1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users who are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
32 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements like notes, rests, and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
66 A note is printed by specifying its pitch and then its duration,
68 @lilypond[quote,verbatim,raggedright]
69 { cis'4 d'8 e'16 c'16 }
77 @cindex Note specification
79 @cindex entering notes
81 The most common syntax for pitch entry is used for standard notes and
82 @code{\chordmode} modes. In these modes, pitches may be designated by
83 names. The notes are specified by the letters @code{a} through
84 @code{g}. The octave is formed with notes ranging from @code{c}
85 to @code{b}. The pitch @code{c} is an octave below middle C and the
86 letters span the octave above that C
88 @lilypond[quote,fragment,verbatim]
90 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
93 @cindex note names, Dutch
95 A sharp is formed by adding @code{-is} to the end of a pitch name and
96 a flat is formed by adding @code{-es}. Double sharps and double flats
97 are obtained by adding @code{-isis} or @code{-eses}. These
98 names are the Dutch note names. In Dutch, @code{aes} is contracted to
99 @code{as}, but both forms are accepted. Similarly, both
100 @code{es} and @code{ees} are accepted
102 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
110 In accordance with standard typsetting rules, a natural sign is printed
111 before a sharp or flat if a previous accidental needs to be
112 cancelled. To change this behaviour, use
113 @code{\set Staff.extraNatural = ##f}
115 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
117 \set Staff.extraNatural = ##f
121 There are predefined sets of note names for various other languages.
122 To use them, include the language specific init file. For
123 example: @code{\include "english.ly"}. The available language files
124 and the note names they define are
129 Note Names sharp flat
130 nederlands.ly c d e f g a bes b -is -es
131 english.ly c d e f g a bf b -s/-sharp -f/-flat
133 deutsch.ly c d e f g a b h -is -es
134 norsk.ly c d e f g a b h -iss/-is -ess/-es
135 svenska.ly c d e f g a b h -iss -ess
136 italiano.ly do re mi fa sol la sib si -d -b
137 catalan.ly do re mi fa sol la sib si -d/-s -b
138 espanol.ly do re mi fa sol la sib si -s -b
146 The optional octave specification takes the form of a series of
147 single quote (`@code{'}') characters or a series of comma
148 (`@code{,}') characters. Each @code{'} raises the pitch by one
149 octave; each @code{,} lowers the pitch by an octave
151 @lilypond[quote,raggedright,fragment,verbatim]
152 c' c'' es' g' as' gisis' ais'
155 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
157 Notes can be hidden and unhidden with the following commands
159 @cindex @code{\hideNotes}
161 @cindex @code{\unHideNotes}
167 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
171 @node Chromatic alterations
172 @subsection Chromatic alterations
174 Normally accidentals are printed automatically, but you may also
175 print them manually. A reminder accidental
176 @cindex reminder accidental
178 can be forced by adding an exclamation mark @code{!}
179 after the pitch. A cautionary accidental
180 @cindex cautionary accidental
181 @cindex parenthesized accidental
182 (i.e., an accidental within parentheses) can be obtained by adding the
183 question mark `@code{?}' after the pitch.
185 @lilypond[quote,raggedright,fragment,verbatim]
186 cis' cis' cis'! cis'?
192 The automatic production of accidentals can be tuned in many
193 ways. For more information, refer to @ref{Automatic accidentals}.
198 @subsection Micro tones
200 Half-flats and half-sharps are formed by adding @code{-eh} and
201 @code{-ih}; the following is a series of Cs with increasing pitches
203 @cindex quarter tones
204 @cindex semi-flats, semi-sharps
206 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
207 { ceseh ceh cih cisih }
210 Micro tones are also exported to the MIDI file
215 There are no generally accepted standards for denoting three quarter
216 flats, so LilyPond's symbol does not conform to any standard.
221 A chord is formed by a enclosing a set of pitches in @code{<} and
222 @code{>}. A chord may be followed by a duration, and a set of
223 articulations, just like simple notes
225 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
237 Rests are entered like notes, with the note name @code{r}
239 @lilypond[fragment,quote,raggedright,verbatim]
243 Whole bar rests, centered in middle of the bar,
244 must be done with multi-measure rests. They are discussed in
245 @ref{Multi measure rests}.
248 A rest's vertical position may be explicitly specified by entering a
249 note with the @code{\rest} keyword appended, the rest will be placed at
250 the note's place. This makes manual formatting in polyphonic music
251 easier. Automatic rest collision formatting will leave these rests
254 @lilypond[fragment,quote,raggedright,verbatim]
260 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
267 @cindex Invisible rest
272 An invisible rest (also called a `skip') can be entered like a note
273 with note name `@code{s}' or with @code{\skip @var{duration}}
275 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
276 a4 a4 s4 a4 \skip 1 a4
279 The @code{s} syntax is only available in note mode and chord mode. In
280 other situations, for example, when entering lyrics, you should use
281 the @code{\skip} command
283 @lilypond[quote,raggedright,verbatim]
286 \new Lyrics \lyricmode { \skip 2 bla1 }
290 The skip command is merely an empty musical placeholder. It does not
291 produce any output, not even transparent output.
293 The @code{s} skip command does create @internalsref{Staff} and
294 @internalsref{Voice} when necessary, similar to note and rest
295 commands. For example, the following results in an empty staff.
297 @lilypond[quote,raggedright,verbatim]
301 The fragment @code{@{ \skip 4 @} } would produce an empty page.
305 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
310 @subsection Durations
314 @cindex @code{\longa}
315 @cindex @code{\breve}
316 @cindex @code{\maxima}
319 In Note, Chord, and Lyrics mode, durations are designated by numbers and
320 dots: durations are entered as their reciprocal values. For example, a
321 quarter note is entered using a @code{4} (since it is a 1/4 note), while
322 a half note is entered using a @code{2} (since it is a 1/2 note). For
323 notes longer than a whole you must use the variables @code{\longa} and
328 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
330 r1 r2 r4 r8 r16 r32 r64 r64
336 a\breve*1/2 \autoBeamOff
337 a1 a2 a4 a8 a16 a32 a64 a64
340 r\longa*1/4 r\breve *1/2
341 r1 r2 r4 r8 r16 r32 r64 r64
347 \remove "Clef_engraver"
348 \override StaffSymbol #'transparent = ##t
349 \override TimeSignature #'transparent = ##t
350 \override BarLine #'transparent = ##t
351 \consists "Pitch_squash_engraver"
357 If the duration is omitted then it is set to the previously entered
358 duration. The default for the first note is a quarter note.
360 @lilypond[quote,raggedright,verbatim,fragment]
361 { a a a2 a a4 a a1 a }
366 @node Augmentation dots
367 @subsection Augmentation dots
370 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
371 the number. Double-dotted notes are produced in a similar way.
373 @lilypond[quote,raggedright,fragment,verbatim]
374 a'4 b' c''4. b'8 a'4. b'4.. c''8.
379 Dots are normally moved up to avoid staff lines, except in polyphonic
380 situations. The following commands may be used to force a particular
383 @cindex @code{\dotsUp}
385 @cindex @code{\dotsDown}
387 @cindex @code{\dotsNeutral}
392 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
394 @node Scaling durations
395 @subsection Scaling durations
397 You can alter the length of duration by a fraction @var{N/M}
398 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
399 will not affect the appearance of the notes or rests produced.
401 In the following example, the first three notes take up exactly two
402 beats, but no triplet bracket is printed.
403 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
405 a4*2/3 gis4*2/3 a4*2/3
413 This manual: @ref{Tuplets}
416 @c TODO: I'm not certain that Stems belong here in the manual. -gp
420 Whenever a note is found, a @internalsref{Stem} object is created
421 automatically. For whole notes and rests, they are also created but
426 @cindex @code{\stemUp}
428 @cindex @code{\stemDown}
430 @cindex @code{\stemNeutral}
441 A tie connects two adjacent note heads of the same pitch. The tie in
442 effect extends the length of a note. Ties should not be confused with
443 slurs, which indicate articulation, or phrasing slurs, which indicate
444 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
446 @lilypond[quote,raggedright,fragment,verbatim]
447 e' ~ e' <c' e' g'> ~ <c' e' g'>
450 When a tie is applied to a chord, all note heads whose pitches match
451 are connected. When no note heads match, no ties will be created.
453 A tie is just a way of extending a note duration, similar to the
454 augmentation dot. The following example shows two ways of notating
455 exactly the same concept
457 @lilypond[quote,fragment,raggedright]
458 \time 3/4 c'2. c'2 ~ c'4
462 Ties are used either when the note crosses a bar line, or when dots
463 cannot be used to denote the rhythm. When using ties, larger note
464 values should be aligned to subdivisions of the measure, eg.
466 @lilypond[fragment,quote,raggedright]
468 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
472 If you need to tie a lot of notes over bars, it may be easier to use
473 automatic note splitting (see @ref{Automatic note splitting}). This
474 mechanism automatically splits long notes, and ties them across bar
480 @cindex @code{\tieUp}
482 @cindex @code{\tieDown}
484 @cindex @code{\tieNeutral}
486 @cindex @code{\tieDotted}
488 @cindex @code{\tieSolid}
493 In this manual: @ref{Automatic note splitting}.
495 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
500 Switching staves when a tie is active will not produce a slanted tie.
502 Formatting of ties is a difficult subject. The results are often not
510 @cindex @code{\times}
512 Tuplets are made out of a music expression by multiplying all durations
515 @cindex @code{\times}
517 \times @var{fraction} @var{musicexpr}
521 The duration of @var{musicexpr} will be multiplied by the fraction.
522 The fraction's denominator will be printed over the notes, optionally
523 with a bracket. The most common tuplet is the triplet in which 3
524 notes have the length of 2, so the notes are 2/3 of their written
527 @lilypond[quote,raggedright,fragment,verbatim]
528 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
531 The property @code{tupletSpannerDuration} specifies how long each
532 bracket should last. With this, you can make lots of tuplets while
533 typing @code{\times} only once, thus saving lots of typing. In the next
534 example, there are two triplets shown, while @code{\times} was only
537 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
538 \set tupletSpannerDuration = #(ly:make-moment 1 4)
539 \times 2/3 { c'8 c c c c c }
542 The format of the number is determined by the property
543 @code{tupletNumberFormatFunction}. The default prints only the
544 denominator, but if it is set to the Scheme function
545 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
549 @cindex @code{tupletNumberFormatFunction}
550 @cindex tuplet formatting
555 @cindex @code{\tupletUp}
557 @cindex @code{\tupletDown}
559 @cindex @code{\tupletNeutral}
560 @code{\tupletNeutral}.
564 User manual: @ref{Changing context properties on the fly} for the
568 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
570 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
574 Nested tuplets are not formatted automatically. In this case, outer
575 tuplet brackets should be moved manually, which is demonstrated in
576 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
580 @node Easier music entry
581 @section Easier music entry
584 This section deals with tricks and features of the input language that
585 were added solely to help entering music and finding and correcting
586 mistakes. There are also external tools that make debugging easier.
587 See @ref{Point and click} for more information.
589 It is also possible to enter and edit music using other programs, such as
590 GUI interfaces or MIDI sequencers. Refer to the LilyPond
591 website for more information.
598 * Skipping corrected music::
599 * Automatic note splitting::
605 @node Relative octaves
606 @subsection Relative octaves
608 @cindex relative octave specification
610 Octaves are specified by adding @code{'} and @code{,} to pitch names.
611 When you copy existing music, it is easy to accidentally put a pitch
612 in the wrong octave and hard to find such an error. The relative
613 octave mode prevents these errors by making the mistakes much
614 larger: a single error puts the rest of the piece off by one octave
616 @cindex @code{\relative}
618 \relative @var{startpitch} @var{musicexpr}
625 \relative @var{musicexpr}
628 The octave of notes that appear in @var{musicexpr} are calculated as
629 follows: if no octave changing marks are used, the basic interval
630 between this and the last note is always taken to be a fourth or
631 less. This distance is determined without regarding alterations; a
632 @code{fisis} following a @code{ceses} will be put above the
633 @code{ceses}. In other words, a doubly-augmented fourth is considered
634 a smaller interval than a diminshed fifth, even though the fourth is
635 seven semitones while the fifth is only six semitones.
637 The octave changing marks @code{'} and @code{,} can be added to raise
638 or lower the pitch by an extra octave. Upon entering relative mode,
639 an absolute starting pitch can be specified that will act as the
640 predecessor of the first note of @var{musicexpr}. If no starting pitch
641 is specified, then middle C is used as a start.
643 Here is the relative mode shown in action
644 @lilypond[quote,fragment,raggedright,verbatim]
650 Octave changing marks are used for intervals greater than a fourth
651 @lilypond[quote,raggedright,fragment,verbatim]
657 If the preceding item is a chord, the first note of the chord is used
658 to determine the first note of the next chord
660 @lilypond[quote,raggedright,fragment,verbatim]
668 The pitch after the @code{\relative} contains a note name.
671 The relative conversion will not affect @code{\transpose},
672 @code{\chordmode} or @code{\relative} sections in its argument. To use
673 relative within transposed music, an additional @code{\relative} must
674 be placed inside @code{\transpose}.
677 @subsection Octave check
680 Octave checks make octave errors easier to correct: a note may be
681 followed by @code{=}@var{quotes} which indicates what its absolute
682 octave should be. In the following example,
684 \relative c'' @{ c='' b=' d,='' @}
688 @c take care with @code, adds confusing quotes.
689 the @code{d} will generate a warning, because a @code{d''} is expected
690 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
691 found. In the output, the octave is corrected to be a @code{d''} and
692 the next note is calculated relative to @code{d''} instead of @code{d'}.
696 There is also a syntax that is separate from the notes. The syntax
702 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
703 quotes) in \relative mode. If not, a warning is printed, and the
706 In the example below, the first check passes without incident, since
707 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
708 the second check produces a warning, since the @code{e} is not within
709 a fifth of @code{b'}. The warning message is printed, and the octave
710 is adjusted so that the following notes are in the correct octave
722 The octave of a note following an octave check is determined with
723 respect to the note preceding it. In the next fragment, the last note
724 is a @code{a'}, above middle C. That means that the @code{\octave}
725 check passes successfully, so the check could be deleted without changing
726 the output of the piece.
728 @lilypond[quote,raggedright,verbatim,fragment]
737 @subsection Bar check
741 @cindex @code{barCheckSynchronize}
744 Bar checks help detect errors in the durations. A bar check is
745 entered using the bar symbol, `@code{|}'. Whenever it is encountered
746 during interpretation, it should fall on a measure boundary. If it
747 does not, a warning is printed. In the next example, the second bar
748 check will signal an error
750 \time 3/4 c2 e4 | g2 |
753 Bar checks can also be used in lyrics, for example
758 Twin -- kle | Twin -- kle
763 @cindex @code{skipTypesetting}
765 Failed bar checks are caused by entering incorrect
766 durations. Incorrect durations often completely garble up the score,
767 especially if the score is polyphonic, so a good place to start correcting
768 input is by scanning for failed bar checks and incorrect durations. To
769 speed up this process, the @code{skipTypesetting} feature may be
770 used. It is described in the next section.
773 @cindex @code{pipeSymbol}
775 It is also possible to redefine the meaning of @code{|}. This is done
776 by assigning a music expression to @code{pipeSymbol},
778 @lilypond[quote,raggedright,verbatim]
779 pipeSymbol = \bar "||"
785 @node Skipping corrected music
786 @subsection Skipping corrected music
788 The property @code{Score.skipTypesetting} can be used to switch on and
789 off typesetting completely during the interpretation phase. When
790 typesetting is switched off, the music is processed much more
791 quickly. This can be used to skip over the parts of a score that
792 have already been checked for errors
794 @lilypond[quote,fragment,raggedright,verbatim]
797 \set Score.skipTypesetting = ##t
799 \set Score.skipTypesetting = ##f
803 In polyphonic music, @code{Score.skipTypesetting} will affect all
804 voices and staves, saving even more time.
806 @node Automatic note splitting
807 @subsection Automatic note splitting
809 Long notes can be converted automatically to tied notes. This is done
810 by replacing the @internalsref{Note_heads_engraver} by the
811 @internalsref{Completion_heads_engraver}.
812 In the following examples, notes crossing the bar line are split and tied.
815 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
817 \remove "Note_heads_engraver"
818 \consists "Completion_heads_engraver"
820 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
824 This engraver splits all running notes at the bar line, and inserts
825 ties. One of its uses is to debug complex scores: if the measures are
826 not entirely filled, then the ties exactly show how much each measure
831 Not all durations (especially those containing tuplets) can be
832 represented exactly with normal notes and dots, but the engraver will
837 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
841 Program reference: @internalsref{Completion_heads_engraver}.
845 @section Staff notation
847 This section describes music notation that occurs on staff level,
848 such as key signatures, clefs and time signatures.
850 @cindex Staff notation
861 * Time administration::
862 * Controlling formatting of prefatory matter::
866 @subsection Staff symbol
868 @cindex adjusting staff symbol
870 Notes, dynamic signs, etc., are grouped
871 with a set of horizontal lines, into a staff (plural `staves'). In our
872 system, these lines are drawn using a separate layout object called
876 @cindex staff lines, setting number of
877 @cindex staff lines, setting thickness of
878 @cindex thickness of staff lines, setting
879 @cindex number of staff lines, setting
883 Program reference: @internalsref{StaffSymbol}.
885 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
886 @inputfileref{input/@/test,staff@/-size@/.ly}.
890 If a staff is ended halfway a piece, the staff symbol may not end
891 exactly on the bar line.
895 @subsection Key signature
896 @cindex Key signature
900 The key signature indicates the tonality in which a piece is played. It
901 is denoted by a set of alterations (flats or sharps) at the start of the
905 Setting or changing the key signature is done with the @code{\key}
908 @code{\key} @var{pitch} @var{type}
911 @cindex @code{\minor}
912 @cindex @code{\major}
913 @cindex @code{\minor}
914 @cindex @code{\ionian}
915 @cindex @code{\locrian}
916 @cindex @code{\aeolian}
917 @cindex @code{\mixolydian}
918 @cindex @code{\lydian}
919 @cindex @code{\phrygian}
920 @cindex @code{\dorian}
922 Here, @var{type} should be @code{\major} or @code{\minor} to get
923 @var{pitch}-major or @var{pitch}-minor, respectively.
924 The standard mode names @code{\ionian},
925 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
926 @code{\phrygian}, and @code{\dorian} are also defined.
928 This command sets the context property
929 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
930 can be specified by setting this property directly.
932 A natural sign is printed to cancel any previous accidentals. This
933 can be suppressed by setting the @code{Staff.printKeyCancellation}
936 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
942 \set Staff.printKeyCancellation = ##f
950 Accidentals and key signatures often confuse new users, because
951 unaltered notes get natural signs depending on the key signature. For
952 more information, see @ref{More about pitches}.
956 Program reference: @internalsref{KeyChangeEvent},
957 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
959 @cindex @code{keySignature}
966 The clef indicates which lines of the staff correspond to which
970 The clef can be set with the @code{\clef} command
971 @lilypond[quote,raggedright,fragment,verbatim]
972 { c''2 \clef alto g'2 }
975 Supported clef-names include
976 @c Moved standard clefs to the top /MB
980 @item treble, violin, G, G2
993 G clef on 1st line, so-called French violin clef
998 @cindex mezzosoprano clef
1001 @cindex baritone clef
1004 @cindex varbaritone clef
1007 @cindex subbass clef
1015 By adding @code{_8} or @code{^8} to the clef name, the clef is
1016 transposed one octave down or up, respectively, and @code{_15} and
1017 @code{^15} transposes by two octaves. The argument @var{clefname}
1018 must be enclosed in quotes when it contains underscores or digits. For
1022 @cindex choral tenor clef
1023 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
1027 This command is equivalent to setting @code{clefGlyph},
1028 @code{clefPosition} (which controls the Y position of the clef),
1029 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1030 when any of these properties are changed. The following example shows
1031 possibilities when setting properties manually.
1034 should to be fixed very quickly -gp
1036 @lilypond[quote,raggedright,verbatim]
1038 \set Staff.clefGlyph = #"clefs.F"
1039 \set Staff.clefPosition = #2
1041 \set Staff.clefGlyph = #"clefs.G"
1043 \set Staff.clefGlyph = #"clefs.C"
1045 \set Staff.clefOctavation = #7
1047 \set Staff.clefOctavation = #0
1048 \set Staff.clefPosition = #0
1052 \set Staff.middleCPosition = #4
1061 Program reference: @internalsref{Clef}.
1065 @node Ottava brackets
1066 @subsection Ottava brackets
1068 `Ottava' brackets introduce an extra transposition of an octave for
1069 the staff. They are created by invoking the function
1070 @code{set-octavation}
1076 @lilypond[quote,raggedright,verbatim,fragment]
1086 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1087 (for 15ma) as arguments. Internally the function sets the properties
1088 @code{ottavation} (e.g., to @code{"8va"}) and
1089 @code{centralCPosition}. For overriding the text of the bracket, set
1090 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1092 @lilypond[quote,raggedright,verbatim]
1095 \set Staff.ottavation = #"8"
1102 Program reference: @internalsref{OttavaBracket}.
1104 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1105 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1109 @code{set-octavation} will get confused when clef changes happen
1110 during an octavation bracket.
1115 @node Time signature
1116 @subsection Time signature
1117 @cindex Time signature
1119 @cindex @code{\time}
1121 Time signature indicates the metrum of a piece: a regular pattern of
1122 strong and weak beats. It is denoted by a fraction at the start of the
1126 The time signature is set or changed by the @code{\time}
1128 @lilypond[quote,raggedright,fragment,verbatim]
1129 \time 2/4 c'2 \time 3/4 c'2.
1132 The symbol that is printed can be customized with the @code{style}
1133 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1136 @lilypond[fragment,quote,raggedright,verbatim]
1139 \override Staff.TimeSignature #'style = #'()
1146 There are many more options for its layout. See @ref{Ancient time
1147 signatures} for more examples.
1150 This command sets the property @code{timeSignatureFraction},
1151 @code{beatLength} and @code{measureLength} in the @code{Timing}
1152 context, which is normally aliased to @internalsref{Score}. The
1153 property @code{measureLength} determines where bar lines should be
1154 inserted, and how automatic beams should be generated. Changing the
1155 value of @code{timeSignatureFraction} also causes the symbol to be
1158 More options are available through the Scheme function
1159 @code{set-time-signature}. In combination with the
1160 @internalsref{Measure_grouping_engraver}, it will create
1161 @internalsref{MeasureGrouping} signs. Such signs ease reading
1162 rhythmically complex modern music. In the following example, the 9/8
1163 measure is subdivided in 2, 2, 2 and 3. This is passed to
1164 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1166 @lilypond[quote,raggedright,verbatim]
1169 #(set-time-signature 9 8 '(2 2 2 3))
1170 g8[ g] d[ d] g[ g] a8[( bes g]) |
1171 #(set-time-signature 5 8 '(3 2))
1177 \consists "Measure_grouping_engraver"
1185 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1190 Automatic beaming does not use the measure grouping specified with
1191 @code{set-time-signature}.
1193 @node Partial measures
1194 @subsection Partial measures
1197 @cindex partial measure
1198 @cindex measure, partial
1199 @cindex shorten measures
1200 @cindex @code{\partial}
1202 Partial measures, for example in upsteps, are entered using the
1203 @code{\partial} command
1204 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1205 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1208 The syntax for this command is
1210 \partial @var{duration}
1212 This is internally translated into
1214 \set Timing.measurePosition = -@var{length of duration}
1217 The property @code{measurePosition} contains a rational number
1218 indicating how much of the measure has passed at this point.
1222 This command does not take into account grace notes at the start of
1223 the music. When a piece starts with graces notes in the pickup, then
1224 the @code{\partial} should follow the grace notes
1226 @lilypond[verbatim,quote,raggedright,relative,fragment]
1236 @node Unmetered music
1237 @subsection Unmetered music
1241 Bar lines and bar numbers are calculated automatically. For unmetered
1242 music (cadenzas, for example), this is not desirable. By setting
1243 @code{Score.timing} to false, this automatic timing can be switched
1244 off. Empty bar lines,
1251 indicate where line breaks can occur.
1255 @cindex @code{\cadenzaOn}
1257 @cindex @code{\cadenzaOff}
1264 @subsection Bar lines
1268 @cindex measure lines
1272 Bar lines delimit measures, but are also used to indicate repeats.
1273 Normally, they are inserted automatically. Line breaks may only
1274 happen on bar lines.
1276 Special types of bar lines can be forced with the @code{\bar} command
1278 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1282 The following bar types are available
1283 @lilypondfile[raggedright,quote]{bar-lines.ly}
1285 For allowing line breaks, there is a special command,
1289 This will insert an invisible bar line, and allow line breaks at this
1292 In scores with many staves, a @code{\bar} command in one staff is
1293 automatically applied to all staves. The resulting bar lines are
1294 connected between different staves of a @internalsref{StaffGroup}
1296 @lilypond[quote,raggedright,fragment,verbatim]
1298 \context StaffGroup <<
1304 \new Staff { \clef bass c4 g e g }
1306 \new Staff { \clef bass c2 c2 }
1311 The command @code{\bar }@var{bartype} is a short cut for doing
1312 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1313 is set to a string, a bar line of that type is created.
1315 A bar line is created whenever the @code{whichBar} property is set.
1316 At the start of a measure it is set to the contents of
1317 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1318 to override default measure bars.
1320 @cindex @code{whichBar}
1321 @cindex @code{repeatCommands}
1322 @cindex @code{defaultBarType}
1324 You are encouraged to use @code{\repeat} for repetitions. See
1331 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1334 Program reference: @internalsref{BarLine} (created at
1335 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1337 @cindex bar lines at start of system
1338 @cindex start of system
1342 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1345 @node Time administration
1346 @subsection Time administration
1348 Time is administered by the @internalsref{Time_signature_engraver},
1349 which usually lives in the @internalsref{Score} context.
1350 The bookkeeping deals with the following variables
1353 @item currentBarNumber
1357 The length of the measures in the current time signature. For a 4/4
1358 time this is@tie{}1, and for 6/8 it is 3/4.
1360 @item measurePosition
1361 The point within the measure where we currently are. This quantity
1362 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1363 happens, @code{currentBarNumber} is incremented.
1366 If set to true, the above variables are updated for every time
1367 step. When set to false, the engraver stays in the current measure
1371 Timing can be changed by setting any of these variables explicitly.
1372 In the next example, the 4/4 time signature is printed, but
1373 @code{measureLength} is set to 5/4. After a while, the measure is
1374 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1375 the measure, so the next bar line will fall at 2/4 + 3/8.
1377 @lilypond[quote,raggedright,verbatim,relative,fragment]
1378 \set Score.measureLength = #(ly:make-moment 5 4)
1382 \set Score.measurePosition = #(ly:make-moment -3 8)
1388 @node Controlling formatting of prefatory matter
1389 @subsection Controlling formatting of prefatory matter
1391 @c This section will be moved to somewhere else soon.
1392 This example demonstrates how to place prefactory matter
1393 (such as the clef and key signature) at the end of a line.
1395 @lilypond[quote,verbatim]
1397 \override Staff.Clef
1398 #'break-visibility = #end-of-line-visible
1399 \override Staff.KeySignature
1400 #'break-visibility = #end-of-line-visible
1401 \set Staff.explicitClefVisibility = #end-of-line-visible
1402 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1404 % We want the time sig to take space, otherwise there is not
1405 % enough white at the start of the line.
1407 \override Staff.TimeSignature #'transparent = ##t
1408 \set Score.defaultBarType = #"empty"
1428 Polyphony in music refers to having more than one voice occuring in
1429 a piece of music. Polyphony in LilyPond refers to having more than
1430 one voice on the same staff.
1433 * Writing polyphonic music::
1436 @node Writing polyphonic music
1437 @subsection Writing polyphonic music
1440 The easiest way to enter fragments with more than one voice on a staff
1441 is to split chords using the separator @code{\\}. You can use it for
1442 small, short-lived voices or for single chords
1446 @lilypond[quote,raggedright,verbatim,fragment]
1447 \context Staff \relative c'' {
1448 c4 << { f d e } \\ { b c2 } >>
1449 c4 << g' \\ b, \\ f' \\ d >>
1453 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1454 voices are sometimes called ``layers'' in other notation packages}
1456 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1457 each of these contexts, vertical direction of slurs, stems, etc., is set
1460 @cindex @code{\voiceOne}
1461 @cindex @code{\voiceFour}
1463 This can also be done by instantiating @internalsref{Voice} contexts
1464 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1465 a stem directions and horizontal shift for each part
1468 @lilypond[quote,raggedright,verbatim]
1471 \new Voice { \voiceOne cis2 b }
1472 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1473 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1477 The command @code{\oneVoice} will revert back to the normal setting.
1478 @cindex @code{\oneVoice}
1481 Normally, note heads with a different number of dots are not merged, but
1482 when the object property @code{merge-differently-dotted} is set in
1483 the @internalsref{NoteCollision} object, they are merged
1484 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1487 \override Staff.NoteCollision
1488 #'merge-differently-dotted = ##t
1490 } \\ { g8.[ f16] g8.[ f16] } >>
1493 Similarly, you can merge half note heads with eighth notes, by setting
1494 @code{merge-differently-headed}
1495 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1498 \override Staff.NoteCollision
1499 #'merge-differently-headed = ##t
1500 c8 c4. } \\ { c2 c2 } >>
1503 LilyPond also vertically shifts rests that are opposite of a stem,
1506 @lilypond[quote,raggedright,fragment,verbatim]
1507 \context Voice << c''4 \\ r4 >>
1515 @cindex @code{\oneVoice}
1517 @cindex @code{\voiceOne}
1519 @cindex @code{\voiceTwo}
1521 @cindex @code{\voiceThree}
1523 @cindex @code{\voiceFour}
1528 @cindex @code{\shiftOn}
1530 @cindex @code{\shiftOnn}
1532 @cindex @code{\shiftOnnn}
1534 @cindex @code{\shiftOff}
1535 @code{\shiftOff}: these commands specify in what chords of the current
1536 voice should be shifted. The outer voices (normally: voice one and
1537 two) have @code{\shiftOff}, while the inner voices (three and four)
1538 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1539 further shift levels.
1542 When LilyPond cannot cope, the @code{force-hshift}
1543 property of the @internalsref{NoteColumn} object and pitched rests can
1544 be used to override typesetting decisions.
1546 @lilypond[quote,verbatim,raggedright]
1553 \once \override NoteColumn #'force-hshift = #1.7
1562 Program reference: the objects responsible for resolving collisions are
1563 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1566 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1567 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1568 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1569 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1570 @inputfileref{input/@/regression,collisions@/.ly}.
1576 When using @code{merge-differently-headed} with an upstem eighth or a
1577 shorter note, and a downstem half note, the eighth note gets the wrong
1580 There is no support for clusters where the same note occurs with
1581 different accidentals in the same chord. In this case, it is
1582 recommended to use enharmonic transcription, or to use special cluster
1583 notation (see @ref{Clusters}).
1588 Beams are used to group short notes into chunks that are aligned with
1589 the metrum. LilyPond normally inserts beams automatically, but if you
1590 wish you may control them manually or changed how beams are automatically
1593 @cindex Automatic beams
1597 * Setting automatic beam behavior::
1601 @node Automatic beams
1602 @subsection Automatic beams
1604 LilyPond inserts beams automatically
1606 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1607 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1610 When these automatic decisions are not good enough, beaming can be
1611 entered explicitly. It is also possible to define beaming patterns
1612 that differ from the defaults.
1614 Individual notes may be marked with @code{\noBeam}, to prevent them
1617 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1618 \time 2/4 c8 c\noBeam c c
1624 Program reference: @internalsref{Beam}.
1628 @subsection Manual beams
1629 @cindex beams, manual
1633 In some cases it may be necessary to override the automatic beaming
1634 algorithm. For example, the autobeamer will not put beams over rests
1635 or bar lines. Such beams are specified manually by marking the begin
1636 and end point with @code{[} and @code{]}
1638 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1640 r4 r8[ g' a r8] r8 g[ | a] r8
1644 @cindex @code{stemLeftBeamCount}
1646 Normally, beaming patterns within a beam are determined automatically.
1647 If necessary, the properties @code{stemLeftBeamCount} and
1648 @code{stemRightBeamCount} can be used to override the defaults. If
1649 either property is set, its value will be used only once, and then it
1652 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1657 \set stemLeftBeamCount = #1
1661 @cindex @code{stemRightBeamCount}
1664 The property @code{subdivideBeams} can be set in order to subdivide
1665 all 16th or shorter beams at beat positions, as defined by the
1666 @code{beatLength} property.
1669 @lilypond[fragment,quote,relative=2,verbatim]
1671 \set subdivideBeams = ##t
1673 \set Score.beatLength = #(ly:make-moment 1 8)
1676 @cindex @code{subdivideBeams}
1678 Normally, line breaks are forbidden when beams cross bar lines. This
1679 behavior can be changed by setting @code{allowBeamBreak}.
1681 @cindex @code{allowBeamBreak}
1682 @cindex beams and line breaks
1684 @cindex beams, kneed
1686 @cindex auto-knee-gap
1691 User manual: @ref{Changing context properties on the fly} for the
1697 @cindex Frenched staves
1698 Kneed beams are inserted automatically, when a large gap is detected
1699 between the note heads. This behavior can be tuned through the object.
1702 Automatically kneed cross-staff beams cannot be used together with
1703 hidden staves. See @ref{Hiding staves}.
1705 Beams do not avoid collisions with symbols around the notes, such as
1706 texts and accidentals.
1711 @node Setting automatic beam behavior
1712 @subsection Setting automatic beam behavior
1714 @cindex @code{autoBeamSettings}
1715 @cindex @code{(end * * * *)}
1716 @cindex @code{(begin * * * *)}
1717 @cindex automatic beams, tuning
1718 @cindex tuning automatic beaming
1720 @c [TODO: use \applycontext]
1722 In normal time signatures, automatic beams can start on any note but can
1723 only end in a few positions within the measure: beams can end on a beat,
1724 or at durations specified by the properties in
1725 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1726 are defined in @file{scm/@/auto@/-beam@/.scm}.
1728 The value of @code{autoBeamSettings} is changed with three functions,
1730 #(override-auto-beam-setting
1731 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1733 #(score-override-auto-beam-setting
1734 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
1735 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
1738 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1739 @var{context} is an optional context (default: @code{'Voice}). It
1740 determines whether the rule applies to begin or end-points. The
1741 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1742 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1743 to a time signature (wildcards `@code{* *}' may be entered to
1744 designate all time signatures), @var{a}/@var{b} is a duration. By
1745 default, this command changes settings for the current voice. It is
1746 also possible to adjust settings at higher contexts, by adding a
1747 @var{context} argument. @code{score-override-auto-beam-setting} is
1748 equal to @code{override-auto-beam-setting} with the argument
1749 @var{context} set to @code{'Score}.
1751 For example, if automatic beams should end on every quarter note, use
1754 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1756 Since the duration of a quarter note is 1/4 of a whole note, it is
1757 entered as @code{(ly:make-moment 1 4)}.
1759 The same syntax can be used to specify beam starting points. In this
1760 example, automatic beams can only end on a dotted quarter note
1762 #(override-auto-beam-setting '(end * * * *) 3 8)
1764 In 4/4 time signature, this means that automatic beams could end only on
1765 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1766 3/8, has passed within the measure).
1768 Rules can also be restricted to specific time signatures. A rule that
1769 should only be applied in @var{N}/@var{M} time signature is formed by
1770 replacing the second asterisks by @var{N} and @var{M}. For example, a
1771 rule for 6/8 time exclusively looks like
1773 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1776 If a rule should be to applied only to certain types of beams, use the
1777 first pair of asterisks. Beams are classified according to the
1778 shortest note they contain. For a beam ending rule that only applies
1779 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1782 @cindex automatic beam generation
1784 @cindex @code{autoBeaming}
1787 If beams are used to indicate melismata in songs, then automatic
1788 beaming should be switched off. This is done by setting
1789 @code{autoBeaming} to @code{#f}.
1793 @cindex @code{\autoBeamOff}
1794 @code{\autoBeamOff},
1795 @cindex @code{\autoBeamOn}
1801 If a score ends while an automatic beam has not been ended and is
1802 still accepting notes, this last beam will not be typeset at all. The
1803 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1804 >>}. If a polyphonic voice ends while an automatic beam is still
1805 accepting notes, it is not typeset.
1807 The rules for ending a beam depend on the shortest note in a beam.
1808 So, while it is possible to have different ending rules for eight
1809 beams and sixteenth beams, a beam that contains both eight and
1810 sixteenth notes will use the rules for the sixteenth beam.
1812 In the example below, the autobeamer makes eighth beams and sixteenth
1813 end at three eighths. The third beam can only be corrected by
1814 specifying manual beaming.
1816 @lilypond[quote,raggedright,fragment,relative=1]
1817 #(override-auto-beam-setting '(end * * * *) 3 8)
1818 % rather show case where it goes wrong
1819 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1820 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1822 It is not possible to specify beaming parameters that act differently in
1823 different parts of a measure. This means that it is not possible to use
1824 automatic beaming in irregular meters such as @code{5/8}.
1826 @node Beam formatting
1827 @subsection Beam formatting
1830 When a beam falls in the middle of the staff, the beams point normally
1831 down. However, this behaviour can be altered with the
1832 @code{neutral-direction} property.
1835 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1838 \override Beam #'neutral-direction = #-1
1840 \override Beam #'neutral-direction = #1
1847 @section Accidentals
1849 This section describes how to change the way that accidentals are
1850 inserted automatically before notes.
1853 * Automatic accidentals::
1856 @node Automatic accidentals
1857 @subsection Automatic accidentals
1858 @cindex Automatic accidentals
1860 Common rules for typesetting accidentals have been placed in a
1861 function. This function is called as follows
1863 @cindex @code{set-accidental-style}
1865 #(set-accidental-style 'STYLE #('CONTEXT#))
1868 The function can take two arguments: the name of the accidental style,
1869 and an optional argument that denotes the context that should be
1870 changed. If no context name is supplied, @code{Staff} is the default,
1871 but you may wish to apply the accidental style to a single @code{Voice}
1874 The following accidental styles are supported
1877 This is the default typesetting behavior. It corresponds
1878 to 18th century common practice: Accidentals are
1879 remembered to the end of the measure in which they occur and
1880 only on their own octave.
1883 The normal behavior is to remember the accidentals on
1884 Staff-level. This variable, however, typesets accidentals
1885 individually for each voice. Apart from that, the rule is similar to
1888 As a result, accidentals from one voice do not get canceled in other
1889 voices, which is often an unwanted result
1891 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1893 #(set-accidental-style 'voice)
1900 The @code{voice} option should be used if the voices
1901 are to be read solely by individual musicians. If the staff is to be
1902 used by one musician (e.g., a conductor) then
1903 @code{modern} or @code{modern-cautionary}
1904 should be used instead.
1907 @cindex @code{modern} style accidentals
1908 This rule corresponds to the common practice in the 20th century. This rule
1909 prints the same accidentals as @code{default}, but temporary
1910 accidentals also are canceled in other octaves. Furthermore,
1911 in the same octave, they also get canceled in the following
1914 @lilypond[quote,raggedright,fragment,verbatim]
1915 #(set-accidental-style 'modern)
1916 cis' c'' cis'2 | c'' c'
1919 @item @code{modern-cautionary}
1920 @cindex @code{modern-cautionary}
1921 This rule is similar to @code{modern}, but the ``extra'' accidentals
1922 (the ones not typeset by @code{default}) are typeset as cautionary
1923 accidentals. They are printed in reduced size or with parentheses
1924 @lilypond[quote,raggedright,fragment,verbatim]
1925 #(set-accidental-style 'modern-cautionary)
1926 cis' c'' cis'2 | c'' c'
1929 @cindex @code{modern-voice}
1931 This rule is used for multivoice accidentals to be read both by musicians
1932 playing one voice and musicians playing all voices. Accidentals are
1933 typeset for each voice, but they @emph{are} canceled across voices in
1934 the same @internalsref{Staff}.
1936 @cindex @code{modern-voice-cautionary}
1937 @item modern-voice-cautionary
1938 This rule is the same as @code{modern-voice}, but with the extra
1939 accidentals (the ones not typeset by @code{voice}) typeset
1940 as cautionaries. Even though all accidentals typeset by
1941 @code{default} @emph{are} typeset by this variable,
1942 some of them are typeset as cautionaries.
1945 @cindex @code{piano} accidentals
1946 This rule reflects 20th century practice for piano notation. Very similar to
1947 @code{modern} but accidentals also get canceled
1948 across the staves in the same @internalsref{GrandStaff} or
1949 @internalsref{PianoStaff}.
1951 @item piano-cautionary
1952 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1953 Same as @code{#(set-accidental-style 'piano)} but with the extra
1954 accidentals typeset as cautionaries.
1957 @cindex @code{no-reset} accidental style
1958 This is the same as @code{default} but with accidentals lasting
1959 ``forever'' and not only until the next measure
1960 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1961 #(set-accidental-style 'no-reset)
1966 This is sort of the opposite of @code{no-reset}: Accidentals
1967 are not remembered at all---and hence all accidentals are
1968 typeset relative to the key signature, regardless of what was
1971 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1972 #(set-accidental-style 'forget)
1973 \key d\major c4 c cis cis d d dis dis
1980 Program reference: @internalsref{Accidental_engraver},
1981 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1986 Simultaneous notes are considered to be entered in sequential
1987 mode. This means that in a chord the accidentals are typeset as if the
1988 notes in the chord happened once at a time - in the order in which
1989 they appear in the input file.
1991 This is a problem when accidentals in a chord depend on each other,
1992 which does not happen for the default accidental style. The problem
1993 can be solved by manually inserting @code{!} and @code{?} for the
1997 @node Expressive marks
1998 @section Expressive marks
2001 @c todo: should change ordering
2002 @c where to put text spanners, metronome marks,
2005 Expressive marks help musicians to bring more to the music than simple
2015 * Analysis brackets::
2018 * Fingering instructions::
2028 A slur indicates that notes are to be played bound or @emph{legato}.
2030 They are entered using parentheses
2031 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2032 f( g a) a8 b( a4 g2 f4)
2036 The direction of a slur can be set with the
2040 \override Slur #'direction = #UP
2041 \slurUp % shortcut for the previous line
2045 However, there is a convenient shorthand for forcing slur
2046 directions. By adding @code{_} or @code{^} before the opening
2047 parentheses, the direction is also set. For example,
2049 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2053 Some composers write two slurs when they want legato chords. This can
2054 be achieved in LilyPond by setting @code{doubleSlurs},
2056 @lilypond[verbatim,raggedright,relative,fragment,quote]
2057 \set doubleSlurs = ##t
2058 <c e>4 ( <d f> <c e> <d f> )
2065 @cindex @code{\slurUp}
2067 @cindex @code{\slurDown}
2069 @cindex @code{\slurNeutral}
2070 @code{\slurNeutral},
2071 @cindex @code{\slurDotted}
2073 @cindex @code{\slurSolid}
2078 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2081 @node Phrasing slurs
2082 @subsection Phrasing slurs
2084 @cindex phrasing slurs
2085 @cindex phrasing marks
2087 A phrasing slur (or phrasing mark) connects chords and is used to
2088 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2091 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2092 \time 6/4 c'\( d( e) f( e) d\)
2095 Typographically, the phrasing slur behaves almost exactly like a
2096 normal slur. However, they are treated as different objects. A
2097 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2098 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2099 @code{\phrasingSlurNeutral}.
2101 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2102 will only affect normal slurs and not phrasing slurs.
2106 @cindex @code{\phrasingSlurUp}
2107 @code{\phrasingSlurUp},
2108 @cindex @code{\phrasingSlurDown}
2109 @code{\phrasingSlurDown},
2110 @cindex @code{\phrasingSlurNeutral}
2111 @code{\phrasingSlurNeutral}.
2115 Program reference: see also @internalsref{PhrasingSlur}, and
2116 @internalsref{PhrasingSlurEvent}.
2120 Putting phrasing slurs over rests leads to spurious warnings.
2123 @subsection Breath marks
2125 Breath marks are entered using @code{\breathe}
2128 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2132 The glyph of the breath mark can be tuned by overriding the
2133 @code{text} property of the @code{BreathingSign} layout object with
2134 any markup text. For example,
2135 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2137 \override BreathingSign #'text
2138 = #(make-musicglyph-markup "scripts-rvarcomma")
2145 Program reference: @internalsref{BreathingSign},
2146 @internalsref{BreathingSignEvent}.
2148 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2151 @node Metronome marks
2152 @subsection Metronome marks
2155 @cindex beats per minute
2156 @cindex metronome marking
2158 Metronome settings can be entered as follows
2160 \tempo @var{duration} = @var{per-minute}
2163 In the MIDI output, they are interpreted as a tempo change. In the
2164 layout output, a metronome marking is printed
2165 @cindex @code{\tempo}
2166 @lilypond[quote,raggedright,verbatim,fragment]
2172 Program reference: @internalsref{MetronomeChangeEvent}.
2176 @subsection Text scripts
2177 @cindex Text scripts
2179 @cindex text items, non-empty
2180 @cindex non-empty texts
2182 It is possible to place arbitrary strings of text or markup text (see
2183 @ref{Text markup}) above or below notes by using a string
2184 @code{c^"text"}. By default, these indications do not influence the
2185 note spacing, but by using the command @code{\fatText}, the widths
2186 will be taken into account
2188 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2189 c4^"longtext" \fatText c4_"longlongtext" c4
2192 More complex formatting may also be added to a note by using the
2194 @lilypond[fragment,raggedright,verbatim,quote]
2195 c'4^\markup { bla \bold bla }
2198 The @code{\markup} is described in more detail in
2204 @cindex @code{\fatText}
2206 @cindex @code{\emptyText}
2211 In this manual: @ref{Text markup}.
2213 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2217 @subsection Text spanners
2218 @cindex Text spanners
2220 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
2221 are written as text and are extended over many measures with dotted
2222 lines. Such texts are created using text spanners; attach
2223 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2224 notes of the spanner.
2226 The string to be printed, as well as the style, is set through object
2229 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2231 \override TextSpanner #'direction = #-1
2232 \override TextSpanner #'edge-text = #'("rall " . "")
2233 c2\startTextSpan b c\stopTextSpan a
2239 Internals @internalsref{TextSpanEvent},
2240 @internalsref{TextSpanner}.
2242 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
2245 @node Analysis brackets
2246 @subsection Analysis brackets
2248 @cindex phrasing brackets
2249 @cindex musicological analysis
2250 @cindex note grouping bracket
2252 Brackets are used in musical analysis to indicate structure in musical
2253 pieces. LilyPond supports a simple form of nested horizontal
2254 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2255 to @internalsref{Staff} context. A bracket is started with
2256 @code{\startGroup} and closed with @code{\stopGroup}
2258 @lilypond[quote,raggedright,verbatim]
2261 c4\startGroup\startGroup
2264 c4\stopGroup\stopGroup
2268 \Staff \consists "Horizontal_bracket_engraver"
2274 Program reference: @internalsref{HorizontalBracket},
2275 @internalsref{NoteGroupingEvent}.
2277 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2281 @subsection Articulations
2282 @cindex Articulations
2284 @cindex articulations
2288 A variety of symbols can appear above and below notes to indicate
2289 different characteristics of the performance. They are added to a note
2290 by adding a dash and the character signifying the
2291 articulation. They are demonstrated here
2293 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2295 The meanings of these shorthands can be changed. See
2296 @file{ly/@/script@/-init@/.ly} for examples.
2299 The script is automatically placed, but the direction can be forced as
2300 well. Like other pieces of LilyPond code, @code{_} will place them
2301 below the staff, and @code{^} will place them above.
2304 @lilypond[quote,raggedright,fragment,verbatim]
2308 Other symbols can be added using the syntax
2309 @var{note}@code{\}@var{name}. Again, they
2310 can be forced up or down using @code{^} and @code{_},
2313 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2314 c\fermata c^\fermata c_\fermata
2321 @cindex staccatissimo
2331 @cindex organ pedal marks
2340 @cindex prallmordent
2344 @cindex thumb marking
2349 Here is a chart showing all scripts available,
2351 @lilypondfile[raggedright,quote]{script-chart.ly}
2354 The vertical ordering of scripts is controlled with the
2355 @code{script-priority} property. The lower this number, the closer it
2356 will be put to the note. In this example, the
2357 @internalsref{TextScript} (the sharp symbol) first has the lowest
2358 priority, so it is put lowest in the first example. In the second, the
2359 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2360 inside. When two objects have the same priority, the order in which
2361 they are entered decides which one comes first.
2364 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2365 \once \override TextScript #'script-priority = #-100
2366 a4^\prall^\markup { \sharp }
2368 \once \override Script #'script-priority = #-100
2369 a4^\prall^\markup { \sharp }
2377 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2381 These signs appear in the printed output but have no effect on the
2382 MIDI rendering of the music.
2386 @node Running trills
2387 @subsection Running trills
2389 Long running trills are made with @code{\startTrillSpan} and
2390 @code{\stopTrillSpan},
2393 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2395 << { c1 \startTrillSpan }
2396 { s2. \grace { d16[\stopTrillSpan e] } } >>
2402 @code{\startTrillSpan},
2403 @cindex @code{\startTrillSpan}
2404 @code{\stopTrillSpan}.
2405 @cindex @code{\stopTrillSpan}
2409 Program reference: @internalsref{TrillSpanner},
2410 @internalsref{TrillSpanEvent}.
2412 @node Fingering instructions
2413 @subsection Fingering instructions
2417 Fingering instructions can be entered using
2419 @var{note}-@var{digit}
2421 For finger changes, use markup texts
2423 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2425 c^\markup { \finger "2-3" }
2428 @cindex finger change
2433 You can use the thumb-script to indicate that a note should be
2434 played with the thumb (e.g., in cello music)
2435 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2436 <a_\thumb a'-3>8 <b_\thumb b'-3>
2439 Fingerings for chords can also be added to individual notes
2440 of the chord by adding them after the pitches
2441 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2442 < c-1 e-2 g-3 b-5 >4
2446 In this case, setting @code{fingeringOrientations} will put fingerings next
2449 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2450 \set fingeringOrientations = #'(left down)
2451 <c-1 es-2 g-4 bes-5 > 4
2452 \set fingeringOrientations = #'(up right down)
2453 <c-1 es-2 g-4 bes-5 > 4
2456 Using this feature, it is also possible to put fingering instructions
2457 very close to note heads in monophonic music,
2459 @lilypond[verbatim,raggedright,quote,fragment]
2460 \set fingeringOrientations = #'(right)
2467 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2469 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2475 @subsection Grace notes
2478 @c should have blurb about accaciatura / appogiatura
2480 @cindex @code{\grace}
2484 Grace notes are ornaments that are written out. The most common ones
2485 are acciaccatura, which should be played as very short. It is denoted
2486 by a slurred small note with a slashed stem. The appoggiatura is a
2487 grace note that takes a fixed fraction of the main note, and is
2488 denoted as a slurred note in small print without a slash. They
2489 are entered with the commands @code{\acciaccatura} and
2490 @code{\appoggiatura}, as demonstrated in the following example
2493 @cindex appoggiatura
2494 @cindex acciaccatura
2496 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2497 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2498 \acciaccatura { g16[ f] } e4
2501 Both are special forms of the @code{\grace} command. By prefixing this
2502 keyword to a music expression, a new one is formed, which will be
2503 printed in a smaller font and takes up no logical time in a measure.
2505 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2507 \grace { c16[ d16] } c2 c4
2511 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2512 @code{\grace} command does not start a slur.
2514 Internally, timing for grace notes is done using a second, `grace'
2515 timing. Every point in time consists of two rational numbers: one
2516 denotes the logical time, one denotes the grace timing. The above
2517 example is shown here with timing tuples
2519 @lilypond[quote,raggedright]
2522 c4 \grace c16 c4 \grace {
2525 \new Lyrics \lyricmode {
2526 \override LyricText #'font-family = #'typewriter
2530 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2531 \markup { (\fraction 1 4 , 0 ) } 4
2533 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2534 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2536 \markup { ( \fraction 2 4 , 0 ) }
2542 The placement of grace notes is synchronized between different staves.
2543 In the following example, there are two sixteenth grace notes for
2544 every eighth grace note
2546 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2547 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2548 \new Staff { c4 \grace { g8[ b] } c4 } >>
2553 If you want to end a note with a grace, use the @code{\afterGrace}
2554 command. It takes two arguments: the main note, and the grace notes
2555 following the main note.
2557 @lilypond[raggedright, verbatim,relative=2,fragment]
2558 c1 \afterGrace d1 { c16[ d] } c4
2561 This will put the grace notes after a ``space'' lasting 3/4 of the
2562 length of the main note. The fraction 3/4 can be changed by setting
2563 @code{afterGraceFraction}, ie.
2566 afterGraceFraction = #(cons 7 8)
2570 will put the grace note at 7/8 of the main note.
2573 The same effect can be achieved manually by doing
2576 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2579 { s2 \grace { c16[ d] } } >>
2585 By adjusting the duration of the skip note (here it is a half-note),
2586 the space between the main-note and the grace is adjusted.
2591 A @code{\grace} section will introduce special typesetting settings,
2592 for example, to produce smaller type, and set directions. Hence, when
2593 introducing layout tweaks, they should be inside the grace section,
2595 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2607 The overrides should also be reverted inside the grace section.
2609 The layout of grace sections can be changed throughout the music using
2610 the function @code{add-grace-property}. The following example
2611 undefines the Stem direction for this grace, so stems do not always
2616 #(add-grace-property 'Voice 'Stem 'direction '())
2622 Another option is to change the variables @code{startGraceMusic},
2623 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2624 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2625 @code{stopAppoggiaturaMusic}. More information is in the file
2626 @file{ly/@/grace@/-init@/.ly}.
2631 Program reference: @internalsref{GraceMusic}.
2635 A score that starts with a @code{\grace} section needs an explicit
2636 @code{\context Voice} declaration, otherwise the main note and the grace
2637 note end up on different staves.
2639 Grace note synchronization can also lead to surprises. Staff notation,
2640 such as key signatures, bar lines, etc., are also synchronized. Take
2641 care when you mix staves with grace notes and staves without, for example,
2643 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2644 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2645 \new Staff { c4 \bar "|:" d4 } >>
2649 This can be remedied by inserting grace skips, for the above example
2652 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2655 Grace sections should only be used within sequential music
2656 expressions. Nesting or juxtaposing grace sections is not supported,
2657 and might produce crashes or other errors.
2661 @subsection Glissando
2664 @cindex @code{\glissando}
2666 A glissando is a smooth change in pitch. It is denoted by a line or a
2667 wavy line between two notes. It is requested by attaching
2668 @code{\glissando} to a note
2670 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2676 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2678 Example files: @file{input/@/regression/@/glissando@/.ly}.
2684 Printing text over the line (such as @emph{gliss.}) is not supported.
2688 @subsection Dynamics
2701 @cindex @code{\ffff}
2711 Absolute dynamic marks are specified using a command after a note
2712 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2713 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2714 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2715 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2717 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2718 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2719 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2728 A crescendo mark is started with @code{\<} and terminated with
2729 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2730 with @code{\!}. Because these marks are bound to notes, you must
2731 use spacer notes if multiple marks are needed during one note
2733 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2735 << f1 { s4 s4\< s4\! \> s4\! } >>
2737 This may give rise to very short hairpins. Use @code{minimum-length}
2738 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2742 \override Staff.Hairpin #'minimum-length = #5
2745 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2746 is an example how to do it
2748 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2762 You can also supply your own texts
2763 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2764 \set crescendoText = \markup { \italic "cresc. poco" }
2765 \set crescendoSpanner = #'dashed-line
2771 To create new dynamic marks or text that should be aligned
2772 with dynamics, see @ref{New dynamic marks}.
2777 @cindex @code{\dynamicUp}
2779 @cindex @code{\dynamicDown}
2780 @code{\dynamicDown},
2781 @cindex @code{\dynamicNeutral}
2782 @code{\dynamicNeutral}.
2784 @cindex direction, of dynamics
2788 Program reference: @internalsref{CrescendoEvent},
2789 @internalsref{DecrescendoEvent}, and
2790 @internalsref{AbsoluteDynamicEvent}.
2792 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2793 objects. Vertical positioning of these symbols is handled by the
2794 @internalsref{DynamicLineSpanner} object.
2800 Repetition is a central concept in music, and multiple notations exist
2806 * Repeats and MIDI::
2807 * Manual repeat commands::
2809 * Tremolo subdivisions::
2814 @subsection Repeat types
2817 @cindex @code{\repeat}
2819 The following types of repetition are supported
2823 Repeated music is fully written (played) out. This is useful when
2824 entering repetitious music. This is the only kind of repeat that
2825 is included in MIDI output.
2828 Repeats are not written out, but alternative endings (volte) are
2829 printed, left to right with brackets. This is the standard notation
2830 for repeats with alternatives. These are not played in MIDI output by default.
2834 Alternative endings are written stacked. This has limited use but may be
2835 used to typeset two lines of lyrics in songs with repeats, see
2836 @inputfileref{input,star-spangled-banner@/.ly}.
2841 Make tremolo beams. These are not played in MIDI output by default.
2844 Make beat or measure repeats. These look like percent signs. These
2845 are not played in MIDI output by default.
2850 @subsection Repeat syntax
2853 LilyPond has one syntactic construct for specifying different types of
2854 repeats. The syntax is
2857 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2860 If you have alternative endings, you may add
2861 @cindex @code{\alternative}
2863 \alternative @{ @var{alternative1}
2865 @var{alternative3} @dots{} @}
2867 where each @var{alternative} is a music expression. If you do not
2868 give enough alternatives for all of the repeats, the first alternative
2869 is assumed to be played more than once.
2871 Standard repeats are used like this
2872 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2874 \repeat volta 2 { c4 d e f }
2875 \repeat volta 2 { f e d c }
2878 With alternative endings
2879 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2881 \repeat volta 2 {c4 d e f}
2882 \alternative { {d2 d} {f f,} }
2886 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2889 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2890 \alternative { { g4 g g } { a | a a a a | b2. } }
2894 It is possible to shorten volta brackets
2895 by setting @code{voltaSpannerDuration}. In the next example, the
2896 bracket only lasts one measure, which is a duration of 3/4.
2900 @lilypond[verbatim,raggedright,quote]
2904 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2905 \repeat "volta" 5 { d d d }
2906 \alternative { { e e e f f f }
2916 Brackets for the repeat are normally only printed over the topmost
2917 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2918 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2921 @c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
2926 A nested repeat like
2935 is ambiguous, since it is is not clear to which @code{\repeat} the
2936 @code{\alternative} belongs. This ambiguity is resolved by always
2937 having the @code{\alternative} belong to the inner @code{\repeat}.
2938 For clarity, it is advisable to use braces in such situations.
2943 Timing information is not remembered at the start of an alternative,
2944 so after a repeat timing information must be reset by hand, for
2945 example by setting @code{Score.measurePosition} or entering
2946 @code{\partial}. Similarly, slurs or ties are also not repeated.
2951 @node Repeats and MIDI
2952 @subsection Repeats and MIDI
2954 @cindex expanding repeats
2956 With a little bit of tweaking, all types of repeats can be present
2957 in the MIDI output. This is achieved by applying the
2958 @code{\unfoldrepeats} music function. This functions changes all
2959 repeats to unfold repeats.
2961 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2963 \repeat tremolo 8 {c'32 e' }
2964 \repeat percent 2 { c''8 d'' }
2965 \repeat volta 2 {c'4 d' e' f'}
2974 When creating a score file using @code{\unfoldrepeats} for midi, then
2975 it is necessary to make two @code{\score} blocks. One for MIDI (with
2976 unfolded repeats) and one for notation (with volta, tremolo, and
2977 percent repeats). For example,
2985 \unfoldrepeats @var{..music..}
2990 @node Manual repeat commands
2991 @subsection Manual repeat commands
2993 @cindex @code{repeatCommands}
2995 The property @code{repeatCommands} can be used to control the layout of
2996 repeats. Its value is a Scheme list of repeat commands.
2999 @item @code{start-repeat}
3000 Print a @code{|:} bar line.
3002 @item @code{end-repeat}
3003 Print a @code{:|} bar line.
3005 @item @code{(volta @var{text})}
3006 Print a volta bracket saying @var{text}: The text can be specified as
3007 a text string or as a markup text, see @ref{Text markup}. Do not
3008 forget to change the font, as the default number font does not contain
3009 alphabetic characters;
3011 @item @code{(volta #f)}
3012 Stop a running volta bracket.
3015 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
3017 \set Score.repeatCommands = #'((volta "93") end-repeat)
3019 \set Score.repeatCommands = #'((volta #f))
3027 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
3028 @internalsref{VoltaRepeatedMusic},
3029 @internalsref{UnfoldedRepeatedMusic}, and
3030 @internalsref{FoldedRepeatedMusic}.
3032 @node Tremolo repeats
3033 @subsection Tremolo repeats
3034 @cindex tremolo beams
3036 To place tremolo marks between notes, use @code{\repeat} with tremolo
3038 @lilypond[quote,verbatim,raggedright]
3039 \new Voice \relative c' {
3040 \repeat "tremolo" 8 { c16 d16 }
3041 \repeat "tremolo" 4 { c16 d16 }
3042 \repeat "tremolo" 2 { c16 d16 }
3046 Tremolo marks can also be put on a single note. In this case, the
3047 note should not be surrounded by braces.
3048 @lilypond[quote,verbatim,raggedright]
3049 \repeat "tremolo" 4 c'16
3052 Similar output is obtained using the tremolo subdivision, described in
3053 @ref{Tremolo subdivisions}.
3057 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3059 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
3060 tremolos are @internalsref{StemTremolo} objects. The music expression is
3061 @internalsref{TremoloEvent}.
3063 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3064 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3066 @node Tremolo subdivisions
3067 @subsection Tremolo subdivisions
3068 @cindex tremolo marks
3069 @cindex @code{tremoloFlags}
3071 Tremolo marks can be printed on a single note by adding
3072 `@code{:}[@var{number}]' after the note. The number indicates the
3073 duration of the subdivision, and it must be at least 8. A
3074 @var{length} value of 8 gives one line across the note stem. If the
3075 length is omitted, the last value (stored in @code{tremoloFlags}) is
3078 @lilypond[quote,raggedright,verbatim,fragment]
3079 c'2:8 c':32 | c': c': |
3082 @c [TODO: stok is te kort bij 32en]
3083 @c somebody want to translate that into English?
3084 @c `Stem is too short for 32nds' (wl)
3088 Tremolos entered in this way do not carry over into the MIDI output.
3092 In this manual: @ref{Tremolo repeats}.
3094 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3096 @node Measure repeats
3097 @subsection Measure repeats
3099 @cindex percent repeats
3100 @cindex measure repeats
3102 In the @code{percent} style, a note pattern can be repeated. It is
3103 printed once, and then the pattern is replaced with a special sign.
3104 Patterns of one and two measures are replaced by percent-like signs,
3105 patterns that divide the measure length are replaced by slashes
3107 @lilypond[quote,verbatim,raggedright]
3108 \new Voice \relative c' {
3109 \repeat "percent" 4 { c4 }
3110 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3116 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3117 @internalsref{PercentRepeatedMusic}, and
3118 @internalsref{DoublePercentRepeat}.
3122 @node Rhythmic music
3123 @section Rhythmic music
3125 Rhythmic music is primarily used for percussion and drum notation, but it can
3126 also be used to show the rhythms of melodies.
3129 * Showing melody rhythms::
3130 * Entering percussion::
3131 * Percussion staves::
3135 @node Showing melody rhythms
3136 @subsection Showing melody rhythms
3138 Sometimes you might want to show only the rhythm of a melody. This
3139 can be done with the rhythmic staff. All pitches of notes on such a
3140 staff are squashed, and the staff itself has a single line
3142 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3143 \context RhythmicStaff {
3145 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3151 Program reference: @internalsref{RhythmicStaff}.
3153 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
3156 @node Entering percussion
3157 @subsection Entering percussion
3163 Percussion notes may be entered in @code{\drummode} mode, which is
3164 similar to the standard mode for entering notes. Each piece of
3165 percussion has a full name and an abbreviated name, and both can be used
3168 @lilypond[quote,raggedright,verbatim]
3170 hihat hh bassdrum bd
3174 The complete list of drum names is in the init file
3175 @file{ly/@/drumpitch@/-init@/.ly}.
3176 @c TODO: properly document this.
3180 Program reference: @internalsref{DrumNoteEvent}.
3182 @node Percussion staves
3183 @subsection Percussion staves
3187 A percussion part for more than one instrument typically uses a
3188 multiline staff where each position in the staff refers to one piece
3192 To typeset the music, the notes must be interpreted in a
3193 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3195 @lilypond[quote,raggedright,verbatim]
3196 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3197 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3199 \new DrumVoice { \voiceOne \up }
3200 \new DrumVoice { \voiceTwo \down }
3204 The above example shows verbose polyphonic notation. The short
3205 polyphonic notation, described in @ref{Polyphony}, can also be used if
3206 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3208 @lilypond[quote,raggedright,fragment,verbatim]
3210 \context DrumVoice = "1" { s1 *2 }
3211 \context DrumVoice = "2" { s1 *2 }
3215 { \repeat unfold 16 hh16 }
3224 There are also other layout possibilities. To use these, set the
3225 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3226 The following variables have been predefined
3230 This is the default. It typesets a typical drum kit on a five-line staff
3232 @lilypond[quote,linewidth=10.0\cm]
3234 cymc cyms cymr hh hhc hho hhho hhp
3235 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
3237 cymc cyms cymr hh hhc hho hhho hhp \break
3238 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3240 << \new DrumStaff \with {
3241 \remove Bar_engraver
3242 \remove Time_signature_engraver
3243 \override Stem #'transparent = ##t
3244 \override Stem #'Y-extent-callback = ##f
3245 minimumVerticalExtent = #'(-4.0 . 5.0)
3247 \context Lyrics \nam
3252 \override LyricText #'font-family = #'typewriter
3253 \override BarNumber #'transparent =##T
3259 The drum scheme supports six different toms. When there are fewer toms,
3260 simply select the toms that produce the desired result, i.e., to get toms
3261 on the three middle lines you use @code{tommh}, @code{tomml}, and
3264 @item timbales-style
3265 This typesets timbales on a two line staff
3267 @lilypond[quote,raggedright]
3268 nam = \lyricmode { timh ssh timl ssl cb }
3269 mus = \drummode { timh ssh timl ssl cb s16 }
3272 \context DrumStaff \with {
3273 \remove Bar_engraver
3274 \remove Time_signature_engraver
3275 \override Stem #'transparent = ##t
3276 \override Stem #'Y-extent-callback = ##f
3277 \override StaffSymbol #'line-count = #2
3278 \override StaffSymbol #'staff-space = #2
3279 minimumVerticalExtent = #'(-3.0 . 4.0)
3280 drumStyleTable = #timbales-style
3283 \override LyricText #'font-family = #'typewriter
3290 This typesets congas on a two line staff
3292 @lilypond[quote,raggedright]
3293 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3294 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3297 \context DrumStaff \with {
3298 \remove Bar_engraver
3299 \remove Time_signature_engraver
3300 drumStyleTable = #congas-style
3301 \override StaffSymbol #'line-count = #2
3303 %% this sucks; it will lengthen stems.
3304 \override StaffSymbol #'staff-space = #2
3305 \override Stem #'transparent = ##t
3306 \override Stem #'Y-extent-callback = ##f
3309 \override LyricText #'font-family = #'typewriter
3316 This typesets bongos on a two line staff
3318 @lilypond[quote,raggedright]
3319 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3320 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3323 \context DrumStaff\with {
3324 \remove Bar_engraver
3325 \remove Time_signature_engraver
3326 \override StaffSymbol #'line-count = #2
3327 drumStyleTable = #bongos-style
3329 %% this sucks; it will lengthen stems.
3330 \override StaffSymbol #'staff-space = #2
3331 \override Stem #'transparent = ##t
3332 \override Stem #'Y-extent-callback = ##f
3335 \override LyricText #'font-family = #'typewriter
3341 @item percussion-style
3342 To typeset all kinds of simple percussion on one line staves.
3344 @lilypond[quote,raggedright]
3345 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3346 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3349 \context DrumStaff\with{
3350 \remove Bar_engraver
3351 drumStyleTable = #percussion-style
3352 \override StaffSymbol #'line-count = #1
3353 \remove Time_signature_engraver
3354 \override Stem #'transparent = ##t
3355 \override Stem #'Y-extent-callback = ##f
3358 \override LyricText #'font-family = #'typewriter
3365 If you do not like any of the predefined lists you can define your own
3366 list at the top of your file
3368 @lilypond[quote,raggedright,verbatim]
3370 (bassdrum default #f -1)
3371 (snare default #f 0)
3373 (pedalhihat xcircle "stopped" 2)
3374 (lowtom diamond #f 3)))
3375 up = \drummode { hh8 hh hh hh hhp4 hhp }
3376 down = \drummode { bd4 sn bd toml8 toml }
3379 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
3380 \new DrumVoice { \voiceOne \up }
3381 \new DrumVoice { \voiceTwo \down }
3388 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
3390 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3394 Because general MIDI does not contain rim shots, the sidestick is used
3395 for this purpose instead.
3398 @section Piano music
3400 Piano staves are two normal staves coupled with a brace. The staves
3401 are largely independent, but sometimes voices can cross between the
3402 two staves. The same notation is also used for harps and other key
3403 @c Is this `harp' or `harpsichord'?
3404 instruments. The @internalsref{PianoStaff} is especially built to
3405 handle this cross-staffing behavior. In this section we discuss the
3406 @internalsref{PianoStaff} and some other pianistic peculiarities.
3410 * Automatic staff changes::
3411 * Manual staff switches::
3414 * Staff switch lines::
3415 * Cross staff stems::
3420 Dynamics are not centered, but workarounds do exist. See the
3421 ``piano centered dynamics'' template in @ref{Piano templates}.
3423 @cindex cross staff stem
3424 @cindex stem, cross staff
3425 @cindex distance between staves in piano music
3427 The distance between the two staves is the same for all systems in the
3428 score. It is possible to override this per system, but it does require
3429 an arcane command incantation. See
3430 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
3433 @node Automatic staff changes
3434 @subsection Automatic staff changes
3435 @cindex Automatic staff changes
3437 Voices can be made to switch automatically between the top and the bottom
3438 staff. The syntax for this is
3442 \autochange @dots{}@var{music}@dots{}
3447 This will create two staves inside the current PianoStaff, called
3448 @code{up} and @code{down}. The lower staff will be in bass clef by
3451 A @code{\relative} section that is outside of @code{\autochange} has
3452 no effect on the pitches of @var{music}, so, if necessary, put
3453 @code{\relative} inside @code{\autochange} like
3457 \autochange \relative @dots{} @dots{}
3462 The autochanger switches on basis of the pitch (middle C is the turning
3463 point), and it looks ahead skipping over rests to switch in
3464 advance. Here is a practical example
3466 @lilypond[quote,verbatim,raggedright]
3468 \autochange \relative c'
3477 In this manual: @ref{Manual staff switches}.
3479 Program reference: @internalsref{AutoChangeMusic}.
3485 The staff switches may not end up in optimal places. For high
3486 quality output, staff switches should be specified manually.
3489 @code{\autochange} cannot be inside @code{\times}.
3491 Internally, the @code{\partcombine} interprets both arguments as
3492 @code{Voice}s named @code{one} and @code{two}, and then decides when
3493 the parts can be combined. Consequently, if the arguments switch to
3494 differently named @internalsref{Voice} contexts, the events in those
3498 @node Manual staff switches
3499 @subsection Manual staff switches
3501 @cindex manual staff switches
3502 @cindex staff switch, manual
3504 Voices can be switched between staves manually, using the command
3506 \change Staff = @var{staffname} @var{music}
3510 The string @var{staffname} is the name of the staff. It switches the
3511 current voice from its current staff to the Staff called
3512 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3513 @code{"down"}. The @context{Staff} referred to must already exist, so
3514 usually the setup for a score will start with a setup of the staves,
3518 \context Staff = up @{
3519 \skip 1 * 10 % @emph{keep staff alive}
3521 \context Staff = down @{
3522 \skip 1 * 10 % @emph{idem}
3528 and the @context{Voice} is inserted afterwards
3531 \context Staff = down
3532 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3540 Pianos have pedals that alter the way sound is produced. Generally, a
3541 piano has three pedals, sustain, una corda, and sostenuto.
3544 Piano pedal instruction can be expressed by attaching
3545 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3546 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3549 @lilypond[quote,raggedright,fragment,verbatim]
3550 c'4\sustainDown c'4\sustainUp
3553 What is printed can be modified by setting @code{pedal@var{X}Strings},
3554 where @var{X} is one of the pedal types: @code{Sustain},
3555 @code{Sostenuto} or @code{UnaCorda}. Refer to
3556 @internalsref{SustainPedal} in the program reference for more
3559 Pedals can also be indicated by a sequence of brackets, by setting the
3560 @code{pedalSustainStyle} property to bracket objects
3562 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3563 \set Staff.pedalSustainStyle = #'bracket
3565 b\sustainUp\sustainDown
3566 b g \sustainUp a \sustainDown \bar "|."
3569 A third style of pedal notation is a mixture of text and brackets,
3570 obtained by setting the @code{pedalSustainStyle} property to
3573 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3574 \set Staff.pedalSustainStyle = #'mixed
3576 b\sustainUp\sustainDown
3577 b g \sustainUp a \sustainDown \bar "|."
3580 The default `*Ped.' style for sustain and damper pedals corresponds to
3581 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3584 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3585 c\sostenutoDown d e c, f g a\sostenutoUp
3588 For fine-tuning the appearance of a pedal bracket, the properties
3589 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3590 @code{PianoPedalBracket} objects (see
3591 @internalsref{PianoPedalBracket} in the Program reference) can be
3592 modified. For example, the bracket may be extended to the right edge
3595 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3596 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3597 c\sostenutoDown d e c, f g a\sostenutoUp
3601 @subsection Arpeggio
3604 @cindex broken arpeggio
3605 @cindex @code{\arpeggio}
3607 You can specify an arpeggio sign on a chord by attaching an
3608 @code{\arpeggio} to a chord
3611 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3615 When an arpeggio crosses staves, you attach an arpeggio to the chords
3616 in both staves, and set
3617 @internalsref{PianoStaff}.@code{connectArpeggios}
3619 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3620 \context PianoStaff <<
3621 \set PianoStaff.connectArpeggios = ##t
3622 \new Staff { <c' e g c>\arpeggio }
3623 \new Staff { \clef bass <c,, e g>\arpeggio }
3627 The direction of the arpeggio is sometimes denoted by adding an
3628 arrowhead to the wiggly line
3630 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3639 A square bracket on the left indicates that the player should not
3640 arpeggiate the chord
3642 @c todo: ugh, lousy typography. Look for real example. --hwn
3644 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3651 @cindex @code{\arpeggio}
3653 @cindex @code{\arpeggioUp}
3655 @cindex @code{\arpeggioDown}
3656 @code{\arpeggioDown},
3657 @cindex @code{\arpeggioNeutral}
3658 @code{\arpeggioNeutral},
3659 @cindex @code{\arpeggioBracket}
3660 @code{\arpeggioBracket}.
3664 Program reference: @internalsref{ArpeggioEvent},
3665 @internalsref{Arpeggio}.
3669 It is not possible to mix connected arpeggios and unconnected
3670 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3672 @node Staff switch lines
3673 @subsection Staff switch lines
3676 @cindex follow voice
3677 @cindex staff switching
3680 @cindex @code{followVoice}
3682 Whenever a voice switches to another staff, a line connecting the notes
3683 can be printed automatically. This is switched on by setting
3684 @code{PianoStaff.followVoice} to true
3686 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3687 \context PianoStaff <<
3688 \set PianoStaff.followVoice = ##t
3689 \context Staff \context Voice {
3694 \context Staff=two { \clef bass \skip 1*2 }
3700 Program reference: @internalsref{VoiceFollower}.
3704 @cindex @code{\showStaffSwitch}
3705 @code{\showStaffSwitch},
3706 @cindex @code{\hideStaffSwitch}
3707 @code{\hideStaffSwitch}.
3710 @node Cross staff stems
3711 @subsection Cross staff stems
3713 Chords that cross staves may be produced by increasing the length
3714 of the stem in the lower staff, so it reaches the stem in the upper
3715 staff, or vice versa.
3717 @lilypond[raggedright,verbatim,quote]
3718 stemExtend = \once \override Stem #'length = #22
3719 noFlag = \once \override Stem #'flag-style = #'no-flag
3720 \context PianoStaff <<
3722 \stemDown \stemExtend
3736 @section Vocal music
3738 There are three different issues when printing vocal music
3742 Song texts must be entered as text, not notes. For example, the
3743 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
3747 Song texts must be printed as text, not as notes.
3750 Song texts must be aligned with the notes of their melody.
3753 The simplest solution for printing music uses the @code{\addlyrics}
3754 function to solve all these problems at once. However, these
3755 three functions can be controlled separately, which is necessary
3756 for complex vocal music.
3760 * Setting simple songs::
3762 * Hyphens and extenders::
3763 * The Lyrics context::
3764 * Flexibility in alignment::
3767 * Other vocal issues::
3770 @node Setting simple songs
3771 @subsection Setting simple songs
3773 The easiest way to add lyrics to a melody is to append
3776 \addlyrics @{ @var{the lyrics} @}
3780 to a melody. Here is an example,
3782 @lilypond[raggedright,verbatim,fragment,quote]
3784 \relative { c2 e4 g2. }
3785 \addlyrics { play the game }
3788 More stanzas can be added by adding more
3789 @code{\addlyrics} sections
3791 @lilypond[raggedright,verbatim,fragment,quote]
3793 \relative { c2 e4 g2. }
3794 \addlyrics { play the game }
3795 \addlyrics { speel het spel }
3796 \addlyrics { joue le jeu }
3799 @c TODO - this isn't such a great place for this note, but I can't
3800 @c find a better place without rearranging a lot of lyric stuff.
3801 @c It's yet another thing to look at post-3.0.
3803 The @code{\addlyrics} command is actually just a convienient way
3804 to write a more complicated LilyPond structure that sets up the
3805 lyrics. You should use @code{\addlyrics} unless you need to do
3806 fancy things, in which case you should investigate
3807 @code{\lyricsto} or @code{\lyricmode}.
3811 \addlyrics @{ LYRICS @}
3818 \context Voice = blah @{ music @}
3819 \lyricsto "blah" \new lyrics @{ LYRICS @}
3823 @node Entering lyrics
3824 @subsection Entering lyrics
3828 @cindex @code{\lyricmode}
3831 Lyrics are entered in a special input mode. This mode is introduced
3832 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3833 @code{lyricsto}. In this mode you can enter lyrics,
3834 with punctuation and accents, and the input @code{d} is not parsed as
3835 a pitch, but rather as a one letter syllable. Syllables are entered
3836 like notes, but with pitches replaced by text. For example,
3838 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3842 A word lyrics mode begins with an alphabetic character, and ends with
3843 any space or digit. The following characters can be any character
3844 that is not a digit or white space. One important consequence of this
3845 is that a word can end with @code{@}}. The following example is
3846 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3847 opening brace is not balanced
3849 \lyricmode @{ twinkle@}
3852 @cindex @code{\property}, in @code{\lyricmode}
3854 Similarly, a period which follows an alphabetic sequence is included in
3855 the resulting string. As a consequence, spaces must be inserted around
3858 \override Score . LyricText #'font-shape = #'italic
3862 @cindex spaces, in lyrics
3863 @cindex quotes, in lyrics
3865 Any @code{_} character that appears in an unquoted word is converted
3866 to a space. This provides a mechanism for introducing spaces into words
3867 without using quotes. Quoted words can also be used in Lyrics mode to
3868 specify words that cannot be written with the above rules. The
3869 following example incorporates double quotes
3872 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3875 This example is slightly academic, since it gives better looking
3876 results using single quotes, @code{``} and @code{''}
3878 \lyricmode @{ He said: ``Let my peo ple go'' @}
3882 The full definition of a word start in Lyrics mode is somewhat more
3885 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3886 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3887 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3888 any 8-bit character with ASCII code over 127, or a two-character
3889 combination of a backslash followed by one of @code{`}, @code{'},
3890 @code{"}, or @code{^}.
3896 Program reference: events @internalsref{LyricEvent}, and
3897 @internalsref{LyricText}.
3901 The definition of lyrics mode is too complex.
3903 @node Hyphens and extenders
3904 @subsection Hyphens and extenders
3908 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3909 The hyphen will have variable length depending on the space between
3910 the syllables and it will be centered between the syllables.
3915 When a lyric is sung over many notes (this is called a melisma), this is
3916 indicated with a horizontal line centered between a syllable and the
3917 next one. Such a line is called an extender line, and it is entered as
3921 FIXME: check that this compiles and displays correctly. I don't want
3922 to commit this part blindly.
3924 In tighly engraved music, hyphens can be removed. In some languages
3925 (e.g. German and Hungarian), hyphens should not disappear, since
3926 spelling depends on hyphenation. For that purpose, hyphens can be
3927 forced to remain by overriding @code{minimum-length} of
3928 the @code{LyricHyphen} grob.
3932 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
3939 \lyrics \new Lyrics \with {
3940 % Otherwise lyrics are so far apart that hyphens don't disappear
3941 \override SeparationItem #'padding = #0.0
3942 }{ bla -- bla -- bla -- bla --
3943 bla -- bla -- bla -- bla --
3945 \override LyricHyphen #'minimum-length = #0.7
3946 \override LyricHyphen #'spacing-procedure =
3947 #Hyphen_spanner::set_spacing_rods
3949 bla -- bla -- bla -- bla
3956 \StaffContext \remove "Time_signature_engraver"
3967 Program reference: @internalsref{HyphenEvent},
3968 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3969 @internalsref{LyricExtender}
3973 @node The Lyrics context
3974 @subsection The Lyrics context
3977 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3979 \context Lyrics \lyricmode @dots{}
3982 @cindex automatic syllable durations
3983 @cindex @code{\lyricsto}
3984 @cindex lyrics and melodies
3986 This will place the lyrics according to the durations that were
3987 entered. The lyrics can also be aligned under a given melody
3988 automatically. In this case, it is no longer necessary to enter the
3989 correct duration for each syllable. This is achieved by combining the
3990 melody and the lyrics with the @code{\lyricsto} expression
3992 \lyricsto @var{name} \new Lyrics @dots{}
3995 This aligns the lyrics to the
3996 notes of the @internalsref{Voice} context called @var{name}, which has
3997 to exist. Therefore, normally the @code{Voice} is specified first, and
3998 then the lyrics are specified with @code{\lyricsto}. The command
3999 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
4000 @code{\lyricmode} keyword may be omitted.
4002 For different or more complex orderings, the best way is to setup the
4003 hierarchy of staves and lyrics first, e.g.,
4005 \context ChoirStaff <<
4006 \context Lyrics = sopranoLyrics @{ s1 @}
4007 \context Voice = soprano @{ @emph{music} @}
4008 \context Lyrics = tenorLyrics @{ s1 @}
4009 \context Voice = tenor @{ @emph{music} @}
4012 and then combine the appropriate melodies and lyric lines
4014 \lyricsto "soprano" \context Lyrics = sopranoLyrics
4019 The final input would resemble
4022 <<\context ChoirStaff << @emph{setup the music} >>
4023 \lyricsto "soprano" @emph{etc}
4024 \lyricsto "alto" @emph{etc}
4030 The @code{\lyricsto} command detects melismata: it only puts one
4031 syllable under a tied or slurred group of notes. If you want to force
4032 an unslurred group of notes to be a melisma, insert @code{\melisma}
4033 after the first note of the group, and @code{\melismaEnd} after the
4036 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
4038 \context Voice = "lala" {
4046 \lyricsto "lala" \new Lyrics {
4052 In addition, notes are considered a melisma if they are manually
4053 beamed, and automatic beaming (see @ref{Setting automatic beam
4054 behavior}) is switched off.
4060 The criteria for deciding melismata can
4061 be tuned with the property @code{melismaBusyProperties}. See
4062 @internalsref{Melisma_translator} in the program reference for more
4067 Lyrics can also be entered without @code{\lyricsto}. In this case the
4068 duration of each syllable must be entered explicitly, for example,
4075 The alignment to a melody can be specified with the
4076 @code{associatedVoice} property,
4079 \set associatedVoice = #"lala"
4083 The value of the property (here: @code{"lala"}) should be the name of
4084 a @internalsref{Voice} context. Without this setting, extender lines
4085 will not be formatted properly.
4087 Here is an example demonstrating manual lyric durations,
4089 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
4090 << \context Voice = melody {
4094 \new Lyrics \lyricmode {
4095 \set associatedVoice = #"melody"
4101 @cindex choral score
4103 A complete example of a SATB score setup is in section
4104 @ref{Vocal ensembles}.
4109 @code{\melisma}, @code{\melismaEnd}
4110 @cindex @code{\melismaEnd}
4111 @cindex @code{\melisma}
4115 Program reference: @internalsref{LyricCombineMusic},
4116 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
4119 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
4120 @c TODO: make separate section for melismata
4122 @c I can't find these examples in 2.0 or 2.2; remove. -gp
4123 @c @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
4124 @c @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
4128 Melismata are not detected automatically, and extender lines must be
4132 @c TODO: document \new Staff << Voice \lyricsto >> bug
4134 @node Flexibility in alignment
4135 @subsection Flexibility in alignment
4138 Often, different stanzas of one song are put to one melody in slightly
4139 differing ways. Such variations can still be captured with
4142 One possibility is that the text has a melisma in one stanza, but
4143 multiple syllables in another one. One solution is to make the faster
4144 voice ignore the melisma. This is done by setting
4145 @code{ignoreMelismata} in the Lyrics context.
4147 There has one tricky aspect. The setting for @code{ignoreMelismata}
4148 must be set one syllable @emph{before} the non-melismatic syllable
4149 in the text, as shown here,
4151 @lilypond[verbatim,raggedright,quote]
4153 \relative \context Voice = "lahlah" {
4154 \set Staff.autoBeaming = ##f
4160 \new Lyrics \lyricsto "lahlah" {
4163 \new Lyrics \lyricsto "lahlah" {
4164 \set ignoreMelismata = ##t % applies to "fas"
4166 \unset ignoreMelismata
4173 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4174 should be entered before ``go''.
4176 The reverse is also possible: making a lyric line slower than the
4177 standard. This can be achieved by insert @code{\skip}s into the
4178 lyrics. For every @code{\skip}, the text will be delayed another note.
4181 @lilypond[verbatim,raggedright,quote]
4182 \relative { c c g' }
4189 More complex variations in text underlay are possible. It is possible
4190 to switch the melody for a line of lyrics during the text. This is
4191 done by setting the @code{associatedVoice} property. In the example
4193 @lilypond[raggedright,quote]
4195 \relative \context Voice = "lahlah" {
4196 \set Staff.autoBeaming = ##f
4199 \context Voice = alternative {
4202 % show associations clearly.
4203 \override NoteColumn #'force-hshift = #-3
4214 \new Lyrics \lyricsto "lahlah" {
4215 Ju -- ras -- sic Park
4217 \new Lyrics \lyricsto "lahlah" {
4218 % Tricky: need to set associatedVoice
4219 % one syllable too soon!
4220 \set associatedVoice = alternative % applies to "ran"
4224 \set associatedVoice = lahlah % applies to "rus"
4230 the text for the first stanza is set to a melody called ``lahlah'',
4233 \new Lyrics \lyricsto "lahlah" @{
4234 Ju -- ras -- sic Park
4239 The second stanza initially is set to the @code{lahlah} context, but
4240 for the syllable ``ran'', it switches to a different melody.
4241 This is achieved with
4243 \set associatedVoice = alternative
4247 Here, @code{alternative} is the name of the @code{Voice} context
4248 containing the triplet.
4250 Again, the command must be one syllable too early, before ``Ty'' in
4254 \new Lyrics \lyricsto "lahlah" @{
4255 \set associatedVoice = alternative % applies to "ran"
4259 \set associatedVoice = lahlah % applies to "rus"
4265 The underlay is switched back to the starting situation by assigning
4266 @code{lahlah} to @code{associatedVoice}.
4272 @subsection More stanzas
4274 @cindex phrasing, in lyrics
4277 @cindex stanza number
4278 @cindex singer's names
4279 @cindex name of singer
4281 Stanza numbers can be added by setting @code{stanza}, e.g.,
4283 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4285 \time 3/4 g2 e4 a2 f4 g2.
4288 Hi, my name is Bert.
4291 Oh, che -- ri, je t'aime
4295 These numbers are put just before the start of first syllable.
4297 Names of singers can also be added. They are printed at the start of
4298 the line, just like instrument names. They are created by setting
4299 @code{vocalName}. A short version may be entered as @code{vocNam}.
4302 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4304 \time 3/4 g2 e4 a2 f4 g2.
4306 \set vocalName = "Bert "
4307 Hi, my name is Bert.
4309 \set vocalName = "Ernie "
4310 Oh, che -- ri, je t'aime
4316 Program reference: Layout objects @internalsref{LyricText} and
4317 @internalsref{VocalName}. Music expressions
4318 @internalsref{LyricEvent}.
4326 The term @emph{ambitus} denotes a range of pitches for a given voice
4327 in a part of music. It may also denote the pitch range that a musical
4328 instrument is capable of playing. Ambits are printed on vocal parts,
4329 so performers can easily determine it meets their capabilities.
4331 Ambits are denoted at the beginning of a piece near the initial clef.
4332 The range is graphically specified by two note heads that represent the
4333 minimum and maximum pitch. To print such ambits, add the
4334 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4341 \consists Ambitus_engraver
4346 This results in the following output
4348 @lilypond[quote,raggedright]
4352 \consists Ambitus_engraver
4356 \relative \new Staff {
4361 If you have multiple voices in a single staff and you want a single
4362 ambitus per staff rather than per each voice, add the
4363 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4364 rather than to the @internalsref{Voice} context. Here is an example,
4366 @lilypond[verbatim,raggedright,quote]
4368 \consists "Ambitus_engraver"
4372 \remove "Ambitus_engraver"
4374 \override Ambitus #'X-offset-callbacks
4375 = #(list (lambda (grob axis) -1.0))
4380 \remove "Ambitus_engraver"
4389 This example uses one advanced feature,
4392 \override Ambitus #'X-offset-callbacks
4393 = #(list (lambda (grob axis) -1.0))
4397 This code moves the ambitus to the left. The same effect could have
4398 been achieved with @code{extra-offset}, but then the formatting system
4399 would not reserve space for the moved object.
4403 Program reference: @internalsref{Ambitus},
4404 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4405 @internalsref{AmbitusAccidental}.
4407 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
4411 There is no collision handling in the case of multiple per-voice
4414 @node Other vocal issues
4415 @subsection Other vocal issue
4418 yeah, I'm giving up somewhat by stuffing a bunch of things in
4419 here. But at least they're in the manual now; it's easier to
4420 move them around in the manual once they're already here.
4422 Besides, if users complain about everything stuffed in here, I
4423 can ask them for specific instructions about where to move these
4424 examples, and that might get them more involved in the docs. -gp
4427 You can display alternate (or divisi) lyrics by naming voice
4428 contexts and attaching lyrics to those specific contexts.
4430 @lilypond[verbatim,raggedright,quote]
4432 \context Voice = "melody" {
4437 \context Voice = splitpart { \voiceTwo c4 }
4442 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
4443 \new Lyrics \lyricsto "splitpart" { shall }
4448 You can use this trick to display different lyrics for a repeated
4451 @lilypond[verbatim,raggedright,quote]
4453 \context Voice = melody \relative c' {
4455 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
4457 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
4460 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
4462 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
4463 dodo rere mimi fafa solsol }
4469 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4470 @section Other instrument specific notation
4472 This section includes extra information for writing string music, and may
4473 include extra information for other instruments in the future.
4479 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4480 @subsection Harmonic notes
4482 @cindex artificial harmonics
4485 Artificial harmonics are notated with a different notehead style. They
4486 are entered by marking the harmonic pitch with @code{\harmonic}.
4488 @lilypond[raggedright,verbatim,quote,fragment]
4493 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4497 @cindex guitar tablature
4499 Tablature notation is used for notating music for plucked string
4500 instruments. Pitches are not denoted with note heads, but by
4501 indicating on which string and fret a note must be played. LilyPond
4502 offers limited support for tablature.
4505 * Tablatures basic::
4506 * Non-guitar tablatures::
4509 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4510 @subsection Tablatures basic
4511 @cindex Tablatures basic
4513 The string number associated to a note is given as a backslash
4514 followed by a number, e.g., @code{c4\3} for a C quarter on the third
4515 string. By default, string 1 is the highest one, and the tuning
4516 defaults to the standard guitar tuning (with 6 strings). The notes
4517 are printed as tablature, by using @internalsref{TabStaff} and
4518 @internalsref{TabVoice} contexts
4520 @lilypond[quote,raggedright,fragment,verbatim]
4527 @cindex @code{minimumFret}
4530 When no string is specified, the first string that does not give a
4531 fret number less than @code{minimumFret} is selected. The default
4532 value for @code{minimumFret} is 0
4537 \set TabStaff.minimumFret = #8
4540 @lilypond[quote,raggedright]
4544 \set TabStaff.minimumFret = #8
4547 \context StaffGroup <<
4548 \context Staff { \clef "G_8" \frag }
4549 \context TabStaff { \frag }
4555 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4556 @internalsref{StringNumberEvent}.
4560 Chords are not handled in a special way, and hence the automatic
4561 string selector may easily select the same string to two notes in a
4565 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4566 @subsection Non-guitar tablatures
4567 @cindex Non-guitar tablatures
4569 You can change the number of strings, by setting the number of lines
4570 in the @internalsref{TabStaff}.
4572 You can change the tuning of the strings. A string tuning is given as
4573 a Scheme list with one integer number for each string, the number
4574 being the pitch (measured in semitones relative to middle C) of an
4575 open string. The numbers specified for @code{stringTuning} are the
4576 numbers of semitones to subtract or add, starting the specified pitch
4577 by default middle C, in string order. In the next example,
4578 @code{stringTunings} is set for the pitches e, a, d, and g
4580 @lilypond[quote,raggedright,fragment,verbatim]
4581 \context TabStaff <<
4582 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4584 a,4 c' a e' e c' a e'
4591 No guitar special effects have been implemented.
4595 Program reference: @internalsref{Tab_note_heads_engraver}.
4598 @node Popular music, Orchestral music, Tablatures, Notation manual
4599 @section Popular music
4601 This section discusses issues that arise when writing popular music.
4606 * Printing chord names::
4611 @node Chord names, Chords mode, Popular music, Popular music
4612 @subsection Chord names
4615 LilyPond has support for printing chord names. Chords may be entered
4616 in musical chord notation, i.e., @code{< .. >}, but they can also be
4617 entered by name. Internally, the chords are represented as a set of
4618 pitches, so they can be transposed
4621 @lilypond[quote,raggedright,verbatim,raggedright]
4622 twoWays = \transpose c c' {
4631 << \context ChordNames \twoWays
4632 \context Voice \twoWays >>
4635 This example also shows that the chord printing routines do not try to
4636 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4639 @c this menu isn't needed.
4643 * Printing chord names::
4648 @subsection Chords mode
4651 In chord mode sets of pitches (chords) are entered with normal note
4652 names. A chord is entered by the root, which is entered like a
4655 @lilypond[quote,raggedright,fragment,verbatim]
4656 \chordmode { es4. d8 c2 }
4660 The mode is introduced by the keyword @code{\chordmode}.
4665 Other chords may be entered by suffixing a colon and introducing a
4666 modifier (which may include a number if desired)
4667 @lilypond[quote,fragment,verbatim]
4668 \chordmode { e1:m e1:7 e1:m7 }
4670 The first number following the root is taken to be the `type' of the
4671 chord, thirds are added to the root until it reaches the specified
4673 @lilypond[quote,fragment,verbatim]
4674 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4677 @cindex root of chord
4678 @cindex additions, in chords
4679 @cindex removals, in chords
4681 More complex chords may also be constructed adding separate steps
4682 to a chord. Additions are added after the number following
4683 the colon and are separated by dots
4684 @lilypond[quote,verbatim,fragment]
4685 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4687 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4689 @lilypond[quote,verbatim,fragment]
4690 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4692 Removals are specified similarly and are introduced by a caret. They
4693 must come after the additions
4694 @lilypond[quote,verbatim,fragment]
4695 \chordmode { c^3 c:7^5 c:9^3.5 }
4698 Modifiers can be used to change pitches. The following modifiers are
4703 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4706 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
4710 The augmented chord. This modifier raises the 5th step.
4713 The major 7th chord. This modifier raises the 7th step if present.
4716 The suspended 4th or 2nd. This modifier removes the 3rd
4717 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4721 Modifiers can be mixed with additions
4722 @lilypond[quote,verbatim,fragment]
4723 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4726 @cindex modifiers, in chords.
4733 Since an unaltered 11 does not sound good when combined with an
4734 unaltered 3, the 11 is removed in this case (unless it is added
4736 @lilypond[quote,raggedright,fragment,verbatim]
4737 \chordmode { c:13 c:13.11 c:m13 }
4742 An inversion (putting one pitch of the chord on the bottom), as well
4743 as bass notes, can be specified by appending
4744 @code{/}@var{pitch} to the chord
4745 @lilypond[quote,raggedright,fragment,verbatim]
4746 \chordmode { c1 c/g c/f }
4750 A bass note can be added instead transposed out of the chord,
4751 by using @code{/+}@var{pitch}.
4753 @lilypond[quote,raggedright,fragment,verbatim]
4754 \chordmode { c1 c/+g c/+f }
4757 Chords is a mode similar to @code{\lyricmode}, etc. Most
4758 of the commands continue to work, for example, @code{r} and
4759 @code{\skip} can be used to insert rests and spaces, and property
4760 commands may be used to change various settings.
4766 Each step can only be present in a chord once. The following
4767 simply produces the augmented chord, since @code{5+} is interpreted
4770 @lilypond[quote,raggedright,verbatim,fragment]
4771 \chordmode { c:5.5-.5+ }
4775 @node Printing chord names
4776 @subsection Printing chord names
4778 @cindex printing chord names
4782 For displaying printed chord names, use the @internalsref{ChordNames} context.
4783 The chords may be entered either using the notation
4784 described above, or directly using @code{<} and @code{>}
4786 @lilypond[quote,verbatim,raggedright]
4788 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4791 \context ChordNames \harmonies
4792 \context Staff \harmonies
4796 You can make the chord changes stand out by setting
4797 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4798 display chord names when there is a change in the chords scheme and at
4799 the start of a new line
4801 @lilypond[quote,verbatim,raggedright]
4802 harmonies = \chordmode {
4803 c1:m c:m \break c:m c:m d
4806 \context ChordNames {
4807 \set chordChanges = ##t
4809 \context Staff \transpose c c' \harmonies
4813 The previous examples all show chords over a staff. This is not
4814 necessary. Chords may also be printed separately. It may be necessary
4815 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4816 for showing repeats.
4818 @lilypond[raggedright,verbatim]
4819 \new ChordNames \with {
4820 \override BarLine #'bar-size = #4
4821 voltaOnThisStaff = ##t
4822 \consists Bar_engraver
4823 \consists "Volta_engraver"
4825 \repeat volta 2 \chordmode {
4834 The default chord name layout is a system for Jazz music, proposed by
4835 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4836 following properties
4839 @cindex @code{chordNameExceptions}
4840 @item chordNameExceptions
4841 This is a list that contains the chords that have special formatting.
4843 The exceptions list should be encoded as
4845 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
4848 To get this information into @code{chordNameExceptions} takes a little
4849 manoeuvring. The following code transforms @code{chExceptionMusic}
4850 (which is a sequential music) into a list of exceptions.
4852 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4857 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4860 adds the new exceptions to the default ones, which are defined in
4861 @file{ly/@/chord@/-modifier@/-init@/.ly}.
4863 For an example of tuning this property, see also
4864 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
4865 @cindex exceptions, chord names.
4868 @cindex @code{majorSevenSymbol}
4869 @item majorSevenSymbol
4870 This property contains the markup object used for the 7th step, when
4871 it is major. Predefined options are @code{whiteTriangleMarkup} and
4872 @code{blackTriangleMarkup}. See
4873 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
4875 @cindex @code{chordNameSeparator}
4876 @item chordNameSeparator
4877 Different parts of a chord name are normally separated by a
4878 slash. By setting @code{chordNameSeparator}, you can specify other
4880 @lilypond[quote,raggedright,fragment,verbatim]
4881 \context ChordNames \chordmode {
4883 \set chordNameSeparator
4884 = \markup { \typewriter "|" }
4889 @cindex @code{chordRootNamer}
4890 @item chordRootNamer
4891 The root of a chord is usually printed as a letter with an optional
4892 alteration. The transformation from pitch to letter is done by this
4893 function. Special note names (for example, the German ``H'' for a
4894 B-chord) can be produced by storing a new function in this property.
4896 @cindex @code{chordNoteNamer}
4897 @item chordNoteNamer
4898 The default is to print single pitch, e.g., the bass note, using the
4899 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4900 to a specialized function to change this behavior. For example, the
4901 base can be printed in lower case.
4905 The predefined variables @code{\germanChords},
4906 @code{\semiGermanChords} set these variables. The effect is
4909 @lilypondfile[raggedright]{chord-names-german.ly}
4911 There are also two other chord name schemes implemented: an alternate
4912 Jazz chord notation, and a systematic scheme called Banter chords. The
4913 alternate Jazz notation is also shown on the chart in @ref{Chord name
4914 chart}. Turning on these styles is described in the input file
4915 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4919 @cindex chords, jazz
4924 @cindex @code{\germanChords}
4925 @code{\germanChords},
4926 @cindex @code{\semiGermanChords}
4927 @code{\semiGermanChords}.
4934 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
4935 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
4936 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4939 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
4940 @file{scm/@/chord@/-entry@/.scm}.
4945 Chord names are determined solely from the list of pitches. Chord
4946 inversions are not identified, and neither are added bass notes. This
4947 may result in strange chord names when chords are entered with the
4948 @code{< .. >} syntax.
4952 @subsection Fret diagrams
4953 @cindex fret diagrams
4954 @cindex chord diagrams
4956 Fret diagrams can be added to music as a markup to the desired note. The
4957 markup contains information about the desired fret diagram, as shown in the
4960 @lilypond[verbatim, raggedright, quote]
4962 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4964 fis' ^\markup \override #'(size . 0.75) {
4965 \override #'(finger-code . below-string) {
4966 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4967 (place-fret 5 4 3) (place-fret 4 4 4)
4968 (place-fret 3 3 2) (place-fret 2 2 1)
4973 c' ^\markup \override #'(dot-radius . 0.35) {
4974 \override #'(finger-code . in-dot) {
4975 \override #'(dot-color . white) {
4976 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
4985 There are three different fret-diagram markup interfaces: standard, terse,
4986 and verbose. The three interfaces produce equivalent markups, but have
4987 varying amounts of information in the markup string. Details about the
4988 markup interfaces are found at @ref{Overview of text markup commands}.
4990 You can set a number of graphical properties according to your preference.
4991 Details about the property interface to fret diagrams are found at
4992 @internalsref{fret-diagram-interface}.
4997 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
5001 @subsection Improvisation
5003 Improvisation is sometimes denoted with slashed note heads. Such note
5004 heads can be created by adding a @internalsref{Pitch_squash_engraver}
5005 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
5009 \set squashedPosition = #0
5010 \override NoteHead #'style = #'slash
5014 switches on the slashes.
5016 There are shortcuts @code{\improvisationOn} (and an accompanying
5017 @code{\improvisationOff}) for this command sequence. They are used in
5018 the following example
5020 @lilypond[verbatim,raggedright,quote]
5022 \consists Pitch_squash_engraver
5024 e8 e g a a16(bes)(a8) g \improvisationOn
5027 ~fis2 \improvisationOff a16(bes) a8 g e
5033 @node Orchestral music
5034 @section Orchestral music
5036 @cindex Writing parts
5038 Orchestral music involves some special notation, both in the full
5039 score and the individual parts. This section explains how to tackle
5040 some common problems in orchestral music.
5045 * System start delimiters::
5046 * Aligning to cadenzas::
5049 * Instrument names::
5051 * Instrument transpositions::
5052 * Multi measure rests::
5053 * Automatic part combining::
5055 * Different editions from one source::
5056 * Quoting other voices::
5057 * Formatting cue notes::
5060 @node System start delimiters
5061 @subsection System start delimiters
5063 Polyphonic scores consist of many staves. These staves can be
5064 constructed in three different ways
5066 @item The group is started with a brace at the left, and bar lines are
5067 connected. This is done with the @internalsref{GrandStaff} context.
5069 @lilypond[verbatim,raggedright,quote]
5078 @item The group is started with a bracket, and bar lines are connected.
5079 This is done with the
5080 @internalsref{StaffGroup} context
5082 @lilypond[verbatim,raggedright,quote]
5091 @item The group is started with a vertical line. Bar lines are not
5092 connected. This is the default for the score.
5094 @lilypond[verbatim,raggedright,quote]
5103 @cindex Staff, multiple
5104 @cindex bracket, vertical
5105 @cindex brace, vertical
5112 The bar lines at the start of each system are
5113 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
5114 @internalsref{SystemStartBracket}. Only one of these types is created
5115 in every context, and that type is determined by the property
5116 @code{systemStartDelimiter}.
5118 @node Aligning to cadenzas
5119 @subsection Aligning to cadenzas
5122 In an orchestral context, cadenzas present a special problem:
5123 when constructing a score that includes a cadenza, all other
5124 instruments should skip just as many notes as the length of the
5125 cadenza, otherwise they will start too soon or too late.
5127 A solution to this problem are the functions @code{mmrest-of-length}
5128 and @code{skip-of-length}. These Scheme functions take a piece of music
5129 as argument, and generate a @code{\skip} or multi-rest, exactly as
5130 long as the piece. The use of @code{mmrest-of-length} is demonstrated
5131 in the following example.
5133 @lilypond[verbatim,raggedright,quote]
5134 cadenza = \relative c' {
5135 c4 d8 << { e f g } \\ { d4. } >>
5140 \new Staff { \cadenza c'4 }
5142 #(ly:export (mmrest-of-length cadenza))
5152 @node Rehearsal marks
5153 @subsection Rehearsal marks
5154 @cindex Rehearsal marks
5156 @cindex @code{\mark}
5158 To print a rehearsal mark, use the @code{\mark} command
5160 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
5169 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
5170 @c umm, is the manual the right place for feature requests? :) -gp
5171 @c FIXME - should make that tunable.
5173 The mark is incremented automatically if you use @code{\mark
5174 \default}, but you can also use an integer argument to set the mark
5175 manually. The value to use is stored in the property
5176 @code{rehearsalMark}.
5178 The style is defined by the property @code{markFormatter}. It is a
5179 function taking the current mark (an integer) and the current context
5180 as argument. It should return a markup object. In the following
5181 example, @code{markFormatter} is set to a canned procedure. After a
5182 few measures, it is set to function that produces a boxed number.
5184 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5185 \set Score.markFormatter = #format-mark-numbers
5188 \set Score.markFormatter = #format-mark-box-numbers
5194 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
5195 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
5196 @code{format-mark-letters} and @code{format-mark-box-letters}.
5197 These can be used as inspiration for other formatting functions.
5200 @cindex coda on bar line
5201 @cindex segno on bar line
5202 @cindex fermata on bar line
5203 @cindex bar lines, symbols on
5205 The @code{\mark} command can also be used to put signs like coda,
5206 segno, and fermata on a bar line. Use @code{\markup} to
5207 access the appropriate symbol
5209 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5210 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
5214 In the case of a line break, marks must also be printed at the end of
5215 the line, and not at the beginning. Use the following to force that
5218 \override Score.RehearsalMark
5219 #'break-visibility = #begin-of-line-invisible
5225 @cindex bar lines, putting symbols on
5229 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5231 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
5232 definition of @code{format-mark-numbers} and
5233 @code{format-mark-letters}. They can be used as inspiration for other
5234 formatting functions.
5236 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
5238 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
5242 @subsection Bar numbers
5246 @cindex measure numbers
5247 @cindex @code{currentBarNumber}
5249 Bar numbers are printed by default at the start of the line. The
5250 number itself is stored in the @code{currentBarNumber} property, which
5251 is normally updated automatically for every measure.
5253 Bar numbers can be typeset at regular intervals instead of at the
5254 beginning of each line. This is illustrated in the following example,
5255 whose source is available as
5256 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
5258 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5260 Bar numbers can be typeset manually by tweaking the
5261 @code{markFormatter} property
5263 @lilypond[verbatim,raggedright,quote]
5265 \set Score.markFormatter
5266 = #(lambda (mark context)
5269 (number->string (ly:context-property context
5270 'currentBarNumber)))))
5272 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
5276 Bar numbers can be manually changed by setting the
5277 @code{Staff.currentBarNumber} property
5279 @lilypond[verbatim,raggedright,quote]
5281 \repeat unfold 4 {c4 c c c} \break
5282 \set Score.currentBarNumber = #50
5283 \repeat unfold 4 {c4 c c c}
5289 Program reference: @internalsref{BarNumber}.
5292 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
5293 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
5297 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5298 there is one at the top. To solve this, the
5299 @code{padding} property of @internalsref{BarNumber} can be
5300 used to position the number correctly.
5302 @node Instrument names
5303 @subsection Instrument names
5305 In an orchestral score, instrument names are printed at the left side
5308 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5309 and @internalsref{Staff}.@code{instr}. This will print a string before
5310 the start of the staff. For the first staff, @code{instrument} is
5311 used, for the following ones, @code{instr} is used.
5313 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5314 \set Staff.instrument = "Ploink "
5315 \set Staff.instr = "Plk "
5321 You can also use markup texts to construct more complicated instrument
5324 @lilypond[quote,fragment,verbatim,raggedright]
5325 \set Staff.instrument = \markup {
5326 \column { "Clarinetti"
5327 \line { "in B" \smaller \flat } } }
5331 For longer instrument names, it may be useful to increase the
5332 @code{indent} setting in the @code{\layout} block.
5336 Program reference: @internalsref{InstrumentName}.
5340 When you put a name on a grand staff or piano staff, the width of the
5341 brace is not taken into account. You must add extra spaces to the end of
5342 the name to avoid a collision.
5345 @subsection Transpose
5347 @cindex transposition of pitches
5348 @cindex @code{\transpose}
5350 A music expression can be transposed with @code{\transpose}. The
5353 \transpose @var{from} @var{to} @var{musicexpr}
5356 This means that @var{musicexpr} is transposed by the interval between
5357 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5358 is changed to @code{to}.
5361 For example, consider a piece written in the key of D-major. If
5362 this piece is a little too low for its performer, it can be
5363 transposed up to E-major with
5365 \transpose d e @dots{}
5368 Consider a part written for violin (a C instrument). If
5369 this part is to be played on the A clarinet, the following
5370 transposition will produce the appropriate part
5373 \transpose a c @dots{}
5376 @code{\transpose} distinguishes between enharmonic pitches: both
5377 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5378 half a tone. The first version will print sharps and the second
5379 version will print flats
5381 @lilypond[quote,raggedright,verbatim]
5382 mus = { \key d \major cis d fis g }
5386 \transpose c g' \mus
5387 \transpose c f' \mus
5394 Program reference: @internalsref{TransposedMusic}, and
5395 @internalsref{UntransposableMusic}.
5399 If you want to use both @code{\transpose} and @code{\relative},
5400 you must put @code{\transpose} outside of @code{\relative}, since
5401 @code{\relative} will have no effect music that appears inside a
5404 @node Instrument transpositions
5405 @subsection Instrument transpositions
5407 The key of a transposing instrument can also be specified. This
5408 applies to many wind instruments, for example, clarinets (B-flat, A, and
5409 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
5411 The transposition is entered after the keyword @code{\transposition}
5414 \transposition bes %% B-flat clarinet
5418 This command sets the property @code{instrumentTransposition}. The value of
5419 this property is used for MIDI output and quotations. It does not
5420 affect how notes are printed in the current staff.
5422 The pitch to use for @code{\transposition} should correspond to the
5423 transposition of the notes. For example, when entering a score in
5424 concert pitch, typically all voices are entered in C, so
5425 they should be entered as
5438 The command @code{\transposition} should be used when the music is
5439 entered from a (transposed) orchestral part. For example, in
5440 classical horn parts, the tuning of the instrument is often changed
5441 during a piece. When copying the notes from the part, use
5442 @code{\transposition}, e.g.,
5455 @cindex transposition, MIDI
5456 @cindex transposition, instrument
5459 @node Multi measure rests
5460 @subsection Multi measure rests
5461 @cindex multi measure rests
5462 @cindex Rests, multi measure
5466 Multi-measure rests are entered using `@code{R}'. It is specifically
5467 meant for full bar rests and for entering parts: the rest can expand
5468 to fill a score with rests, or it can be printed as a single
5469 multi-measure rest. This expansion is controlled by the property
5470 @code{Score.skipBars}. If this is set to true, empty measures will not
5471 be expanded, and the appropriate number is added automatically
5473 @lilypond[quote,raggedright,fragment,verbatim]
5474 \time 4/4 r1 | R1 | R1*2
5475 \set Score.skipBars = ##t R1*17 R1*4
5478 The @code{1} in @code{R1} is similar to the duration notation used for
5479 notes. Hence, for time signatures other than 4/4, you must enter other
5480 durations. This can be done with augmentation dots or fractions
5482 @lilypond[quote,raggedright,fragment,verbatim]
5483 \set Score.skipBars = ##t
5492 An @code{R} spanning a single measure is printed as either a whole rest
5493 or a breve, centered in the measure regardless of the time signature.
5495 If there are only a few measures of rest, LilyPond prints ``church rests''
5496 (a series of rectangles) in the staff. To replace that with a simple
5497 rest, use @code{MultiMeasureRest.expand-limit}.
5499 @lilypond[quote,raggedright,fragment,verbatim]
5500 \set Score.skipBars = ##t
5502 \override MultiMeasureRest #'expand-limit = 1
5507 @cindex text on multi-measure rest
5508 @cindex script on multi-measure rest
5509 @cindex fermata on multi-measure rest
5511 Texts can be added to multi-measure rests by using the
5512 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5513 A variable (@code{\fermataMarkup}) is provided for
5516 @lilypond[quote,raggedright,verbatim,fragment]
5517 \set Score.skipBars = ##t
5519 R2.*10^\markup { \italic "ad lib." }
5523 If you want to have text on the left end of a multi-measure rest,
5524 attach the text to a zero-length skip note, i.e.,
5532 @cindex whole rests for a full measure
5536 Program reference: @internalsref{MultiMeasureRestEvent},
5537 @internalsref{MultiMeasureTextEvent},
5538 @internalsref{MultiMeasureRestMusicGroup}, and
5539 @internalsref{MultiMeasureRest}.
5541 The layout object @internalsref{MultiMeasureRestNumber} is for the
5542 default number, and @internalsref{MultiMeasureRestText} for user
5547 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
5548 over multi-measure rests. And the pitch of multi-measure rests (or
5549 staff-centered rests) can not be influenced.
5551 @cindex condensing rests
5553 There is no way to automatically condense multiple rests into a single
5554 multi-measure rest. Multi-measure rests do not take part in rest
5557 Be careful when entering multi-measure rests followed by whole
5558 notes. The following will enter two notes lasting four measures each
5562 When @code{skipBars} is set, the result will look OK, but the bar
5563 numbering will be off.
5565 @node Automatic part combining
5566 @subsection Automatic part combining
5567 @cindex automatic part combining
5568 @cindex part combiner
5571 Automatic part combining is used to merge two parts of music onto a
5572 staff. It is aimed at typesetting orchestral scores. When the two
5573 parts are identical for a period of time, only one is shown. In
5574 places where the two parts differ, they are typeset as separate
5575 voices, and stem directions are set automatically. Also, solo and
5576 @emph{a due} parts are identified and can be marked.
5578 The syntax for part combining is
5581 \partcombine @var{musicexpr1} @var{musicexpr2}
5586 The following example demonstrates the basic functionality of the part
5587 combiner: putting parts on one staff, and setting stem directions and
5590 @lilypond[quote,verbatim,raggedright,fragment]
5591 \new Staff \partcombine
5592 \relative g' { g g a( b) c c r r }
5593 \relative g' { g g r4 r e e g g }
5596 The first @code{g} appears only once, although it was
5597 specified twice (once in each part). Stem, slur, and tie directions are
5598 set automatically, depending whether there is a solo or unisono. The
5599 first part (with context called @code{one}) always gets up stems, and
5600 `Solo', while the second (called @code{two}) always gets down stems and
5603 If you just want the merging parts, and not the textual markings, you
5604 may set the property @code{printPartCombineTexts} to false
5606 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5608 \set Staff.printPartCombineTexts = ##f
5610 \relative g' { g a( b) r }
5611 \relative g' { g r4 r f }
5615 To change the text that is printed for solos or merging, you may
5616 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
5619 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5621 \set Score.soloText = #"ichi"
5622 \set Score.soloIIText = #"ni"
5623 \set Score.aDueText = #"tachi"
5625 \relative g' { g a( b) r }
5626 \relative g' { g r4 r f }
5630 Both arguments to @code{\partcombine} will be interpreted as
5631 @internalsref{Voice} contexts. If using relative octaves,
5632 @code{\relative} should be specified for both music expressions, i.e.,
5636 \relative @dots{} @var{musicexpr1}
5637 \relative @dots{} @var{musicexpr2}
5641 A @code{\relative} section that is outside of @code{\partcombine} has
5642 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5646 Program reference: @internalsref{PartCombineMusic},
5647 @internalsref{SoloOneEvent}, and
5648 @internalsref{SoloTwoEvent}, and
5649 @internalsref{UnisonoEvent}.
5653 When @code{printPartCombineTexts} is set, when the two voices play the
5654 same notes on and off, the part combiner may typeset @code{a2} more
5655 than once in a measure.
5657 @code{\partcombine} cannot be inside @code{\times}.
5659 @code{\partcombine} cannot be inside @code{\relative}.
5661 Internally, the @code{\partcombine} interprets both arguments as
5662 @code{Voice}s named @code{one} and @code{two}, and then decides when
5663 the parts can be combined. Consequently, if the arguments switch to
5664 differently named @internalsref{Voice} contexts, the events in those
5668 @subsection Hiding staves
5670 @cindex Frenched scores
5671 @cindex Hiding staves
5673 In orchestral scores, staff lines that only have rests are usually
5674 removed. This saves some space. This style is called `French Score'.
5675 For @internalsref{Lyrics},
5676 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5677 switched on by default. When the lines of these contexts turn out
5678 empty after the line-breaking process, they are removed.
5680 For normal staves, a specialized @internalsref{Staff} context is
5681 available, which does the same: staves containing nothing (or only
5682 multi-measure rests) are removed. The context definition is stored in
5683 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5684 in this example disappears in the second line
5686 @lilypond[quote,raggedright,verbatim]
5688 \context { \RemoveEmptyStaffContext }
5693 \new Staff { e4 f g a \break c1 }
5694 \new Staff { c4 d e f \break R1 }
5699 The first system shows all staves in full. If empty staves should be
5700 removed from the first system too, set @code{remove-first} to false in
5701 @internalsref{RemoveEmptyVerticalGroup}.
5703 Another application is making ossia sections, i.e., alternative
5704 melodies on a separate piece of staff, with help of a Frenched
5705 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
5708 @node Different editions from one source
5709 @subsection Different editions from one source
5712 The @code{\tag} command marks music expressions with a name. These
5713 tagged expressions can be filtered out later. With this mechanism it
5714 is possible to make different versions of the same music source.
5716 In the following example, we see two versions of a piece of music, one
5717 for the full score, and one with cue notes for the instrumental part
5733 The same can be applied to articulations, texts, etc.: they are
5736 -\tag #@var{your-tag}
5738 to an articulation, for example,
5743 This defines a note with a conditional fingering indication.
5746 @cindex removeWithTag
5747 By applying the @code{\keepWithTag} and @code{\removeWithTag}
5748 commands, tagged expressions can be filtered. For example,
5752 \keepWithTag #'score @var{the music}
5753 \keepWithTag #'part @var{the music}
5758 @lilypondfile[raggedright,quote]{tag-filter.ly}
5761 The argument of the @code{\tag} command should be a symbol, or a list
5762 of symbols, for example,
5764 \tag #'(original-part transposed-part) @dots{}
5771 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
5775 Multiple rests are not merged if you create the score with both tagged
5779 @node Quoting other voices
5780 @subsection Quoting other voices
5782 With quotations, fragments of other parts can be inserted into a part
5783 directly. Before a part can be quoted, it must be marked especially as
5784 quotable. This is done with the @code{\addquote} command.
5787 \addquote @var{name} @var{music}
5792 Here, @var{name} is an identifying string. The @var{music} is any kind
5793 of music. Here is an example of @code{\addquote}
5796 \addquote clarinet \relative c' @{
5801 This command must be entered at toplevel, i.e., outside any music
5804 After calling @code{\addquote}, the quotation may then be done with
5805 @code{\quoteDuring} or @code{\cueDuring},
5808 \quoteDuring #@var{name} @var{music}
5811 During a part, a piece of music can be quoted with the @code{\quoteDuring}
5815 \quoteDuring #"clarinet" @{ s2. @}
5818 This would cite three quarter notes (the duration of @code{s2.}) of
5819 the previously added @code{clarinet} voice.
5822 More precisely, it takes the current time-step of the part being
5823 printed, and extracts the notes at the corresponding point of the
5824 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5825 should be the entire part of the voice to be quoted, including any
5826 rests at the beginning.
5828 Quotations take into account the transposition of both source and target
5829 instruments, if they are specified using the @code{\transposition} command.
5831 @lilypond[quote,raggedright,verbatim]
5832 \addquote clarinet \relative c' {
5838 e'8 f'8 \quoteDuring #"clarinet" { s2 }
5842 The type of events that are present in cue notes can be trimmed with
5843 the @code{quotedEventTypes} property. The default value is
5844 @code{(note-event rest-event)}, which means that only notes and
5845 rests of the cued voice end up in the @code{\quoteDuring}.
5849 \set Staff.quotedEventTypes =
5850 #'(note-event articulation-event dynamic-event)
5854 will quote notes (but no rests), together with scripts and dynamics.
5858 Only the contents of the first @internalsref{Voice} occurring in an
5859 @code{\addquote} command will be considered for quotation, so
5860 @var{music} can not contain @code{\new} and @code{\context Voice}
5861 statements that would switch to a different Voice.
5863 Quoting grace notes is broken and can even cause LilyPond to crash.
5867 In this manual: @ref{Instrument transpositions}.
5869 Examples: @inputfileref{input/@/regression,quote@/.ly}
5870 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
5872 Program reference: @internalsref{QuoteMusic}.
5874 @node Formatting cue notes
5875 @subsection Formatting cue notes
5877 The previous section deals with inserting notes from another voice.
5878 There is a more advanced music function called @code{\cueDuring},
5879 which makes formatting cue notes easier.
5884 \cueDuring #@var{name} #@var{updown} @var{music}
5887 This will insert notes from the part @var{name} into a
5888 @internalsref{Voice} called @code{cue}. This happens simultaneously
5889 with @var{music}, which usually is a rest. When the cue notes start,
5890 the staff in effect becomes polyphonic for a moment. The argument
5891 @var{updown} determines whether the cue notes should be notated as a
5892 first or second voice.
5895 @lilypond[verbatim,raggedright]
5898 \override Stem #'length = #5.5
5899 \override Beam #'thickness = #0.384
5900 \override Beam #'space-function =
5901 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5904 \addquote clarinet \relative {
5909 \new Staff \relative <<
5911 % setup a context for cue notes.
5912 \context Voice = cue { \smaller \skip 1*21 }
5914 \set Score.skipBars = ##t
5918 \cueDuring #"clarinet" #1 {
5927 Here are a couple of hints for successful cue notes
5931 Cue notes have smaller font sizes.
5933 the cued part is marked with the instrument playing the cue.
5935 when the original part takes over again, this should be marked with
5936 the name of the original instrument.
5938 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5940 @c Yes, this is good practice. Otherwise, the start of the original
5941 @c part can only be seen from the font size. This is not good enough
5942 @c for sight-reading. It is possilbe to use other
5943 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
5948 any other changes introduced by the cued part should also be
5949 undone. For example, if the cued instrument plays in a different clef,
5950 the original clef should be stated once again.
5958 @node Ancient notation
5959 @section Ancient notation
5961 @cindex Vaticana, Editio
5962 @cindex Medicaea, Editio
5967 Support for ancient notation includes features for mensural notation
5968 and Gregorian Chant notation. There is also limited support for
5969 figured bass notation.
5971 Many graphical objects provide a @code{style} property, see
5974 @ref{Ancient note heads},
5976 @ref{Ancient accidentals},
5978 @ref{Ancient rests},
5980 @ref{Ancient clefs},
5982 @ref{Ancient flags},
5984 @ref{Ancient time signatures}.
5987 By manipulating such a grob property, the typographical appearance of
5988 the affected graphical objects can be accommodated for a specific
5989 notation flavor without the need for introducing any new notational
5992 In addition to the standard articulation signs described in section
5993 @ref{Articulations}, specific articulation signs for ancient notation
5998 @ref{Ancient articulations}
6001 Other aspects of ancient notation can not that easily be expressed
6002 in terms of just changing a style property of a graphical object or
6003 adding articulation signs. Some notational concepts are introduced
6004 specifically for ancient notation,
6015 If this all is too much of documentation for you, and you just want to
6016 dive into typesetting without worrying too much about the details on
6017 how to customize a context, you may have a look at the predefined
6018 contexts. Use them to set up predefined style-specific voice and
6019 staff contexts, and directly go ahead with the note entry,
6023 @ref{Gregorian Chant contexts},
6025 @ref{Mensural contexts}.
6028 There is limited support for figured bass notation which came
6029 up during the baroque period.
6036 Here are all suptopics at a glance:
6039 * Ancient note heads::
6040 * Ancient accidentals::
6044 * Ancient time signatures::
6045 * Ancient articulations::
6049 * Gregorian Chant contexts::
6050 * Mensural contexts::
6055 @node Ancient note heads
6056 @subsection Ancient note heads
6061 For ancient notation, a note head style other than the @code{default}
6062 style may be chosen. This is accomplished by setting the @code{style}
6063 property of the @internalsref{NoteHead} object to @code{baroque},
6064 @code{neomensural} or @code{mensural}. The @code{baroque} style
6065 differs from the @code{default} style only in using a square shape
6066 for @code{\breve} note heads. The @code{neomensural} style differs from
6067 the @code{baroque} style in that it uses rhomboidal heads for whole notes
6068 and all smaller durations. Stems are centered on the note heads.
6069 This style is particularly useful when transcribing mensural music,
6070 e.g., for the incipit. The @code{mensural} style finally produces note
6071 heads that mimic the look of note heads in historic printings of the
6074 The following example demonstrates the @code{neomensural} style
6076 @lilypond[quote,fragment,raggedright,verbatim]
6077 \set Score.skipBars = ##t
6078 \override NoteHead #'style = #'neomensural
6079 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
6082 When typesetting a piece in Gregorian Chant notation, the
6083 @internalsref{Gregorian_ligature_engraver} will automatically select
6084 the proper note heads, so there is no need to explicitly set the
6085 note head style. Still, the note head style can be set, e.g., to
6086 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
6087 @internalsref{Mensural_ligature_engraver} is used to automatically
6088 assemble mensural ligatures. See @ref{Ligatures} for how ligature
6093 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
6094 overview over all available note head styles.
6097 @node Ancient accidentals
6098 @subsection Ancient accidentals
6103 Use the @code{style} property of grob @internalsref{Accidental} to
6104 select ancient accidentals. Supported styles are
6105 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
6107 @lilypond[quote,raggedright,staffsize=26]
6114 \line { " " \musicglyph #"accidentals-vaticana-1"
6115 " " \musicglyph #"accidentals-vaticana0" }
6119 \line { " " \musicglyph #"accidentals-medicaea-1" }
6123 \line { " " \musicglyph #"accidentals-hufnagel-1" }
6127 \line { " " \musicglyph #"accidentals-mensural-1"
6128 " " \musicglyph #"accidentals-mensural1" }
6134 \context { \Score \remove "Bar_number_engraver" }
6136 \remove "Clef_engraver"
6137 \remove "Key_engraver"
6138 \remove "Time_signature_engraver"
6139 \remove "Staff_symbol_engraver"
6140 minimumVerticalExtent = ##f
6146 As shown, not all accidentals are supported by each style. When
6147 trying to access an unsupported accidental, LilyPond will switch to a
6148 different style, as demonstrated in
6149 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6151 Similarly to local accidentals, the style of the key signature can be
6152 controlled by the @code{style} property of the
6153 @internalsref{KeySignature} grob.
6157 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
6158 @ref{Accidentals} give a general introduction of the use of
6159 accidentals. @ref{Key signature} gives a general introduction of
6160 the use of key signatures.
6162 Program reference: @internalsref{KeySignature}.
6164 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6167 @subsection Ancient rests
6172 Use the @code{style} property of grob @internalsref{Rest} to select
6173 ancient rests. Supported styles are @code{classical},
6174 @code{neomensural}, and @code{mensural}. @code{classical} differs
6175 from the @code{default} style only in that the quarter rest looks like
6176 a horizontally mirrored 8th rest. The @code{neomensural} style suits
6177 well for, e.g., the incipit of a transcribed mensural piece of music.
6178 The @code{mensural} style finally mimics the appearance of rests as
6179 in historic prints of the 16th century.
6181 The following example demonstrates the @code{neomensural} style
6183 @lilypond[quote,fragment,raggedright,verbatim]
6184 \set Score.skipBars = ##t
6185 \override Rest #'style = #'neomensural
6186 r\longa r\breve r1 r2 r4 r8 r16
6189 There are no 32th and 64th rests specifically for the mensural or
6190 neo-mensural style. Instead, the rests from the default style will be
6191 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
6194 There are no rests in Gregorian Chant notation; instead, it uses
6199 In this manual: @ref{Rests} gives a general introduction into the use of rests.
6203 @subsection Ancient clefs
6208 LilyPond supports a variety of clefs, many of them ancient.
6210 The following table shows all ancient clefs that are supported via the
6211 @code{\clef} command. Some of the clefs use the same glyph, but
6212 differ only with respect to the line they are printed on. In such
6213 cases, a trailing number in the name is used to enumerate these clefs.
6214 Still, you can manually force a clef glyph to be typeset on an
6215 arbitrary line, as described in @ref{Clef}. The note printed to the
6216 right side of each clef in the example column denotes the @code{c'}
6217 with respect to that clef.
6219 @multitable @columnfractions .4 .4 .2
6228 modern style mensural C clef
6230 @code{neomensural-c1}, @code{neomensural-c2},@*
6231 @code{neomensural-c3}, @code{neomensural-c4}
6233 @lilypond[fragment,relative=1,notime]
6234 \clef "neomensural-c2" c
6238 petrucci style mensural C clefs, for use on different staff lines
6239 (the examples show the 2nd staff line C clef)
6241 @code{petrucci-c1}, @code{petrucci-c2},@*
6242 @code{petrucci-c3}, @code{petrucci-c4},@*
6245 @lilypond[fragment,relative=1,notime]
6246 \clef "petrucci-c2" c
6250 petrucci style mensural F clef
6254 @lilypond[fragment,relative=1,notime]
6255 \clef "petrucci-f" c
6259 petrucci style mensural G clef
6263 @lilypond[fragment,relative=1,notime]
6264 \clef "petrucci-g" c
6268 historic style mensural C clef
6270 @code{mensural-c1}, @code{mensural-c2},@*
6271 @code{mensural-c3}, @code{mensural-c4}
6273 @lilypond[fragment,relative=1,notime]
6274 \clef "mensural-c2" c
6278 historic style mensural F clef
6282 @lilypond[fragment,relative=1,notime]
6283 \clef "mensural-f" c
6287 historic style mensural G clef
6291 @lilypond[fragment,relative=1,notime]
6292 \clef "mensural-g" c
6296 Editio Vaticana style do clef
6298 @code{vaticana-do1}, @code{vaticana-do2},@*
6301 @lilypond[fragment,relative=1,notime]
6302 \override Staff.StaffSymbol #'line-count = #4
6303 \clef "vaticana-do2" c
6307 Editio Vaticana style fa clef
6309 @code{vaticana-fa1}, @code{vaticana-fa2}
6311 @lilypond[fragment,relative=1,notime]
6312 \override Staff.StaffSymbol #'line-count = #4
6313 \clef "vaticana-fa2" c
6317 Editio Medicaea style do clef
6319 @code{medicaea-do1}, @code{medicaea-do2},@*
6322 @lilypond[fragment,relative=1,notime]
6323 \override Staff.StaffSymbol #'line-count = #4
6324 \clef "medicaea-do2" c
6328 Editio Medicaea style fa clef
6330 @code{medicaea-fa1}, @code{medicaea-fa2}
6332 @lilypond[fragment,relative=1,notime]
6333 \override Staff.StaffSymbol #'line-count = #4
6334 \clef "medicaea-fa2" c
6338 historic style hufnagel do clef
6340 @code{hufnagel-do1}, @code{hufnagel-do2},@*
6343 @lilypond[fragment,relative=1,notime]
6344 \override Staff.StaffSymbol #'line-count = #4
6345 \clef "hufnagel-do2" c
6349 historic style hufnagel fa clef
6351 @code{hufnagel-fa1}, @code{hufnagel-fa2}
6353 @lilypond[fragment,relative=1,notime]
6354 \override Staff.StaffSymbol #'line-count = #4
6355 \clef "hufnagel-fa2" c
6359 historic style hufnagel combined do/fa clef
6361 @code{hufnagel-do-fa}
6363 @lilypond[fragment,relative=1,notime]
6364 \clef "hufnagel-do-fa" c
6370 @emph{Modern style} means ``as is typeset in contemporary editions of
6371 transcribed mensural music''.
6373 @emph{Petrucci style} means ``inspired by printings published by the
6374 famous engraver Petrucci (1466-1539)''.
6376 @emph{Historic style} means ``as was typeset or written in historic
6377 editions (other than those of Petrucci)''.
6379 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6381 Petrucci used C clefs with differently balanced left-side vertical
6382 beams, depending on which staff line it is printed.
6386 In this manual: see @ref{Clef}.
6390 The mensural g clef is mapped to the Petrucci g clef.
6395 @subsection Ancient flags
6400 Use the @code{flag-style} property of grob @internalsref{Stem} to
6401 select ancient flags. Besides the @code{default} flag style,
6402 only the @code{mensural} style is supported
6404 @lilypond[quote,fragment,raggedright,verbatim]
6405 \override Stem #'flag-style = #'mensural
6406 \override Stem #'thickness = #1.0
6407 \override NoteHead #'style = #'mensural
6409 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
6410 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6413 Note that the innermost flare of each mensural flag always is
6414 vertically aligned with a staff line.
6416 There is no particular flag style for neo-mensural notation. Hence,
6417 when typesetting the incipit of a transcribed piece of mensural
6418 music, the default flag style should be used. There are no flags in
6419 Gregorian Chant notation.
6423 The attachment of ancient flags to stems is slightly off due to a
6424 change in early 2.3.x.
6426 Vertically aligning each flag with a staff line assumes that stems
6427 always end either exactly on or exactly in the middle between two
6428 staff lines. This may not always be true when using advanced layout
6429 features of classical notation (which however are typically out of
6430 scope for mensural notation).
6432 @node Ancient time signatures
6433 @subsection Ancient time signatures
6435 @cindex time signatures
6438 There is limited support for mensural time signatures. The
6439 glyphs are hard-wired to particular time fractions. In other words,
6440 to get a particular mensural signature glyph with the @code{\time n/m}
6441 command, @code{n} and @code{m} have to be chosen according to the
6444 @lilypond[quote,raggedright]
6448 \remove Staff_symbol_engraver
6449 \remove Clef_engraver
6450 \remove Time_signature_engraver
6453 \set Score.timing = ##f
6454 \set Score.barAlways = ##t
6455 s_\markup { "$\\backslash$time 4/4" }
6456 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6458 s_\markup { "$\\backslash$time 2/2" }
6459 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6461 s_\markup { "$\\backslash$time 6/4" }
6462 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6464 s_\markup { "$\\backslash$time 6/8" }
6465 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6467 s_\markup { "$\\backslash$time 3/2" }
6468 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6470 s_\markup { "$\\backslash$time 3/4" }
6471 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6473 s_\markup { "$\\backslash$time 9/4" }
6474 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6476 s_\markup { "$\\backslash$time 9/8" }
6477 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6479 s_\markup { "$\\backslash$time 4/8" }
6480 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6482 s_\markup { "$\\backslash$time 2/4" }
6483 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6487 Use the @code{style} property of grob @internalsref{TimeSignature} to
6488 select ancient time signatures. Supported styles are
6489 @code{neomensural} and @code{mensural}. The above table uses the
6490 @code{neomensural} style. This style is appropriate for the
6491 incipit of transcriptions of mensural pieces. The @code{mensural}
6492 style mimics the look of historical printings of the 16th century.
6494 The following examples show the differences in style,
6496 @lilypond[raggedright,fragment,relative=1,quote]
6500 c1^\markup { \hspace #-2.0 \typewriter default }
6502 \override Staff.TimeSignature #'style = #'numbered
6504 c1^\markup { \hspace #-2.0 \typewriter numbered }
6506 \override Staff.TimeSignature #'style = #'mensural
6508 c1^\markup { \hspace #-2.0 \typewriter mensural }
6510 \override Staff.TimeSignature #'style = #'neomensural
6512 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6513 \override Staff.TimeSignature #'style = #'single-digit
6515 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6521 This manual: @ref{Time signature} gives a general introduction to
6522 the use of time signatures.
6526 Ratios of note durations do not change with the time signature. For
6527 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6528 be made by hand, by setting
6531 breveTP = #(ly:make-duration -1 0 3 2)
6537 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6539 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6540 addressable with @code{\time}. Use a @code{\markup} instead
6542 @node Ancient articulations
6543 @subsection Ancient articulations
6545 @cindex articulations
6547 In addition to the standard articulation signs described in section
6548 @ref{Articulations}, articulation signs for ancient notation are
6549 provided. These are specifically designed for use with notation in
6550 Editio Vaticana style.
6552 @lilypond[quote,raggedright,verbatim]
6553 \include "gregorian-init.ly"
6555 \context VaticanaVoice {
6556 \override TextScript #'font-family = #'typewriter
6557 \override TextScript #'font-shape = #'upright
6558 \override Script #'padding = #-0.1
6560 a4\circulus_"circulus" s1
6561 a4\semicirculus_"semicirculus" s1 s
6562 a4\accentus_"accentus" s1
6563 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6570 Some articulations are vertically placed too closely to the
6571 correpsonding note heads.
6574 @subsection Custodes
6579 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6580 symbol that appears at the end of a staff. It anticipates the pitch
6581 of the first note(s) of the following line thus helping the performer
6582 to manage line breaks during performance.
6584 Custodes were frequently used in music notation until the 17th
6585 century. Nowadays, they have survived only in a few particular forms
6586 of musical notation such as contemporary editions of Gregorian chant
6587 like the @emph{editio vaticana}. There are different custos glyphs
6588 used in different flavors of notational style.
6590 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6591 @internalsref{Staff} context when declaring the @code{\layout} block,
6592 as shown in the following example
6598 \consists Custos_engraver
6599 Custos \override #'style = #'mensural
6604 The result looks like this
6606 @lilypond[quote,raggedright]
6610 \override Staff.Custos #'style = #'mensural
6615 \context { \Staff \consists Custos_engraver }
6620 The custos glyph is selected by the @code{style} property. The styles
6621 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
6622 @code{mensural}. They are demonstrated in the following fragment
6624 @lilypond[quote,raggedright,fragment]
6625 \new Lyrics \lyricmode {
6627 \typewriter "vaticana"
6628 \line { " " \musicglyph #"custodes-vaticana-u0" }
6631 \typewriter "medicaea"
6632 \line { " " \musicglyph #"custodes-medicaea-u0" }
6635 \typewriter "hufnagel"
6636 \line { " " \musicglyph #"custodes-hufnagel-u0" }
6639 \typewriter "mensural"
6640 \line { " " \musicglyph #"custodes-mensural-u0" }
6647 Program reference: @internalsref{Custos}.
6649 Examples: @inputfileref{input/@/regression,custos@/.ly}.
6653 @subsection Divisiones
6659 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6660 `division') is a staff context symbol that is used to structure
6661 Gregorian music into phrases and sections. The musical meaning of
6662 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
6663 can be characterized as short, medium, and long pause, somewhat like
6664 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6665 only marks the end of a chant, but is also frequently used within a
6666 single antiphonal/responsorial chant to mark the end of each section.
6669 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
6670 contains definitions that you can apply by just inserting
6671 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6672 and @code{\finalis} at proper places in the input. Some editions use
6673 @emph{virgula} or @emph{caesura} instead of divisio minima.
6674 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
6677 @lilypondfile[quote,raggedright]{divisiones.ly}
6681 @cindex @code{\virgula}
6683 @cindex @code{\caesura}
6685 @cindex @code{\divisioMinima}
6686 @code{\divisioMinima},
6687 @cindex @code{\divisioMaior}
6688 @code{\divisioMaior},
6689 @cindex @code{\divisioMaxima}
6690 @code{\divisioMaxima},
6691 @cindex @code{\finalis}
6696 In this manual: @ref{Breath marks}.
6698 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6700 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
6703 @subsection Ligatures
6707 @c TODO: Should double check if I recalled things correctly when I wrote
6708 @c down the following paragraph by heart.
6710 A ligature is a graphical symbol that represents at least two distinct
6711 notes. Ligatures originally appeared in the manuscripts of Gregorian
6712 chant notation to denote ascending or descending sequences of notes.
6714 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6715 Some ligature styles may need additional input syntax specific for
6716 this particular type of ligature. By default, the
6717 @internalsref{LigatureBracket} engraver just puts a square bracket
6720 @lilypond[quote,raggedright,verbatim]
6728 To select a specific style of ligatures, a proper ligature engraver
6729 has to be added to the @internalsref{Voice} context, as explained in
6730 the following subsections. Only white mensural ligatures
6731 are supported with certain limitations.
6737 Ligatures need special spacing that has not yet been implemented. As
6738 a result, there is too much space between ligatures most of the time,
6739 and line breaking often is unsatisfactory. Also, lyrics do not
6740 correctly align with ligatures.
6742 Accidentals must not be printed within a ligature, but instead need to
6743 be collected and printed in front of it.
6745 Augmentum dots within ligatures are not handled correctly.
6749 * White mensural ligatures::
6750 * Gregorian square neumes ligatures::
6753 @node White mensural ligatures
6754 @subsubsection White mensural ligatures
6756 @cindex Mensural ligatures
6757 @cindex White mensural ligatures
6759 There is limited support for white mensural ligatures.
6761 To engrave white mensural ligatures, in the layout block put the
6762 @internalsref{Mensural_ligature_engraver} into the
6763 @internalsref{Voice} context, and remove the
6764 @internalsref{Ligature_bracket_engraver}, like this
6770 \remove Ligature_bracket_engraver
6771 \consists Mensural_ligature_engraver
6776 There is no additional input language to describe the shape of a
6777 white mensural ligature. The shape is rather determined solely from
6778 the pitch and duration of the enclosed notes. While this approach may
6779 take a new user a while to get accustomed to, it has the great advantage
6780 that the full musical information of the ligature is known internally.
6781 This is not only required for correct MIDI output, but also allows for
6782 automatic transcription of the ligatures.
6787 \set Score.timing = ##f
6788 \set Score.defaultBarType = "empty"
6789 \override NoteHead #'style = #'neomensural
6790 \override Staff.TimeSignature #'style = #'neomensural
6792 \[ g\longa c\breve a\breve f\breve d'\longa \]
6794 \[ e1 f1 a\breve g\longa \]
6796 @lilypond[quote,raggedright]
6799 \set Score.timing = ##f
6800 \set Score.defaultBarType = "empty"
6801 \override NoteHead #'style = #'neomensural
6802 \override Staff.TimeSignature #'style = #'neomensural
6804 \[ g\longa c\breve a\breve f\breve d'\longa \]
6806 \[ e1 f1 a\breve g\longa \]
6811 \remove Ligature_bracket_engraver
6812 \consists Mensural_ligature_engraver
6818 Without replacing @internalsref{Ligature_bracket_engraver} with
6819 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6822 @lilypond[quote,raggedright]
6824 \set Score.timing = ##f
6825 \set Score.defaultBarType = "empty"
6826 \override NoteHead #'style = #'neomensural
6827 \override Staff.TimeSignature #'style = #'neomensural
6829 \[ g\longa c\breve a\breve f\breve d'\longa \]
6831 \[ e1 f1 a\breve g\longa \]
6837 The implementation is experimental. It may output strange warnings,
6838 incorrect results, and might even crash on more complex ligatures.
6840 @node Gregorian square neumes ligatures
6841 @subsubsection Gregorian square neumes ligatures
6843 @cindex Square neumes ligatures
6844 @cindex Gregorian square neumes ligatures
6846 There is limited support for Gregorian square neumes notation
6847 (following the style of the Editio Vaticana). Core ligatures can
6848 already be typeset, but essential issues for serious typesetting are
6849 still lacking, such as (among others) horizontal alignment of multiple
6850 ligatures, lyrics alignment and proper handling of accidentals.
6853 The following table contains the extended neumes table of the 2nd
6854 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6855 1983 by the monks of Solesmes.
6857 @multitable @columnfractions .4 .2 .2 .2
6874 @c TODO: \layout block is identical in all of the below examples.
6875 @c Therefore, it should somehow be included rather than duplicated all
6878 @c why not make identifiers in ly/engraver-init.ly? --hwn
6880 @c Because it's just used to typeset plain notes without
6881 @c a staff for demonstration purposes rather than something
6882 @c special of Gregorian chant notation. --jr
6887 @lilypond[staffsize=26,linewidth=1.5\cm]
6888 \include "gregorian-init.ly"
6893 \noBreak s^\markup {"a"} \noBreak
6895 % Punctum Inclinatum
6897 \noBreak s^\markup {"b"}
6899 \layout { \neumeDemoLayout }}
6902 @lilypond[staffsize=26,linewidth=2.5\cm]
6903 \include "gregorian-init.ly"
6906 % Punctum Auctum Ascendens
6907 \[ \auctum \ascendens b \]
6908 \noBreak s^\markup {"c"} \noBreak
6910 % Punctum Auctum Descendens
6911 \[ \auctum \descendens b \]
6912 \noBreak s^\markup {"d"} \noBreak
6914 % Punctum Inclinatum Auctum
6915 \[ \inclinatum \auctum b \]
6916 \noBreak s^\markup {"e"}
6918 \layout { \neumeDemoLayout }}
6921 @lilypond[staffsize=26,linewidth=1.0\cm]
6922 \include "gregorian-init.ly"
6925 % Punctum Inclinatum Parvum
6926 \[ \inclinatum \deminutum b \]
6927 \noBreak s^\markup {"f"}
6929 \layout { \neumeDemoLayout }}
6935 @lilypond[staffsize=26,linewidth=1.0\cm]
6936 \include "gregorian-init.ly"
6941 \noBreak s^\markup {"g"}
6943 \layout { \neumeDemoLayout }}
6949 @code{3. Apostropha vel Stropha}
6951 @lilypond[staffsize=26,linewidth=1.0\cm]
6952 \include "gregorian-init.ly"
6957 \noBreak s^\markup {"h"}
6959 \layout { \neumeDemoLayout }}
6962 @lilypond[staffsize=26,linewidth=1.0\cm]
6963 \include "gregorian-init.ly"
6967 \[ \stropha \auctum b \]
6968 \noBreak s^\markup {"i"}
6970 \layout { \neumeDemoLayout }}
6977 @lilypond[staffsize=26,linewidth=1.0\cm]
6978 \include "gregorian-init.ly"
6983 \noBreak s^\markup {"j"}
6985 \layout { \neumeDemoLayout }}
6991 @code{5. Clivis vel Flexa}
6993 @lilypond[staffsize=26,linewidth=1.0\cm]
6994 \include "gregorian-init.ly"
7001 \layout { \neumeDemoLayout }}
7004 @lilypond[staffsize=26,linewidth=2.0\cm]
7005 \include "gregorian-init.ly"
7008 % Clivis Aucta Descendens
7009 \[ b \flexa \auctum \descendens g \]
7010 \noBreak s^\markup {"l"} \noBreak
7012 % Clivis Aucta Ascendens
7013 \[ b \flexa \auctum \ascendens g \]
7014 \noBreak s^\markup {"m"}
7016 \layout { \neumeDemoLayout }}
7019 @lilypond[staffsize=26,linewidth=1.0\cm]
7020 \include "gregorian-init.ly"
7024 \[ b \flexa \deminutum g \]
7027 \layout { \neumeDemoLayout }}
7031 @code{6. Podatus vel Pes}
7033 @lilypond[staffsize=26,linewidth=1.0\cm]
7034 \include "gregorian-init.ly"
7041 \layout { \neumeDemoLayout }}
7044 @lilypond[staffsize=26,linewidth=2.0\cm]
7045 \include "gregorian-init.ly"
7048 % Pes Auctus Descendens
7049 \[ g \pes \auctum \descendens b \]
7050 \noBreak s^\markup {"p"} \noBreak
7052 % Pes Auctus Ascendens
7053 \[ g \pes \auctum \ascendens b \]
7054 \noBreak s^\markup {"q"}
7056 \layout { \neumeDemoLayout }}
7059 @lilypond[staffsize=26,linewidth=1.0\cm]
7060 \include "gregorian-init.ly"
7064 \[ g \pes \deminutum b \]
7067 \layout { \neumeDemoLayout }}
7071 @code{7. Pes Quassus}
7073 @lilypond[staffsize=26,linewidth=1.0\cm]
7074 \include "gregorian-init.ly"
7078 \[ \oriscus g \pes \virga b \]
7081 \layout { \neumeDemoLayout }}
7084 @lilypond[staffsize=26,linewidth=1.0\cm]
7085 \include "gregorian-init.ly"
7088 % Pes Quassus Auctus Descendens
7089 \[ \oriscus g \pes \auctum \descendens b \]
7092 \layout { \neumeDemoLayout }}
7097 @code{8. Quilisma Pes}
7099 @lilypond[staffsize=26,linewidth=1.0\cm]
7100 \include "gregorian-init.ly"
7104 \[ \quilisma g \pes b \]
7107 \layout { \neumeDemoLayout }}
7110 @lilypond[staffsize=26,linewidth=1.0\cm]
7111 \include "gregorian-init.ly"
7114 % Quilisma Pes Auctus Descendens
7115 \[ \quilisma g \pes \auctum \descendens b \]
7118 \layout { \neumeDemoLayout }}
7123 @code{9. Podatus Initio Debilis}
7125 @lilypond[staffsize=26,linewidth=1.0\cm]
7126 \include "gregorian-init.ly"
7129 % Pes Initio Debilis
7130 \[ \deminutum g \pes b \]
7133 \layout { \neumeDemoLayout }}
7136 @lilypond[staffsize=26,linewidth=1.0\cm]
7137 \include "gregorian-init.ly"
7140 % Pes Auctus Descendens Initio Debilis
7141 \[ \deminutum g \pes \auctum \descendens b \]
7144 \layout { \neumeDemoLayout }}
7151 @lilypond[staffsize=26,linewidth=1.0\cm]
7152 \include "gregorian-init.ly"
7156 \[ a \pes b \flexa g \]
7159 \layout { \neumeDemoLayout }}
7162 @lilypond[staffsize=26,linewidth=1.0\cm]
7163 \include "gregorian-init.ly"
7166 % Torculus Auctus Descendens
7167 \[ a \pes b \flexa \auctum \descendens g \]
7170 \layout { \neumeDemoLayout }}
7173 @lilypond[staffsize=26,linewidth=1.0\cm]
7174 \include "gregorian-init.ly"
7177 % Torculus Deminutus
7178 \[ a \pes b \flexa \deminutum g \]
7181 \layout { \neumeDemoLayout }}
7185 @code{11. Torculus Initio Debilis}
7187 @lilypond[staffsize=26,linewidth=1.0\cm]
7188 \include "gregorian-init.ly"
7191 % Torculus Initio Debilis
7192 \[ \deminutum a \pes b \flexa g \]
7195 \layout { \neumeDemoLayout }}
7198 @lilypond[staffsize=26,linewidth=1.0\cm]
7199 \include "gregorian-init.ly"
7202 % Torculus Auctus Descendens Initio Debilis
7203 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
7206 \layout { \neumeDemoLayout }}
7209 @lilypond[staffsize=26,linewidth=1.0\cm]
7210 \include "gregorian-init.ly"
7213 % Torculus Deminutus Initio Debilis
7214 \[ \deminutum a \pes b \flexa \deminutum g \]
7217 \layout { \neumeDemoLayout }}
7221 @code{12. Porrectus}
7223 @lilypond[staffsize=26,linewidth=1.0\cm]
7224 \include "gregorian-init.ly"
7228 \[ a \flexa g \pes b \]
7231 \layout { \neumeDemoLayout }}
7234 @lilypond[staffsize=26,linewidth=1.0\cm]
7235 \include "gregorian-init.ly"
7238 % Porrectus Auctus Descendens
7239 \[ a \flexa g \pes \auctum \descendens b \]
7242 \layout { \neumeDemoLayout }}
7245 @lilypond[staffsize=26,linewidth=1.0\cm]
7246 \include "gregorian-init.ly"
7249 % Porrectus Deminutus
7250 \[ a \flexa g \pes \deminutum b \]
7253 \layout { \neumeDemoLayout }}
7259 @lilypond[staffsize=26,linewidth=1.0\cm]
7260 \include "gregorian-init.ly"
7264 \[ \virga b \inclinatum a \inclinatum g \]
7267 \layout { \neumeDemoLayout }
7271 @lilypond[staffsize=26,linewidth=1.0\cm]
7272 \include "gregorian-init.ly"
7276 \[ \virga b \inclinatum a \inclinatum \auctum g \]
7279 \layout { \neumeDemoLayout }}
7282 @lilypond[staffsize=26,linewidth=1.0\cm]
7283 \include "gregorian-init.ly"
7286 % Climacus Deminutus
7287 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7290 \layout { \neumeDemoLayout }}
7294 @code{14. Scandicus}
7296 @lilypond[staffsize=26,linewidth=1.0\cm]
7297 \include "gregorian-init.ly"
7301 \[ g \pes a \virga b \]
7304 \layout { \neumeDemoLayout }}
7307 @lilypond[staffsize=26,linewidth=1.0\cm]
7308 \include "gregorian-init.ly"
7311 % Scandicus Auctus Descendens
7312 \[ g \pes a \pes \auctum \descendens b \]
7315 \layout { \neumeDemoLayout }}
7318 @lilypond[staffsize=26,linewidth=1.0\cm]
7319 \include "gregorian-init.ly"
7322 % Scandicus Deminutus
7323 \[ g \pes a \pes \deminutum b \]
7326 \layout { \neumeDemoLayout }}
7332 @lilypond[staffsize=26,linewidth=1.0\cm]
7333 \include "gregorian-init.ly"
7337 \[ g \oriscus a \pes \virga b \]
7340 \layout { \neumeDemoLayout }}
7343 @lilypond[staffsize=26,linewidth=1.0\cm]
7344 \include "gregorian-init.ly"
7347 % Salicus Auctus Descendens
7348 \[ g \oriscus a \pes \auctum \descendens b \]
7351 \layout { \neumeDemoLayout }}
7358 @lilypond[staffsize=26,linewidth=1.0\cm]
7359 \include "gregorian-init.ly"
7363 \[ \stropha b \stropha b \stropha a \]
7366 \layout { \neumeDemoLayout }
7375 Unlike most other neumes notation systems, the input language for
7376 neumes does not reflect the typographical appearance, but is designed
7377 to focus on musical meaning. For example, @code{\[ a \pes b
7378 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7379 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7380 curved flexa shape and only a single Punctum head. There is no
7381 command to explicitly typeset the curved flexa shape; the decision of
7382 when to typeset a curved flexa shape is based on the musical
7383 input. The idea of this approach is to separate the musical aspects
7384 of the input from the notation style of the output. This way, the
7385 same input can be reused to typeset the same music in a different
7386 style of Gregorian chant notation.
7388 The following table shows the code fragments that produce the
7389 ligatures in the above neumes table. The letter in the first column
7390 in each line of the below table indicates to which ligature in the
7391 above table it refers. The second column gives the name of the
7392 ligature. The third column shows the code fragment that produces this
7393 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
7395 @multitable @columnfractions .02 .31 .67
7415 @code{\[ \inclinatum b \]}
7423 @code{\[ \auctum \ascendens b \]}
7431 @code{\[ \auctum \descendens b \]}
7436 Punctum Inclinatum@*
7439 @code{\[ \inclinatum \auctum b \]}
7444 Punctum Inclinatum@*
7446 @code{\[ \inclinatum \deminutum b \]}
7453 @code{\[ \virga b \]}
7460 @code{\[ \stropha b \]}
7467 @code{\[ \stropha \auctum b \]}
7474 @code{\[ \oriscus b \]}
7481 @code{\[ b \flexa g \]}
7489 @code{\[ b \flexa \auctum \descendens g \]}
7497 @code{\[ b \flexa \auctum \ascendens g \]}
7504 @code{\[ b \flexa \deminutum g \]}
7511 @code{\[ g \pes b \]}
7519 @code{\[ g \pes \auctum \descendens b \]}
7527 @code{\[ g \pes \auctum \ascendens b \]}
7534 @code{\[ g \pes \deminutum b \]}
7541 @code{\[ \oriscus g \pes \virga b \]}
7547 Auctus Descendens @tab
7548 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7555 @code{\[ \quilisma g \pes b \]}
7563 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7570 @code{\[ \deminutum g \pes b \]}
7575 Pes Auctus Descendens@*
7578 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7585 @code{\[ a \pes b \flexa g \]}
7593 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7600 @code{\[ a \pes b \flexa \deminutum g \]}
7605 Torculus Initio Debilis
7607 @code{\[ \deminutum a \pes b \flexa g \]}
7613 Descendens Initio Debilis
7615 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7620 Torculus Deminutus@*
7623 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7630 @code{\[ a \flexa g \pes b \]}
7638 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7645 @code{\[ a \flexa g \pes \deminutum b \]}
7652 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7659 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7666 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7673 @code{\[ g \pes a \virga b \]}
7681 @code{\[ g \pes a \pes \auctum \descendens b \]}
7688 @code{\[ g \pes a \pes \deminutum b \]}
7695 @code{\[ g \oriscus a \pes \virga b \]}
7700 Salicus Auctus Descendens
7702 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7709 @code{\[ \stropha b \stropha b \stropha a \]}
7714 The following head prefixes are supported
7716 @cindex @code{\virga}
7718 @cindex @code{\stropha}
7720 @cindex @code{\inclinatum}
7722 @cindex @code{\auctum}
7724 @cindex @code{\descendens}
7726 @cindex @code{\ascendens}
7728 @cindex @code{\oriscus}
7730 @cindex @code{\quilisma}
7732 @cindex @code{\deminutum}
7735 Head prefixes can be accumulated, though restrictions apply. For
7736 example, either @code{\descendens} or @code{\ascendens} can be applied
7737 to a head, but not both to the same head.
7740 @cindex @code{\flexa}
7741 Two adjacent heads can be tied together with the @code{\pes} and
7742 @code{\flexa} infix commands for a rising and falling line of melody,
7747 @node Gregorian Chant contexts
7748 @subsection Gregorian Chant contexts
7750 @cindex VaticanaVoiceContext
7751 @cindex VaticanaStaffContext
7753 The predefined @code{VaticanaVoiceContext} and
7754 @code{VaticanaStaffContext} can be used to engrave a piece of
7755 Gregorian Chant in the style of the Editio Vaticana. These contexts
7756 initialize all relevant context properties and grob properties to
7757 proper values, so you can immediately go ahead entering the chant, as
7758 the following excerpt demonstrates
7760 @lilypond[quote,raggedright,verbatim]
7761 \include "gregorian-init.ly"
7764 \context VaticanaVoice = "cantus" {
7765 \override Score.BarNumber #'transparent = ##t {
7766 \[ c'\melisma c' \flexa a \]
7767 \[ a \flexa \deminutum g\melismaEnd \]
7769 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7770 c' \divisioMinima \break
7771 \[ c'\melisma c' \flexa a \]
7772 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7775 \lyricsto "cantus" \new Lyrics {
7776 San- ctus, San- ctus, San- ctus
7783 @node Mensural contexts
7784 @subsection Mensural contexts
7786 @cindex MensuralVoiceContext
7787 @cindex MensuralStaffContext
7789 The predefined @code{MensuralVoiceContext} and
7790 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7791 style. These contexts initialize all relevant context properties and
7792 grob properties to proper values, so you can immediately go ahead
7793 entering the chant, as the following excerpt demonstrates
7795 @lilypond[quote,raggedright,verbatim]
7798 \context MensuralVoice = "discantus" \transpose c c' {
7799 \override Score.BarNumber #'transparent = ##t {
7800 c'1\melisma bes a g\melismaEnd
7802 \[ f1\melisma a c'\breve d'\melismaEnd \]
7804 c'\breve\melisma a1 g1\melismaEnd
7805 fis\longa^\signumcongruentiae
7808 \lyricsto "discantus" \new Lyrics {
7809 San -- ctus, San -- ctus, San -- ctus
7817 @subsection Figured bass
7819 @cindex Basso continuo
7821 @c TODO: musicological blurb about FB
7824 LilyPond has limited support for figured bass
7826 @lilypond[quote,raggedright,verbatim,fragment]
7828 \context Voice { \clef bass dis4 c d ais g fis}
7829 \context FiguredBass \figuremode {
7830 < 6 >4 < 7 >8 < 6+ [_!] >
7837 The support for figured bass consists of two parts: there is an input
7838 mode, introduced by @code{\figuremode}, where you can enter bass figures
7839 as numbers, and there is a context called @internalsref{FiguredBass} that
7840 takes care of making @internalsref{BassFigure} objects.
7842 In figures input mode, a group of bass figures is delimited by
7843 @code{<} and @code{>}. The duration is entered after the @code{>}
7847 @lilypond[quote,raggedright,fragment]
7848 \context FiguredBass
7849 \figuremode { <4 6> }
7852 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
7858 @lilypond[quote,raggedright,fragment]
7859 \context FiguredBass
7860 \figuremode { <4- 6+ 7!> }
7863 Spaces or dashes may be inserted by using @code{_}. Brackets are
7864 introduced with @code{[} and @code{]}
7869 @lilypond[quote,raggedright,fragment]
7870 \context FiguredBass
7871 \figuremode { < [4 6] 8 [_! 12] > }
7874 Although the support for figured bass may superficially resemble chord
7875 support, it works much simpler. The @code{\figuremode} mode simply
7876 stores the numbers and @internalsref{FiguredBass} context prints
7877 them as entered. There is no conversion to pitches and no
7878 realizations of the bass are played in the MIDI file.
7880 Internally, the code produces markup texts. You can use any of the
7881 markup text properties to override formatting. For example, the
7882 vertical spacing of the figures may be set with @code{baseline-skip}.
7886 Program reference: @internalsref{BassFigureEvent} music,
7887 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
7891 Slash notation for alterations is not supported.
7893 @node Contemporary notation
7894 @section Contemporary notation
7896 In the 20th century, composers have greatly expanded the musical
7897 vocabulary. With this expansion, many innovations in musical notation
7898 have been tried. The book ``Music Notation in the 20th century'' by
7899 Kurt Stone gives a comprehensive overview (see @ref{Literature
7900 list}). In general, the use of new, innovative notation makes a piece
7901 harder to understand and perform and its use should therefore be
7902 avoided. For this reason, support for contemporary notation in
7903 LilyPond is limited.
7907 * Polymetric notation::
7909 * Special fermatas::
7913 @node Polymetric notation
7914 @subsection Polymetric notation
7916 Double time signatures are not supported explicitly, but they can be
7917 faked. In the next example, the markup for the time signature is
7918 created with a markup text. This markup text is inserted in the
7919 @internalsref{TimeSignature} grob.
7921 @lilypond[verbatim,raggedright]
7926 \musicglyph #"scripts-stopped"
7927 \bracket \column { "5" "8" }
7932 \override Staff.TimeSignature #'print-function = #Text_interface::print
7933 \override Staff.TimeSignature #'text = #tsMarkup
7935 c'2 \bar ":" c'4 c'4.
7939 Each staff can also have its own time signature. This is done by
7940 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
7945 \context @{ \Score \remove "Timing_engraver" @}
7946 \context @{ \Staff \consists "Timing_engraver" @}
7951 Now, each staff has its own time signature.
7964 c4. c8 c c c4. c8 c c
7969 @lilypond[quote,raggedright]
7971 \context{ \Score \remove "Timing_engraver" }
7972 \context{ \Staff \consists "Timing_engraver" }
7986 c4. c8 c c c4. c8 c c
7992 A different form of polymetric notation is where note lengths have
7993 different values across staves.
7995 This notation can be created by setting a common time signature for
7996 each staff but replacing it manually using
7997 @code{timeSignatureFraction} to the desired fraction. Then the printed
7998 durations in each staff are scaled to the common time signature.
7999 The latter is done with @code{\compressmusic}, which is similar to
8000 @code{\times}, but does not create a tuplet bracket.
8003 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
8004 used in parallel. In the second staff, shown durations are multiplied by
8005 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
8006 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
8008 @lilypond[quote,raggedright,verbatim,fragment]
8016 \set Staff.timeSignatureFraction = #'(9 . 8)
8017 \compressmusic #'(2 . 3)
8018 \repeat unfold 6 { c8[ c c] }
8022 \set Staff.timeSignatureFraction = #'(10 . 8)
8023 \compressmusic #'(3 . 5) {
8024 \repeat unfold 2 { c8[ c c] }
8025 \repeat unfold 2 { c8[ c] }
8026 | c4. c4. \times 2/3 { c8 c c } c4
8037 When using different time signatures in parallel, the spacing is
8038 aligned vertically, but bar lines distort the regular spacing.
8043 @subsection Clusters
8047 A cluster indicates a continuous range of pitches to be played. They
8048 can be denoted as the envelope of a set of notes. They are entered by
8049 applying the function @code{makeClusters} to a sequence of
8051 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
8052 \makeClusters { <c e > <b f'> }
8055 The following example (from
8056 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
8059 @lilypondfile[raggedright,quote]{cluster.ly}
8061 Ordinary notes and clusters can be put together in the same staff,
8062 even simultaneously. In such a case no attempt is made to
8063 automatically avoid collisions between ordinary notes and clusters.
8067 Program reference: @internalsref{ClusterSpanner},
8068 @internalsref{ClusterSpannerBeacon},
8069 @internalsref{Cluster_spanner_engraver}, and
8070 @internalsref{ClusterNoteEvent}.
8072 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
8076 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
8077 accurately. Use @code{<g a>8 <e a>8} instead.
8081 @node Special fermatas
8082 @subsection Special fermatas
8084 @cindex fermatas, special
8086 In contemporary music notation, special fermata symbols denote breaks
8087 of differing lengths. The following fermatas are supported
8089 @lilypond[quote,raggedright]
8112 \context Lyrics \lyricmode {
8113 \override LyricText #'font-family = #'typewriter
8114 "shortfermata" "fermata" "longfermata" "verylongfermata"
8119 See @ref{Articulations} for general instructions how to apply scripts
8120 such as fermatas to notes.
8122 @node Feathered beams
8123 @subsection Feathered beams
8125 Feathered beams are not supported natively, but they can be faked by
8126 forcing two beams to overlap. Here is an example,
8128 @c don't change relative setting witout changing positions!
8129 @lilypond[raggedright,relative=1,fragment,verbatim]
8134 \once \override Voice.Beam #'positions = #'(0 . 0.5)
8139 \once \override Voice.Beam #'positions = #'(0 . -0.5)
8147 @node Educational use
8148 @section Educational use
8150 With the amount of control that LilyPond offers, one can make great
8151 teaching tools in addition to great musical scores.
8155 * Blank music sheet::
8157 * Shaped note heads ::
8158 * Easy Notation note heads::
8162 @subsection Balloon help
8164 Elements of notation can be marked and named with the help of a square
8165 balloon. The primary purpose of this feature is to explain notation.
8167 The following example demonstrates its use.
8169 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
8172 #(add-balloon-text 'NoteHead "heads, or tails?"
8179 The function @code{add-balloon-text} takes the name of a grob, the
8180 label to print, and the position where to put the label relative to
8181 the object. In the above example, the text ``heads or tails?'' ends
8182 3 spaces below and 1 space to the right of the marked head.
8185 @cindex notation, explaining
8189 Program reference: @internalsref{text-balloon-interface}.
8191 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
8196 @node Blank music sheet
8197 @subsection Blank music sheet
8199 A blank music sheet can be produced also by using invisible notes, and
8200 removing @code{Bar_number_engraver}.
8203 @lilypond[quote,verbatim]
8205 \repeat unfold 2 % Change this for more lines.
8210 \override TimeSignature #'transparent = ##t
8211 defaultBarType = #""
8212 \remove Bar_number_engraver
8214 \context Staff \emptymusic
8215 \context TabStaff \emptymusic
8221 @subsection Hidden notes
8223 @cindex Hidden notes
8224 @cindex Invisible notes
8225 @cindex Transparent notes
8227 Hidden (or invisible or transparent) notes can be useful in preparing theory
8228 or composition exercises.
8230 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
8238 Hidden notes are also great for performing weird tricks. For example,
8239 slurs cannot be attached to rests or spacer rests, but you may wish
8240 to include that in your score -- string instruments use this notation
8241 when doing pizzicato to indicate that the note should ring for as long
8244 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
8247 c4^"pizz"( \hideNotes c)
8248 \unHideNotes c( \hideNotes c)
8255 @node Shaped note heads
8256 @subsection Shaped note heads
8258 In shaped note head notation, the shape of the note head corresponds
8259 to the harmonic function of a note in the scale. This notation was
8260 popular in the 19th century American song books.
8262 Shaped note heads can be produced by setting @code{\aikenHeads} or
8263 @code{\sacredHarpHeads}, depending on the style desired.
8265 @lilypond[verbatim,relative=1,fragment]
8272 Shapes are determined on the step in the scale, where the base of the
8273 scale is determined by the @code{\key} command
8276 @findex shapeNoteStyles
8278 @findex \sacredHarpHeads
8280 Shaped note heads are implemented through the @code{shapeNoteStyles}
8281 property. Its value is a vector of symbols. The k-th element indicates
8282 the style to use for the k-th step of the scale. Arbitrary
8283 combinations are possible, eg.,
8286 @lilypond[verbatim,relative=1,fragment]
8287 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
8292 @node Easy Notation note heads
8293 @subsection Easy Notation note heads
8295 @cindex easy notation
8298 The `easy play' note head includes a note name inside the head. It is
8299 used in music for beginners
8301 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
8306 The command @code{\setEasyHeads} overrides settings for the
8307 @internalsref{NoteHead} object. To make the letters readable, it has
8308 to be printed in a large font size. To print with a larger font, see
8309 @ref{Setting global staff size}.
8313 @cindex @code{\setEasyHeads}
8314 @code{\setEasyHeads}