { \neumeDemoPaper }}
6717 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6718 \include "gregorian-init.ly"
6721 % Torculus Deminutus
6722 \[ a \pes b \flexa \deminutum g \]
6725 \paper { \neumeDemoPaper }}
6729 @code{11. Torculus Initio Debilis}
6731 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6732 \include "gregorian-init.ly"
6735 % Torculus Initio Debilis
6736 \[ \deminutum a \pes b \flexa g \]
6739 \paper { \neumeDemoPaper }}
6742 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6743 \include "gregorian-init.ly"
6746 % Torculus Auctus Descendens Initio Debilis
6747 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6750 \paper { \neumeDemoPaper }}
6753 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6754 \include "gregorian-init.ly"
6757 % Torculus Deminutus Initio Debilis
6758 \[ \deminutum a \pes b \flexa \deminutum g \]
6761 \paper { \neumeDemoPaper }}
6765 @code{12. Porrectus}
6767 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6768 \include "gregorian-init.ly"
6772 \[ a \flexa g \pes b \]
6775 \paper { \neumeDemoPaper }}
6778 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6779 \include "gregorian-init.ly"
6782 % Porrectus Auctus Descendens
6783 \[ a \flexa g \pes \auctum \descendens b \]
6786 \paper { \neumeDemoPaper }}
6789 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6790 \include "gregorian-init.ly"
6793 % Porrectus Deminutus
6794 \[ a \flexa g \pes \deminutum b \]
6797 \paper { \neumeDemoPaper }}
6803 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6804 \include "gregorian-init.ly"
6808 \[ \virga b \inclinatum a \inclinatum g \]
6811 \paper { \neumeDemoPaper }
6815 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6816 \include "gregorian-init.ly"
6820 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6823 \paper { \neumeDemoPaper }}
6826 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6827 \include "gregorian-init.ly"
6830 % Climacus Deminutus
6831 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6834 \paper { \neumeDemoPaper }}
6838 @code{14. Scandicus}
6840 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6841 \include "gregorian-init.ly"
6845 \[ g \pes a \virga b \]
6848 \paper { \neumeDemoPaper }}
6851 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6852 \include "gregorian-init.ly"
6855 % Scandicus Auctus Descendens
6856 \[ g \pes a \pes \auctum \descendens b \]
6859 \paper { \neumeDemoPaper }}
6862 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6863 \include "gregorian-init.ly"
6866 % Scandicus Deminutus
6867 \[ g \pes a \pes \deminutum b \]
6870 \paper { \neumeDemoPaper }}
6876 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6877 \include "gregorian-init.ly"
6881 \[ g \oriscus a \pes \virga b \]
6884 \paper { \neumeDemoPaper }}
6887 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6888 \include "gregorian-init.ly"
6891 % Salicus Auctus Descendens
6892 \[ g \oriscus a \pes \auctum \descendens b \]
6895 \paper { \neumeDemoPaper }}
6902 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6903 \include "gregorian-init.ly"
6907 \[ \stropha b \stropha b \stropha a \]
6910 \paper { \neumeDemoPaper }
6919 Unlike most other neumes notation systems, the input language for
6920 neumes does not reflect the typographical appearance, but is designed
6921 to focus on musical meaning. For example, @code{\[ a \pes b
6922 \flexa g \]} produces a Torculus consisting of three Punctum heads,
6923 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
6924 curved flexa shape and only a single Punctum head. There is no
6925 command to explicitly typeset the curved flexa shape; the decision of
6926 when to typeset a curved flexa shape is based on the musical
6927 input. The idea of this approach is to separate the musical aspects
6928 of the input from the notation style of the output. This way, the
6929 same input can be reused to typeset the same music in a different
6930 style of Gregorian chant notation.
6932 The following table shows the code fragments that produce the
6933 ligatures in the above neumes table. The letter in the first column
6934 in each line of the below table indicates to which ligature in the
6935 above table it refers. The second column gives the name of the
6936 ligature. The third column shows the code fragment that produces this
6937 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6939 @multitable @columnfractions .1 .4 .5
6953 Punctum Inclinatum @tab
6954 @code{\[ \inclinatum b \]}
6958 Punctum Auctum Ascendens @tab
6959 @code{\[ \auctum \ascendens b \]}
6963 Punctum Auctum Descendens @tab
6964 @code{\[ \auctum \descendens b \]}
6968 Punctum Inclinatum Auctum @tab
6969 @code{\[ \inclinatum \auctum b \]}
6973 Punctum Inclinatum Parvum @tab
6974 @code{\[ \inclinatum \deminutum b \]}
6979 @code{\[ \virga b \]}
6984 @code{\[ \stropha b \]}
6989 @code{\[ \stropha \auctum b \]}
6994 @code{\[ \oriscus b \]}
6998 Clivis vel Flexa @tab
6999 @code{\[ b \flexa g \]}
7003 Clivis Aucta Descendens @tab
7004 @code{\[ b \flexa \auctum \descendens g \]}
7008 Clivis Aucta Ascendens @tab
7009 @code{\[ b \flexa \auctum \ascendens g \]}
7014 @code{\[ b \flexa \deminutum g \]}
7018 Podatus vel Pes @tab
7019 @code{\[ g \pes b \]}
7023 Pes Auctus Descendens @tab
7024 @code{\[ g \pes \auctum \descendens b \]}
7028 Pes Auctus Ascendens @tab
7029 @code{\[ g \pes \auctum \ascendens b \]}
7034 @code{\[ g \pes \deminutum b \]}
7039 @code{\[ \oriscus g \pes \virga b \]}
7043 Pes Quassus Auctus Descendens @tab
7044 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7049 @code{\[ \quilisma g \pes b \]}
7053 Quilisma Pes Auctus Descendens @tab
7054 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7058 Pes Initio Debilis @tab
7059 @code{\[ \deminutum g \pes b \]}
7063 Pes Auctus Descendens Initio Debilis @tab
7064 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7069 @code{\[ a \pes b \flexa g \]}
7073 Torculus Auctus Descendens @tab
7074 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7078 Torculus Deminutus @tab
7079 @code{\[ a \pes b \flexa \deminutum g \]}
7083 Torculus Initio Debilis @tab
7084 @code{\[ \deminutum a \pes b \flexa g \]}
7088 Torculus Auctus Descendens Initio Debilis @tab
7089 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7093 Torculus Deminutus Initio Debilis @tab
7094 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7099 @code{\[ a \flexa g \pes b \]}
7103 Porrectus Auctus Descendens @tab
7104 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7108 Porrectus Deminutus @tab
7109 @code{\[ a \flexa g \pes \deminutum b \]}
7114 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7118 Climacus Auctus @tab
7119 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7123 Climacus Deminutus @tab
7124 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7129 @code{\[ g \pes a \virga b \]}
7133 Scandicus Auctus Descendens @tab
7134 @code{\[ g \pes a \pes \auctum \descendens b \]}
7138 Scandicus Deminutus @tab
7139 @code{\[ g \pes a \pes \deminutum b \]}
7144 @code{\[ g \oriscus a \pes \virga b \]}
7148 Salicus Auctus Descendens @tab
7149 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7154 @code{\[ \stropha b \stropha b \stropha a \]}
7160 The following head prefixes are supported
7162 @cindex @code{\virga}
7164 @cindex @code{\stropha}
7166 @cindex @code{\inclinatum}
7168 @cindex @code{\auctum}
7170 @cindex @code{\descendens}
7172 @cindex @code{\ascendens}
7174 @cindex @code{\oriscus}
7176 @cindex @code{\quilisma}
7178 @cindex @code{\deminutum}
7181 Head prefixes can be accumulated, though restrictions apply. For
7182 example, either @code{\descendens} or @code{\ascendens} can be applied
7183 to a head, but not both to the same head.
7186 @cindex @code{\flexa}
7187 Two adjacent heads can be tied together with the @code{\pes} and
7188 @code{\flexa} infix commands for a rising and falling line of melody,
7193 @node Vaticana style contexts
7194 @subsection Vaticana style contexts
7196 @cindex VaticanaVoiceContext
7197 @cindex VaticanaStaffContext
7199 The predefined @code{VaticanaVoiceContext} and
7200 @code{VaticanaStaffContext} can be used to engrave a piece of
7201 Gregorian Chant in the style of the Editio Vaticana. These contexts
7202 initialize all relevant context properties and grob properties to
7203 proper values, so you can immediately go ahead entering the chant, as
7204 the following excerpt demonstrates
7206 @lilypond[quote,raggedright,verbatim,noindent]
7207 \include "gregorian-init.ly"
7210 \context VaticanaVoice = "cantus" {
7211 \override Score.BarNumber #'transparent = ##t {
7212 \[ c'\melisma c' \flexa a \]
7213 \[ a \flexa \deminutum g\melismaEnd \]
7215 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7216 c' \divisioMinima \break
7217 \[ c'\melisma c' \flexa a \]
7218 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7221 \lyricsto "cantus" \new Lyrics {
7222 San- ctus, San- ctus, San- ctus
7229 @subsection Figured bass
7231 @cindex Basso continuo
7233 @c TODO: musicological blurb about FB
7236 LilyPond has limited support for figured bass
7238 @lilypond[quote,verbatim,fragment]
7240 \context Voice { \clef bass dis4 c d ais }
7241 \context FiguredBass \figuremode {
7242 < 6 >4 < 7 >8 < 6+ [_!] >
7248 The support for figured bass consists of two parts: there is an input
7249 mode, introduced by @code{\figuremode}, where you can enter bass figures
7250 as numbers, and there is a context called @internalsref{FiguredBass} that
7251 takes care of making @internalsref{BassFigure} objects.
7253 In figures input mode, a group of bass figures is delimited by
7254 @code{<} and @code{>}. The duration is entered after the @code{>}
7258 @lilypond[quote,fragment]
7259 \context FiguredBass
7260 \figuremode { <4 6> }
7263 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7269 @lilypond[quote,fragment]
7270 \context FiguredBass
7271 \figuremode { <4- 6+ 7!> }
7274 Spaces or dashes may be inserted by using @code{_}. Brackets are
7275 introduced with @code{[} and @code{]}
7280 @lilypond[quote,fragment]
7281 \context FiguredBass
7282 \figuremode { < [4 6] 8 [_! 12]> }
7285 Although the support for figured bass may superficially resemble chord
7286 support, it works much simpler. The @code{\figuremode} mode simply
7287 stores the numbers , and @internalsref{FiguredBass} context prints
7288 them as entered. There is no conversion to pitches, and no
7289 realizations of the bass are played in the MIDI file.
7291 Internally, the code produces markup texts. You can use any of the
7292 markup text properties to override formatting. For example, the
7293 vertical spacing of the figures may be set with @code{baseline-skip}.
7297 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7298 and @internalsref{FiguredBass} context.
7302 Slash notation for alterations is not supported.
7304 @node Contemporary notation
7305 @section Contemporary notation
7307 In the 20th century, composers have greatly expanded the musical
7308 vocabulary. With this expansion, many innovations in musical notation
7309 have been tried. The book ``Music Notation in the 20th century'' by
7310 Kurt Stone gives a comprehensive overview (see @ref{Literature
7311 list}). In general, the use of new, innovative notation makes a piece
7312 harder to understand and perform and its use should therefore be
7313 avoided. For this reason, support for contemporary notation in
7314 LilyPond is limited.
7318 * Polymetric notation::
7320 * Special fermatas::
7324 @node Polymetric notation
7325 @subsection Polymetric notation
7327 Double time signatures are not supported explicitly, but they can be
7328 faked. In the next example, the markup for the time signature is
7329 created with a markup text. This markup text is inserted in the
7330 @internalsref{TimeSignature} grob.
7332 @lilypond[verbatim,raggedright]
7338 \musicglyph #"scripts-stopped"
7339 \bracket \column < "5" "8" >
7344 \override Staff.TimeSignature #'print-function = #Text_item::print
7345 \override Staff.TimeSignature #'text = #tsMarkup
7347 c'2 \bar ":" c'4 c'4.
7351 Each staff can also have its own time signature. This is done by
7352 moving the @internalsref{Timing_engraver} to @internalsref{Staff}
7359 \remove "Timing_engraver"
7363 \consists "Timing_engraver"
7369 Now, each staff has its own time signature.
7383 c4. c8 c c c4. c8 c c
7388 @lilypond[raggedright]
7392 \remove "Timing_engraver"
7396 \consists "Timing_engraver"
7412 c4. c8 c c c4. c8 c c
7418 A different form of polymetric notation is where note lengths have
7419 different values across staves.
7421 This notation can be created by setting a common time signature for
7422 each staff but replacing it manually using
7423 @code{timeSignatureFraction} to the desired fraction. Then the printed
7424 durations in each staff are scaled to the common time signature.
7425 The latter is done with @code{\compressmusic}, which is similar to
7426 @code{\times}, but does not create a tuplet bracket.
7429 In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
7430 used in parallel. In the second staff, shown durations are multiplied by
7431 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7432 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7434 @lilypond[raggedright,verbatim]
7442 \set Staff.timeSignatureFraction = #'(9 . 8)
7443 \compressmusic #'(2 . 3)
7444 \repeat unfold 6 { c8[ c c] }
7448 \set Staff.timeSignatureFraction = #'(10 . 8)
7449 \compressmusic #'(3 . 5)
7450 { \repeat unfold 2 { c8[ c c] }
7451 \repeat unfold 2 { c8[ c] }
7452 | c4. c4. \times 2/3 { c8 c c } c4 }
7462 When using different time signatures in parallel, the spacing is
7463 aligned vertically, but bar lines distort the regular spacing.
7468 @subsection Clusters
7472 A cluster indicates a continuous range of pitches to be played. They
7473 can be denoted as the envelope of a set of notes. They are entered by
7474 applying the function @code{makeClusters} to a sequence of
7477 @lilypond[quote,verbatim]
7479 \makeClusters { <c e > <b f'> }
7482 The following example (from
7483 @inputfileref{input/regression,cluster.ly}) shows what the result
7486 @lilypondfile[quote]{cluster.ly}
7488 Ordinary notes and clusters can be put together in the same staff,
7489 even simultaneously. In such a case no attempt is made to
7490 automatically avoid collisions between ordinary notes and clusters.
7494 Program reference: @internalsref{ClusterSpanner},
7495 @internalsref{ClusterSpannerBeacon},
7496 @internalsref{Cluster_spanner_engraver}, and
7497 @internalsref{ClusterNoteEvent}.
7499 Examples: @inputfileref{input/regression,cluster.ly}.
7503 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7504 accurately. Use @code{<g a>8 <e a>8} instead.
7508 @node Special fermatas
7509 @subsection Special Fermatas
7511 @cindex fermatas, special
7513 In contemporary music notation, special fermata symbols denote breaks
7514 of differing lengths. The following fermatas are supported
7516 @lilypond[quote,raggedright]
7538 \context Lyrics \lyricmode {
7539 \override LyricText #'font-family = #'typewriter
7540 "shortfermata" "fermata" "longfermata" "verylongfermata"
7545 See @ref{Articulations} for general instructions how to apply scripts
7546 such as fermatas to notes.
7548 @node Feathered beams
7549 @subsection Feathered beams
7551 Feathered beams are not supported natively, but they can be faked by
7552 forcing two beams to overlap. Here is an example,
7554 @lilypond[raggedright]
7555 \relative \new Staff <<
7559 \once \override Voice.Beam #'positions = #'(0 . 0.5)
7564 \once \override Voice.Beam #'positions = #'(0 . -0.5)
7572 @node Educational use
7573 @section Educational use
7577 * Blank music paper::
7578 * Notation for excercises::
7579 * Easy Notation note heads::
7583 @subsection Balloon help
7585 Elements of notation can be marked and named with the help of a square
7586 balloon. The primary purpose of this feature is to explain notation.
7588 The following example demonstrates its use.
7590 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7593 #(add-balloon-text 'NoteHead "heads, or tails?"
7599 The function @code{add-balloon-text} takes the name of a grob, the
7600 label to print, and the position where to put the label relative to
7601 the object. In the above example, the text ``heads or tails?'' ends
7602 3 spaces below and 1 space to the right of the marked head.
7605 @cindex notation, explaining
7609 Program reference: @internalsref{text-balloon-interface}.
7611 Examples: @inputfileref{input/regression,balloon.ly}.
7616 @node Blank music paper
7617 @subsection Blank music paper
7619 A blank music paper can be produced also by using invisible notes, and
7620 removing @code{Bar_number_engraver}.
7625 \repeat unfold 2 % Change this for more lines.
7630 \override TimeSignature #'transparent = ##t
7631 defaultBarType = #""
7632 \remove Bar_number_engraver
7634 \context Staff \emptymusic
7635 \context TabStaff \emptymusic
7640 @node Notation for excercises
7641 @subsection Notation for excercises
7645 Invisible (or transparent) notes can be useful, when weird tricks are
7646 needed; especially, a slur cannot be attach to a rest or spacer rest.
7650 blanknotes = { \override NoteHead #'transparent = ##t
7651 \override Stem #'transparent = ##t }
7652 unblanknotes = { \revert NoteHead #'transparent
7653 \revert Stem #'transparent }
7658 \blanknotes e4 f4 \unblanknotes
7664 @node Easy Notation note heads
7665 @subsection Easy Notation note heads
7667 @cindex easy notation
7670 The `easy play' note head includes a note name inside the head. It is
7671 used in music for beginners
7673 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
7678 The command @code{\setEasyHeads} overrides settings for the
7679 @internalsref{NoteHead} object. To make the letters readable, it has
7680 to be printed in a large font size. To print with a larger font, see
7681 @ref{Setting global staff size}.
7685 @cindex @code{\setEasyHeads}
7686 @code{\setEasyHeads}