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.
1033 @lilypond[quote,raggedright,verbatim]
1035 \set Staff.clefGlyph = #"clefs.F"
1036 \set Staff.clefPosition = #2
1038 \set Staff.clefGlyph = #"clefs.G"
1040 \set Staff.clefGlyph = #"clefs.C"
1042 \set Staff.clefOctavation = #7
1044 \set Staff.clefOctavation = #0
1045 \set Staff.clefPosition = #0
1049 \set Staff.middleCPosition = #4
1056 Program reference: @internalsref{Clef}.
1060 @node Ottava brackets
1061 @subsection Ottava brackets
1063 `Ottava' brackets introduce an extra transposition of an octave for
1064 the staff. They are created by invoking the function
1065 @code{set-octavation}
1071 @lilypond[quote,raggedright,verbatim,fragment]
1081 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1082 (for 15ma) as arguments. Internally the function sets the properties
1083 @code{ottavation} (e.g., to @code{"8va"}) and
1084 @code{centralCPosition}. For overriding the text of the bracket, set
1085 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1087 @lilypond[quote,raggedright,verbatim]
1090 \set Staff.ottavation = #"8"
1097 Program reference: @internalsref{OttavaBracket}.
1099 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1100 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1104 @code{set-octavation} will get confused when clef changes happen
1105 during an octavation bracket.
1110 @node Time signature
1111 @subsection Time signature
1112 @cindex Time signature
1114 @cindex @code{\time}
1116 Time signature indicates the metrum of a piece: a regular pattern of
1117 strong and weak beats. It is denoted by a fraction at the start of the
1121 The time signature is set or changed by the @code{\time}
1123 @lilypond[quote,raggedright,fragment,verbatim]
1124 \time 2/4 c'2 \time 3/4 c'2.
1127 The symbol that is printed can be customized with the @code{style}
1128 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1131 @lilypond[fragment,quote,raggedright,verbatim]
1134 \override Staff.TimeSignature #'style = #'()
1141 There are many more options for its layout. See @ref{Ancient time
1142 signatures} for more examples.
1145 This command sets the property @code{timeSignatureFraction},
1146 @code{beatLength} and @code{measureLength} in the @code{Timing}
1147 context, which is normally aliased to @internalsref{Score}. The
1148 property @code{measureLength} determines where bar lines should be
1149 inserted, and how automatic beams should be generated. Changing the
1150 value of @code{timeSignatureFraction} also causes the symbol to be
1153 More options are available through the Scheme function
1154 @code{set-time-signature}. In combination with the
1155 @internalsref{Measure_grouping_engraver}, it will create
1156 @internalsref{MeasureGrouping} signs. Such signs ease reading
1157 rhythmically complex modern music. In the following example, the 9/8
1158 measure is subdivided in 2, 2, 2 and 3. This is passed to
1159 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1161 @lilypond[quote,raggedright,verbatim]
1164 #(set-time-signature 9 8 '(2 2 2 3))
1165 g8[ g] d[ d] g[ g] a8[( bes g]) |
1166 #(set-time-signature 5 8 '(3 2))
1172 \consists "Measure_grouping_engraver"
1180 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1185 Automatic beaming does not use the measure grouping specified with
1186 @code{set-time-signature}.
1188 @node Partial measures
1189 @subsection Partial measures
1192 @cindex partial measure
1193 @cindex measure, partial
1194 @cindex shorten measures
1195 @cindex @code{\partial}
1197 Partial measures, for example in upsteps, are entered using the
1198 @code{\partial} command
1199 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1200 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1203 The syntax for this command is
1205 \partial @var{duration}
1207 This is internally translated into
1209 \set Timing.measurePosition = -@var{length of duration}
1212 The property @code{measurePosition} contains a rational number
1213 indicating how much of the measure has passed at this point.
1217 This command does not take into account grace notes at the start of
1218 the music. When a piece starts with graces notes in the pickup, then
1219 the @code{\partial} should follow the grace notes
1221 @lilypond[verbatim,quote,raggedright,relative,fragment]
1231 @node Unmetered music
1232 @subsection Unmetered music
1236 Bar lines and bar numbers are calculated automatically. For unmetered
1237 music (cadenzas, for example), this is not desirable. By setting
1238 @code{Score.timing} to false, this automatic timing can be switched
1239 off. Empty bar lines,
1246 indicate where line breaks can occur.
1250 @cindex @code{\cadenzaOn}
1252 @cindex @code{\cadenzaOff}
1259 @subsection Bar lines
1263 @cindex measure lines
1267 Bar lines delimit measures, but are also used to indicate repeats.
1268 Normally, they are inserted automatically. Line breaks may only
1269 happen on bar lines.
1271 Special types of bar lines can be forced with the @code{\bar} command
1273 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1277 The following bar types are available
1278 @lilypondfile[raggedright,quote]{bar-lines.ly}
1280 For allowing line breaks, there is a special command,
1284 This will insert an invisible bar line, and allow line breaks at this
1287 In scores with many staves, a @code{\bar} command in one staff is
1288 automatically applied to all staves. The resulting bar lines are
1289 connected between different staves of a @internalsref{StaffGroup}
1291 @lilypond[quote,raggedright,fragment,verbatim]
1293 \context StaffGroup <<
1299 \new Staff { \clef bass c4 g e g }
1301 \new Staff { \clef bass c2 c2 }
1306 The command @code{\bar }@var{bartype} is a short cut for doing
1307 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1308 is set to a string, a bar line of that type is created.
1310 A bar line is created whenever the @code{whichBar} property is set.
1311 At the start of a measure it is set to the contents of
1312 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1313 to override default measure bars.
1315 @cindex @code{whichBar}
1316 @cindex @code{repeatCommands}
1317 @cindex @code{defaultBarType}
1319 You are encouraged to use @code{\repeat} for repetitions. See
1326 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1329 Program reference: @internalsref{BarLine} (created at
1330 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1332 @cindex bar lines at start of system
1333 @cindex start of system
1337 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1340 @node Time administration
1341 @subsection Time administration
1343 Time is administered by the @internalsref{Time_signature_engraver},
1344 which usually lives in the @internalsref{Score} context.
1345 The bookkeeping deals with the following variables
1348 @item currentBarNumber
1352 The length of the measures in the current time signature. For a 4/4
1353 time this is@tie{}1, and for 6/8 it is 3/4.
1355 @item measurePosition
1356 The point within the measure where we currently are. This quantity
1357 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1358 happens, @code{currentBarNumber} is incremented.
1361 If set to true, the above variables are updated for every time
1362 step. When set to false, the engraver stays in the current measure
1366 Timing can be changed by setting any of these variables explicitly.
1367 In the next example, the 4/4 time signature is printed, but
1368 @code{measureLength} is set to 5/4. After a while, the measure is
1369 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1370 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1371 3/8 arises because 5/4 normally has 10/8, but we have manually
1372 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1374 @lilypond[quote,raggedright,verbatim,relative,fragment]
1375 \set Score.measureLength = #(ly:make-moment 5 4)
1379 \set Score.measurePosition = #(ly:make-moment 7 8)
1385 @node Controlling formatting of prefatory matter
1386 @subsection Controlling formatting of prefatory matter
1388 @c This section will be moved to somewhere else soon. -gp
1389 This example demonstrates how to place prefatory matter
1390 (such as the clef and key signature) at the end of a line.
1392 @lilypond[quote,verbatim]
1394 \override Staff.Clef
1395 #'break-visibility = #end-of-line-visible
1396 \override Staff.KeySignature
1397 #'break-visibility = #end-of-line-visible
1398 \set Staff.explicitClefVisibility = #end-of-line-visible
1399 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1401 % We want the time sig to take space, otherwise there is not
1402 % enough white at the start of the line.
1404 \override Staff.TimeSignature #'transparent = ##t
1405 \set Score.defaultBarType = #"empty"
1425 Polyphony in music refers to having more than one voice occuring in
1426 a piece of music. Polyphony in LilyPond refers to having more than
1427 one voice on the same staff.
1430 * Writing polyphonic music::
1433 @node Writing polyphonic music
1434 @subsection Writing polyphonic music
1437 The easiest way to enter fragments with more than one voice on a staff
1438 is to split chords using the separator @code{\\}. You can use it for
1439 small, short-lived voices or for single chords
1443 @lilypond[quote,raggedright,verbatim,fragment]
1444 \context Staff \relative c'' {
1445 c4 << { f d e } \\ { b c2 } >>
1446 c4 << g' \\ b, \\ f' \\ d >>
1450 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1451 voices are sometimes called ``layers'' in other notation packages}
1453 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1454 each of these contexts, vertical direction of slurs, stems, etc., is set
1455 appropriately. Specifically,
1458 << \upper \\ \lower >>
1466 \context Voice = "1" @{ \voiceOne \upper @}
1467 \context Voice = "2" @{ \voiceTwo \lower @}
1471 @cindex @code{\voiceOne}
1472 @cindex @code{\voiceFour}
1474 This can also be done by instantiating @internalsref{Voice} contexts
1475 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1476 a stem directions and horizontal shift for each part
1479 @lilypond[quote,raggedright,verbatim]
1482 \new Voice { \voiceOne cis2 b }
1483 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1484 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1488 The command @code{\oneVoice} will revert back to the normal setting.
1489 @cindex @code{\oneVoice}
1491 Defining voices (either with the separator @code{\\} or with
1492 @code{\voiceXXX}) will set the direction of stems, slurs, ties,
1493 articulations, text annotations, augmentation dots of dotted
1494 notes, and fingerings. @code{\voiceOne} makes these objects
1495 point upwards, while @code{\voiceTwo} makes them point down.
1497 Normally, note heads with a different number of dots are not merged, but
1498 when the object property @code{merge-differently-dotted} is set in
1499 the @internalsref{NoteCollision} object, they are merged
1500 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1503 \override Staff.NoteCollision
1504 #'merge-differently-dotted = ##t
1506 } \\ { g8.[ f16] g8.[ f16] } >>
1509 Similarly, you can merge half note heads with eighth notes, by setting
1510 @code{merge-differently-headed}
1511 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1514 \override Staff.NoteCollision
1515 #'merge-differently-headed = ##t
1516 c8 c4. } \\ { c2 c2 } >>
1519 LilyPond also vertically shifts rests that are opposite of a stem,
1522 @lilypond[quote,raggedright,fragment,verbatim]
1523 \context Voice << c''4 \\ r4 >>
1531 @cindex @code{\oneVoice}
1533 @cindex @code{\voiceOne}
1535 @cindex @code{\voiceTwo}
1537 @cindex @code{\voiceThree}
1539 @cindex @code{\voiceFour}
1544 @cindex @code{\shiftOn}
1546 @cindex @code{\shiftOnn}
1548 @cindex @code{\shiftOnnn}
1550 @cindex @code{\shiftOff}
1551 @code{\shiftOff}: these commands specify in what chords of the current
1552 voice should be shifted. The outer voices (normally: voice one and
1553 two) have @code{\shiftOff}, while the inner voices (three and four)
1554 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1555 further shift levels.
1558 When LilyPond cannot cope, the @code{force-hshift}
1559 property of the @internalsref{NoteColumn} object and pitched rests can
1560 be used to override typesetting decisions.
1562 @lilypond[quote,verbatim,raggedright]
1569 \once \override NoteColumn #'force-hshift = #1.7
1578 Program reference: the objects responsible for resolving collisions are
1579 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1582 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1583 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1584 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1585 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1586 @inputfileref{input/@/regression,collisions@/.ly}.
1592 When using @code{merge-differently-headed} with an upstem eighth or a
1593 shorter note, and a downstem half note, the eighth note gets the wrong
1596 There is no support for clusters where the same note occurs with
1597 different accidentals in the same chord. In this case, it is
1598 recommended to use enharmonic transcription, or to use special cluster
1599 notation (see @ref{Clusters}).
1604 Beams are used to group short notes into chunks that are aligned with
1605 the metrum. LilyPond normally inserts beams automatically, but if you
1606 wish you may control them manually or changed how beams are automatically
1609 @cindex Automatic beams
1613 * Setting automatic beam behavior::
1617 @node Automatic beams
1618 @subsection Automatic beams
1620 LilyPond inserts beams automatically
1622 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1623 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1626 When these automatic decisions are not good enough, beaming can be
1627 entered explicitly. It is also possible to define beaming patterns
1628 that differ from the defaults.
1630 Individual notes may be marked with @code{\noBeam}, to prevent them
1633 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1634 \time 2/4 c8 c\noBeam c c
1640 Program reference: @internalsref{Beam}.
1644 @subsection Manual beams
1645 @cindex beams, manual
1649 In some cases it may be necessary to override the automatic beaming
1650 algorithm. For example, the autobeamer will not put beams over rests
1651 or bar lines. Such beams are specified manually by marking the begin
1652 and end point with @code{[} and @code{]}
1654 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1656 r4 r8[ g' a r8] r8 g[ | a] r8
1660 @cindex @code{stemLeftBeamCount}
1662 Normally, beaming patterns within a beam are determined automatically.
1663 If necessary, the properties @code{stemLeftBeamCount} and
1664 @code{stemRightBeamCount} can be used to override the defaults. If
1665 either property is set, its value will be used only once, and then it
1668 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1673 \set stemLeftBeamCount = #1
1677 @cindex @code{stemRightBeamCount}
1680 The property @code{subdivideBeams} can be set in order to subdivide
1681 all 16th or shorter beams at beat positions, as defined by the
1682 @code{beatLength} property.
1685 @lilypond[fragment,quote,relative=2,verbatim]
1687 \set subdivideBeams = ##t
1689 \set Score.beatLength = #(ly:make-moment 1 8)
1692 @cindex @code{subdivideBeams}
1694 Normally, line breaks are forbidden when beams cross bar lines. This
1695 behavior can be changed by setting @code{allowBeamBreak}.
1697 @cindex @code{allowBeamBreak}
1698 @cindex beams and line breaks
1700 @cindex beams, kneed
1702 @cindex auto-knee-gap
1707 User manual: @ref{Changing context properties on the fly} for the
1713 @cindex Frenched staves
1714 Kneed beams are inserted automatically, when a large gap is detected
1715 between the note heads. This behavior can be tuned through the object.
1718 Automatically kneed cross-staff beams cannot be used together with
1719 hidden staves. See @ref{Hiding staves}.
1721 Beams do not avoid collisions with symbols around the notes, such as
1722 texts and accidentals.
1727 @node Setting automatic beam behavior
1728 @subsection Setting automatic beam behavior
1730 @cindex @code{autoBeamSettings}
1731 @cindex @code{(end * * * *)}
1732 @cindex @code{(begin * * * *)}
1733 @cindex automatic beams, tuning
1734 @cindex tuning automatic beaming
1736 @c [TODO: use \applycontext]
1738 In normal time signatures, automatic beams can start on any note but can
1739 only end in a few positions within the measure: beams can end on a beat,
1740 or at durations specified by the properties in
1741 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1742 are defined in @file{scm/@/auto@/-beam@/.scm}.
1744 The value of @code{autoBeamSettings} is changed with three functions,
1746 #(override-auto-beam-setting
1747 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1749 #(score-override-auto-beam-setting
1750 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
1751 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
1754 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1755 @var{context} is an optional context (default: @code{'Voice}). It
1756 determines whether the rule applies to begin or end-points. The
1757 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1758 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1759 to a time signature (wildcards `@code{* *}' may be entered to
1760 designate all time signatures), @var{a}/@var{b} is a duration. By
1761 default, this command changes settings for the current voice. It is
1762 also possible to adjust settings at higher contexts, by adding a
1763 @var{context} argument. @code{score-override-auto-beam-setting} is
1764 equal to @code{override-auto-beam-setting} with the argument
1765 @var{context} set to @code{'Score}.
1767 For example, if automatic beams should end on every quarter note, use
1770 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1772 Since the duration of a quarter note is 1/4 of a whole note, it is
1773 entered as @code{(ly:make-moment 1 4)}.
1775 The same syntax can be used to specify beam starting points. In this
1776 example, automatic beams can only end on a dotted quarter note
1778 #(override-auto-beam-setting '(end * * * *) 3 8)
1780 In 4/4 time signature, this means that automatic beams could end only on
1781 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1782 3/8, has passed within the measure).
1784 Rules can also be restricted to specific time signatures. A rule that
1785 should only be applied in @var{N}/@var{M} time signature is formed by
1786 replacing the second asterisks by @var{N} and @var{M}. For example, a
1787 rule for 6/8 time exclusively looks like
1789 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1792 If a rule should be to applied only to certain types of beams, use the
1793 first pair of asterisks. Beams are classified according to the
1794 shortest note they contain. For a beam ending rule that only applies
1795 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1798 @cindex automatic beam generation
1800 @cindex @code{autoBeaming}
1803 If beams are used to indicate melismata in songs, then automatic
1804 beaming should be switched off. This is done by setting
1805 @code{autoBeaming} to @code{#f}.
1809 @cindex @code{\autoBeamOff}
1810 @code{\autoBeamOff},
1811 @cindex @code{\autoBeamOn}
1817 If a score ends while an automatic beam has not been ended and is
1818 still accepting notes, this last beam will not be typeset at all. The
1819 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1820 >>}. If a polyphonic voice ends while an automatic beam is still
1821 accepting notes, it is not typeset.
1823 The rules for ending a beam depend on the shortest note in a beam.
1824 So, while it is possible to have different ending rules for eight
1825 beams and sixteenth beams, a beam that contains both eight and
1826 sixteenth notes will use the rules for the sixteenth beam.
1828 In the example below, the autobeamer makes eighth beams and sixteenth
1829 end at three eighths. The third beam can only be corrected by
1830 specifying manual beaming.
1832 @lilypond[quote,raggedright,fragment,relative=1]
1833 #(override-auto-beam-setting '(end * * * *) 3 8)
1834 % rather show case where it goes wrong
1835 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1836 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1838 It is not possible to specify beaming parameters that act differently in
1839 different parts of a measure. This means that it is not possible to use
1840 automatic beaming in irregular meters such as @code{5/8}.
1842 @node Beam formatting
1843 @subsection Beam formatting
1846 When a beam falls in the middle of the staff, the beams point normally
1847 down. However, this behaviour can be altered with the
1848 @code{neutral-direction} property.
1851 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1854 \override Beam #'neutral-direction = #-1
1856 \override Beam #'neutral-direction = #1
1863 @section Accidentals
1865 This section describes how to change the way that accidentals are
1866 inserted automatically before notes.
1869 * Automatic accidentals::
1872 @node Automatic accidentals
1873 @subsection Automatic accidentals
1874 @cindex Automatic accidentals
1876 Common rules for typesetting accidentals have been placed in a
1877 function. This function is called as follows
1879 @cindex @code{set-accidental-style}
1881 #(set-accidental-style 'STYLE #('CONTEXT#))
1884 The function can take two arguments: the name of the accidental style,
1885 and an optional argument that denotes the context that should be
1886 changed. If no context name is supplied, @code{Staff} is the default,
1887 but you may wish to apply the accidental style to a single @code{Voice}
1890 The following accidental styles are supported
1893 This is the default typesetting behavior. It corresponds
1894 to 18th century common practice: Accidentals are
1895 remembered to the end of the measure in which they occur and
1896 only on their own octave.
1899 The normal behavior is to remember the accidentals on
1900 Staff-level. This variable, however, typesets accidentals
1901 individually for each voice. Apart from that, the rule is similar to
1904 As a result, accidentals from one voice do not get canceled in other
1905 voices, which is often an unwanted result
1907 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1909 #(set-accidental-style 'voice)
1916 The @code{voice} option should be used if the voices
1917 are to be read solely by individual musicians. If the staff is to be
1918 used by one musician (e.g., a conductor) then
1919 @code{modern} or @code{modern-cautionary}
1920 should be used instead.
1923 @cindex @code{modern} style accidentals
1924 This rule corresponds to the common practice in the 20th century. This rule
1925 prints the same accidentals as @code{default}, but temporary
1926 accidentals also are canceled in other octaves. Furthermore,
1927 in the same octave, they also get canceled in the following
1930 @lilypond[quote,raggedright,fragment,verbatim]
1931 #(set-accidental-style 'modern)
1932 cis' c'' cis'2 | c'' c'
1935 @item @code{modern-cautionary}
1936 @cindex @code{modern-cautionary}
1937 This rule is similar to @code{modern}, but the ``extra'' accidentals
1938 (the ones not typeset by @code{default}) are typeset as cautionary
1939 accidentals. They are printed in reduced size or with parentheses
1940 @lilypond[quote,raggedright,fragment,verbatim]
1941 #(set-accidental-style 'modern-cautionary)
1942 cis' c'' cis'2 | c'' c'
1945 @cindex @code{modern-voice}
1947 This rule is used for multivoice accidentals to be read both by musicians
1948 playing one voice and musicians playing all voices. Accidentals are
1949 typeset for each voice, but they @emph{are} canceled across voices in
1950 the same @internalsref{Staff}.
1952 @cindex @code{modern-voice-cautionary}
1953 @item modern-voice-cautionary
1954 This rule is the same as @code{modern-voice}, but with the extra
1955 accidentals (the ones not typeset by @code{voice}) typeset
1956 as cautionaries. Even though all accidentals typeset by
1957 @code{default} @emph{are} typeset by this variable,
1958 some of them are typeset as cautionaries.
1961 @cindex @code{piano} accidentals
1962 This rule reflects 20th century practice for piano notation. Very similar to
1963 @code{modern} but accidentals also get canceled
1964 across the staves in the same @internalsref{GrandStaff} or
1965 @internalsref{PianoStaff}.
1967 @item piano-cautionary
1968 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1969 Same as @code{#(set-accidental-style 'piano)} but with the extra
1970 accidentals typeset as cautionaries.
1973 @cindex @code{no-reset} accidental style
1974 This is the same as @code{default} but with accidentals lasting
1975 ``forever'' and not only until the next measure
1976 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1977 #(set-accidental-style 'no-reset)
1982 This is sort of the opposite of @code{no-reset}: Accidentals
1983 are not remembered at all---and hence all accidentals are
1984 typeset relative to the key signature, regardless of what was
1987 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1988 #(set-accidental-style 'forget)
1989 \key d\major c4 c cis cis d d dis dis
1996 Program reference: @internalsref{Accidental_engraver},
1997 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2002 Simultaneous notes are considered to be entered in sequential
2003 mode. This means that in a chord the accidentals are typeset as if the
2004 notes in the chord happened once at a time - in the order in which
2005 they appear in the input file.
2007 This is a problem when accidentals in a chord depend on each other,
2008 which does not happen for the default accidental style. The problem
2009 can be solved by manually inserting @code{!} and @code{?} for the
2013 @node Expressive marks
2014 @section Expressive marks
2017 @c todo: should change ordering
2018 @c where to put text spanners, metronome marks,
2021 Expressive marks help musicians to bring more to the music than simple
2031 * Analysis brackets::
2034 * Fingering instructions::
2044 A slur indicates that notes are to be played bound or @emph{legato}.
2046 They are entered using parentheses
2047 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2048 f( g a) a8 b( a4 g2 f4)
2052 The direction of a slur can be set with the
2056 \override Slur #'direction = #UP
2057 \slurUp % shortcut for the previous line
2061 However, there is a convenient shorthand for forcing slur
2062 directions. By adding @code{_} or @code{^} before the opening
2063 parentheses, the direction is also set. For example,
2065 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2069 Some composers write two slurs when they want legato chords. This can
2070 be achieved in LilyPond by setting @code{doubleSlurs},
2072 @lilypond[verbatim,raggedright,relative,fragment,quote]
2073 \set doubleSlurs = ##t
2074 <c e>4 ( <d f> <c e> <d f> )
2081 @cindex @code{\slurUp}
2083 @cindex @code{\slurDown}
2085 @cindex @code{\slurNeutral}
2086 @code{\slurNeutral},
2087 @cindex @code{\slurDashed}
2089 @cindex @code{\slurDotted}
2091 @cindex @code{\slurSolid}
2096 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2099 @node Phrasing slurs
2100 @subsection Phrasing slurs
2102 @cindex phrasing slurs
2103 @cindex phrasing marks
2105 A phrasing slur (or phrasing mark) connects chords and is used to
2106 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2109 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2110 \time 6/4 c'\( d( e) f( e) d\)
2113 Typographically, the phrasing slur behaves almost exactly like a
2114 normal slur. However, they are treated as different objects. A
2115 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2116 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2117 @code{\phrasingSlurNeutral}.
2119 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2120 will only affect normal slurs and not phrasing slurs.
2124 @cindex @code{\phrasingSlurUp}
2125 @code{\phrasingSlurUp},
2126 @cindex @code{\phrasingSlurDown}
2127 @code{\phrasingSlurDown},
2128 @cindex @code{\phrasingSlurNeutral}
2129 @code{\phrasingSlurNeutral}.
2133 Program reference: see also @internalsref{PhrasingSlur}, and
2134 @internalsref{PhrasingSlurEvent}.
2138 Putting phrasing slurs over rests leads to spurious warnings.
2141 @subsection Breath marks
2143 Breath marks are entered using @code{\breathe}
2146 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2150 The glyph of the breath mark can be tuned by overriding the
2151 @code{text} property of the @code{BreathingSign} layout object with
2152 any markup text. For example,
2153 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2155 \override BreathingSign #'text
2156 = #(make-musicglyph-markup "scripts.rvarcomma")
2163 Program reference: @internalsref{BreathingSign},
2164 @internalsref{BreathingSignEvent}.
2166 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2169 @node Metronome marks
2170 @subsection Metronome marks
2173 @cindex beats per minute
2174 @cindex metronome marking
2176 Metronome settings can be entered as follows
2178 \tempo @var{duration} = @var{per-minute}
2181 In the MIDI output, they are interpreted as a tempo change. In the
2182 layout output, a metronome marking is printed
2183 @cindex @code{\tempo}
2184 @lilypond[quote,raggedright,verbatim,fragment]
2190 Program reference: @internalsref{MetronomeChangeEvent}.
2194 Collisions are not checked. If you have notes above the top line of
2195 the staff (or notes with articulations, slurs, text, etc), then the
2196 metronome marking may be printed on top of musical symbols. If this
2197 occurs, increase the padding of the metronome mark to place it
2198 further away from the staff.
2201 \Score \override MetronomeMark #'padding = #2.5
2206 @subsection Text scripts
2207 @cindex Text scripts
2209 @cindex text items, non-empty
2210 @cindex non-empty texts
2212 It is possible to place arbitrary strings of text or markup text (see
2213 @ref{Text markup}) above or below notes by using a string
2214 @code{c^"text"}. By default, these indications do not influence the
2215 note spacing, but by using the command @code{\fatText}, the widths
2216 will be taken into account
2218 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2219 c4^"longtext" \fatText c4_"longlongtext" c4
2222 More complex formatting may also be added to a note by using the
2224 @lilypond[fragment,raggedright,verbatim,quote]
2225 c'4^\markup { bla \bold bla }
2228 The @code{\markup} is described in more detail in
2234 @cindex @code{\fatText}
2236 @cindex @code{\emptyText}
2241 In this manual: @ref{Text markup}.
2243 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2247 @subsection Text spanners
2248 @cindex Text spanners
2250 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
2251 are written as text and are extended over many measures with dotted
2252 lines. Such texts are created using text spanners; attach
2253 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2254 notes of the spanner.
2256 The string to be printed, as well as the style, is set through object
2259 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2261 \override TextSpanner #'direction = #-1
2262 \override TextSpanner #'edge-text = #'("rall " . "")
2263 c2\startTextSpan b c\stopTextSpan a
2269 Internals @internalsref{TextSpanEvent},
2270 @internalsref{TextSpanner}.
2272 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
2275 @node Analysis brackets
2276 @subsection Analysis brackets
2278 @cindex phrasing brackets
2279 @cindex musicological analysis
2280 @cindex note grouping bracket
2282 Brackets are used in musical analysis to indicate structure in musical
2283 pieces. LilyPond supports a simple form of nested horizontal
2284 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2285 to @internalsref{Staff} context. A bracket is started with
2286 @code{\startGroup} and closed with @code{\stopGroup}
2288 @lilypond[quote,raggedright,verbatim]
2291 c4\startGroup\startGroup
2294 c4\stopGroup\stopGroup
2298 \Staff \consists "Horizontal_bracket_engraver"
2304 Program reference: @internalsref{HorizontalBracket},
2305 @internalsref{NoteGroupingEvent}.
2307 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2311 @subsection Articulations
2312 @cindex Articulations
2314 @cindex articulations
2318 A variety of symbols can appear above and below notes to indicate
2319 different characteristics of the performance. They are added to a note
2320 by adding a dash and the character signifying the
2321 articulation. They are demonstrated here
2323 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2325 The meanings of these shorthands can be changed. See
2326 @file{ly/@/script@/-init@/.ly} for examples.
2329 The script is automatically placed, but the direction can be forced as
2330 well. Like other pieces of LilyPond code, @code{_} will place them
2331 below the staff, and @code{^} will place them above.
2334 @lilypond[quote,raggedright,fragment,verbatim]
2338 Other symbols can be added using the syntax
2339 @var{note}@code{\}@var{name}. Again, they
2340 can be forced up or down using @code{^} and @code{_},
2343 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2344 c\fermata c^\fermata c_\fermata
2351 @cindex staccatissimo
2361 @cindex organ pedal marks
2370 @cindex prallmordent
2374 @cindex thumb marking
2379 Here is a chart showing all scripts available,
2381 @lilypondfile[raggedright,quote]{script-chart.ly}
2384 The vertical ordering of scripts is controlled with the
2385 @code{script-priority} property. The lower this number, the closer it
2386 will be put to the note. In this example, the
2387 @internalsref{TextScript} (the sharp symbol) first has the lowest
2388 priority, so it is put lowest in the first example. In the second, the
2389 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2390 inside. When two objects have the same priority, the order in which
2391 they are entered decides which one comes first.
2394 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2395 \once \override TextScript #'script-priority = #-100
2396 a4^\prall^\markup { \sharp }
2398 \once \override Script #'script-priority = #-100
2399 a4^\prall^\markup { \sharp }
2407 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2411 These signs appear in the printed output but have no effect on the
2412 MIDI rendering of the music.
2416 @node Running trills
2417 @subsection Running trills
2419 Long running trills are made with @code{\startTrillSpan} and
2420 @code{\stopTrillSpan},
2423 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2425 << { c1 \startTrillSpan }
2426 { s2. \grace { d16[\stopTrillSpan e] } } >>
2432 @code{\startTrillSpan},
2433 @cindex @code{\startTrillSpan}
2434 @code{\stopTrillSpan}.
2435 @cindex @code{\stopTrillSpan}
2439 Program reference: @internalsref{TrillSpanner},
2440 @internalsref{TrillSpanEvent}.
2442 @node Fingering instructions
2443 @subsection Fingering instructions
2447 Fingering instructions can be entered using
2449 @var{note}-@var{digit}
2451 For finger changes, use markup texts
2453 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2455 c^\markup { \finger "2-3" }
2458 @cindex finger change
2463 You can use the thumb-script to indicate that a note should be
2464 played with the thumb (e.g., in cello music)
2465 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2466 <a_\thumb a'-3>8 <b_\thumb b'-3>
2469 Fingerings for chords can also be added to individual notes
2470 of the chord by adding them after the pitches
2471 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2472 < c-1 e-2 g-3 b-5 >4
2476 In this case, setting @code{fingeringOrientations} will put fingerings next
2479 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2480 \set fingeringOrientations = #'(left down)
2481 <c-1 es-2 g-4 bes-5 > 4
2482 \set fingeringOrientations = #'(up right down)
2483 <c-1 es-2 g-4 bes-5 > 4
2486 Using this feature, it is also possible to put fingering instructions
2487 very close to note heads in monophonic music,
2489 @lilypond[verbatim,raggedright,quote,fragment]
2490 \set fingeringOrientations = #'(right)
2497 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2499 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2505 @subsection Grace notes
2508 @c should have blurb about accaciatura / appogiatura
2510 @cindex @code{\grace}
2514 Grace notes are ornaments that are written out. The most common ones
2515 are acciaccatura, which should be played as very short. It is denoted
2516 by a slurred small note with a slashed stem. The appoggiatura is a
2517 grace note that takes a fixed fraction of the main note, and is
2518 denoted as a slurred note in small print without a slash. They
2519 are entered with the commands @code{\acciaccatura} and
2520 @code{\appoggiatura}, as demonstrated in the following example
2523 @cindex appoggiatura
2524 @cindex acciaccatura
2526 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2527 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2528 \acciaccatura { g16[ f] } e4
2531 Both are special forms of the @code{\grace} command. By prefixing this
2532 keyword to a music expression, a new one is formed, which will be
2533 printed in a smaller font and takes up no logical time in a measure.
2535 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2537 \grace { c16[ d16] } c2 c4
2541 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2542 @code{\grace} command does not start a slur.
2544 Internally, timing for grace notes is done using a second, `grace'
2545 timing. Every point in time consists of two rational numbers: one
2546 denotes the logical time, one denotes the grace timing. The above
2547 example is shown here with timing tuples
2549 @lilypond[quote,raggedright]
2552 c4 \grace c16 c4 \grace {
2555 \new Lyrics \lyricmode {
2556 \override LyricText #'font-family = #'typewriter
2560 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2561 \markup { (\fraction 1 4 , 0 ) } 4
2563 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2564 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2566 \markup { ( \fraction 2 4 , 0 ) }
2572 The placement of grace notes is synchronized between different staves.
2573 In the following example, there are two sixteenth grace notes for
2574 every eighth grace note
2576 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2577 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2578 \new Staff { c4 \grace { g8[ b] } c4 } >>
2583 If you want to end a note with a grace, use the @code{\afterGrace}
2584 command. It takes two arguments: the main note, and the grace notes
2585 following the main note.
2587 @lilypond[raggedright, verbatim,relative=2,fragment]
2588 c1 \afterGrace d1 { c16[ d] } c4
2591 This will put the grace notes after a ``space'' lasting 3/4 of the
2592 length of the main note. The fraction 3/4 can be changed by setting
2593 @code{afterGraceFraction}, ie.
2596 afterGraceFraction = #(cons 7 8)
2600 will put the grace note at 7/8 of the main note.
2603 The same effect can be achieved manually by doing
2606 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2609 { s2 \grace { c16[ d] } } >>
2615 By adjusting the duration of the skip note (here it is a half-note),
2616 the space between the main-note and the grace is adjusted.
2621 A @code{\grace} section will introduce special typesetting settings,
2622 for example, to produce smaller type, and set directions. Hence, when
2623 introducing layout tweaks, they should be inside the grace section,
2625 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2637 The overrides should also be reverted inside the grace section.
2639 The layout of grace sections can be changed throughout the music using
2640 the function @code{add-grace-property}. The following example
2641 undefines the Stem direction for this grace, so stems do not always
2646 #(add-grace-property 'Voice 'Stem 'direction '())
2652 Another option is to change the variables @code{startGraceMusic},
2653 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2654 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2655 @code{stopAppoggiaturaMusic}. More information is in the file
2656 @file{ly/@/grace@/-init@/.ly}.
2661 Program reference: @internalsref{GraceMusic}.
2665 A score that starts with a @code{\grace} section needs an explicit
2666 @code{\context Voice} declaration, otherwise the main note and the grace
2667 note end up on different staves.
2669 Grace note synchronization can also lead to surprises. Staff notation,
2670 such as key signatures, bar lines, etc., are also synchronized. Take
2671 care when you mix staves with grace notes and staves without, for example,
2673 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2674 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2675 \new Staff { c4 \bar "|:" d4 } >>
2679 This can be remedied by inserting grace skips, for the above example
2682 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2685 Grace sections should only be used within sequential music
2686 expressions. Nesting or juxtaposing grace sections is not supported,
2687 and might produce crashes or other errors.
2691 @subsection Glissando
2694 @cindex @code{\glissando}
2696 A glissando is a smooth change in pitch. It is denoted by a line or a
2697 wavy line between two notes. It is requested by attaching
2698 @code{\glissando} to a note
2700 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2706 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2708 Example files: @file{input/@/regression/@/glissando@/.ly}.
2714 Printing text over the line (such as @emph{gliss.}) is not supported.
2718 @subsection Dynamics
2731 @cindex @code{\ffff}
2741 Absolute dynamic marks are specified using a command after a note
2742 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2743 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2744 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2745 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2747 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2748 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2749 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2758 A crescendo mark is started with @code{\<} and terminated with
2759 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2760 with @code{\!}. Because these marks are bound to notes, you must
2761 use spacer notes if multiple marks are needed during one note
2763 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2765 << f1 { s4 s4\< s4\! \> s4\! } >>
2767 This may give rise to very short hairpins. Use @code{minimum-length}
2768 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2772 \override Staff.Hairpin #'minimum-length = #5
2775 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2776 is an example how to do it
2778 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2792 You can also supply your own texts
2793 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2794 \set crescendoText = \markup { \italic "cresc. poco" }
2795 \set crescendoSpanner = #'dashed-line
2801 To create new dynamic marks or text that should be aligned
2802 with dynamics, see @ref{New dynamic marks}.
2807 @cindex @code{\dynamicUp}
2809 @cindex @code{\dynamicDown}
2810 @code{\dynamicDown},
2811 @cindex @code{\dynamicNeutral}
2812 @code{\dynamicNeutral}.
2814 @cindex direction, of dynamics
2818 Program reference: @internalsref{CrescendoEvent},
2819 @internalsref{DecrescendoEvent}, and
2820 @internalsref{AbsoluteDynamicEvent}.
2822 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2823 objects. Vertical positioning of these symbols is handled by the
2824 @internalsref{DynamicLineSpanner} object.
2830 Repetition is a central concept in music, and multiple notations exist
2836 * Repeats and MIDI::
2837 * Manual repeat commands::
2839 * Tremolo subdivisions::
2844 @subsection Repeat types
2847 @cindex @code{\repeat}
2849 The following types of repetition are supported
2853 Repeated music is fully written (played) out. This is useful when
2854 entering repetitious music. This is the only kind of repeat that
2855 is included in MIDI output.
2858 Repeats are not written out, but alternative endings (volte) are
2859 printed, left to right with brackets. This is the standard notation
2860 for repeats with alternatives. These are not played in MIDI output by default.
2864 Alternative endings are written stacked. This has limited use but may be
2865 used to typeset two lines of lyrics in songs with repeats, see
2866 @inputfileref{input,star-spangled-banner@/.ly}.
2871 Make tremolo beams. These are not played in MIDI output by default.
2874 Make beat or measure repeats. These look like percent signs. These
2875 are not played in MIDI output by default. Percent repeats must be
2876 declared within a Voice context.
2881 @subsection Repeat syntax
2884 LilyPond has one syntactic construct for specifying different types of
2885 repeats. The syntax is
2888 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2891 If you have alternative endings, you may add
2892 @cindex @code{\alternative}
2894 \alternative @{ @var{alternative1}
2896 @var{alternative3} @dots{} @}
2898 where each @var{alternative} is a music expression. If you do not
2899 give enough alternatives for all of the repeats, the first alternative
2900 is assumed to be played more than once.
2902 Standard repeats are used like this
2903 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2905 \repeat volta 2 { c4 d e f }
2906 \repeat volta 2 { f e d c }
2909 With alternative endings
2910 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2912 \repeat volta 2 {c4 d e f}
2913 \alternative { {d2 d} {f f,} }
2917 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2920 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2921 \alternative { { g4 g g } { a | a a a a | b2. } }
2925 It is possible to shorten volta brackets
2926 by setting @code{voltaSpannerDuration}. In the next example, the
2927 bracket only lasts one measure, which is a duration of 3/4.
2931 @lilypond[verbatim,raggedright,quote]
2935 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2936 \repeat "volta" 5 { d d d }
2937 \alternative { { e e e f f f }
2947 Brackets for the repeat are normally only printed over the topmost
2948 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2949 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2952 @c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
2957 A nested repeat like
2966 is ambiguous, since it is is not clear to which @code{\repeat} the
2967 @code{\alternative} belongs. This ambiguity is resolved by always
2968 having the @code{\alternative} belong to the inner @code{\repeat}.
2969 For clarity, it is advisable to use braces in such situations.
2974 Timing information is not remembered at the start of an alternative,
2975 so after a repeat timing information must be reset by hand, for
2976 example by setting @code{Score.measurePosition} or entering
2977 @code{\partial}. Similarly, slurs or ties are also not repeated.
2982 @node Repeats and MIDI
2983 @subsection Repeats and MIDI
2985 @cindex expanding repeats
2987 With a little bit of tweaking, all types of repeats can be present
2988 in the MIDI output. This is achieved by applying the
2989 @code{\unfoldrepeats} music function. This functions changes all
2990 repeats to unfold repeats.
2992 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2994 \repeat tremolo 8 {c'32 e' }
2995 \repeat percent 2 { c''8 d'' }
2996 \repeat volta 2 {c'4 d' e' f'}
3005 When creating a score file using @code{\unfoldrepeats} for midi, then
3006 it is necessary to make two @code{\score} blocks. One for MIDI (with
3007 unfolded repeats) and one for notation (with volta, tremolo, and
3008 percent repeats). For example,
3016 \unfoldrepeats @var{..music..}
3021 @node Manual repeat commands
3022 @subsection Manual repeat commands
3024 @cindex @code{repeatCommands}
3026 The property @code{repeatCommands} can be used to control the layout of
3027 repeats. Its value is a Scheme list of repeat commands.
3030 @item @code{start-repeat}
3031 Print a @code{|:} bar line.
3033 @item @code{end-repeat}
3034 Print a @code{:|} bar line.
3036 @item @code{(volta @var{text})}
3037 Print a volta bracket saying @var{text}: The text can be specified as
3038 a text string or as a markup text, see @ref{Text markup}. Do not
3039 forget to change the font, as the default number font does not contain
3040 alphabetic characters;
3042 @item @code{(volta #f)}
3043 Stop a running volta bracket.
3046 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
3048 \set Score.repeatCommands = #'((volta "93") end-repeat)
3050 \set Score.repeatCommands = #'((volta #f))
3058 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
3059 @internalsref{VoltaRepeatedMusic},
3060 @internalsref{UnfoldedRepeatedMusic}, and
3061 @internalsref{FoldedRepeatedMusic}.
3063 @node Tremolo repeats
3064 @subsection Tremolo repeats
3065 @cindex tremolo beams
3067 To place tremolo marks between notes, use @code{\repeat} with tremolo
3069 @lilypond[quote,verbatim,raggedright]
3070 \new Voice \relative c' {
3071 \repeat "tremolo" 8 { c16 d16 }
3072 \repeat "tremolo" 4 { c16 d16 }
3073 \repeat "tremolo" 2 { c16 d16 }
3077 Tremolo marks can also be put on a single note. In this case, the
3078 note should not be surrounded by braces.
3079 @lilypond[quote,verbatim,raggedright]
3080 \repeat "tremolo" 4 c'16
3083 Similar output is obtained using the tremolo subdivision, described in
3084 @ref{Tremolo subdivisions}.
3088 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3090 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
3091 tremolos are @internalsref{StemTremolo} objects. The music expression is
3092 @internalsref{TremoloEvent}.
3094 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3095 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3097 @node Tremolo subdivisions
3098 @subsection Tremolo subdivisions
3099 @cindex tremolo marks
3100 @cindex @code{tremoloFlags}
3102 Tremolo marks can be printed on a single note by adding
3103 `@code{:}[@var{number}]' after the note. The number indicates the
3104 duration of the subdivision, and it must be at least 8. A
3105 @var{length} value of 8 gives one line across the note stem. If the
3106 length is omitted, the last value (stored in @code{tremoloFlags}) is
3109 @lilypond[quote,raggedright,verbatim,fragment]
3110 c'2:8 c':32 | c': c': |
3113 @c [TODO: stok is te kort bij 32en]
3114 @c somebody want to translate that into English?
3115 @c `Stem is too short for 32nds' (wl)
3119 Tremolos entered in this way do not carry over into the MIDI output.
3123 In this manual: @ref{Tremolo repeats}.
3125 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3127 @node Measure repeats
3128 @subsection Measure repeats
3130 @cindex percent repeats
3131 @cindex measure repeats
3133 In the @code{percent} style, a note pattern can be repeated. It is
3134 printed once, and then the pattern is replaced with a special sign.
3135 Patterns of one and two measures are replaced by percent-like signs,
3136 patterns that divide the measure length are replaced by slashes.
3137 Percent repeats must be declared within a @code{Voice} context.
3139 @lilypond[quote,verbatim,raggedright]
3140 \new Voice \relative c' {
3141 \repeat "percent" 4 { c4 }
3142 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3148 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3149 @internalsref{PercentRepeatedMusic}, and
3150 @internalsref{DoublePercentRepeat}.
3154 @node Rhythmic music
3155 @section Rhythmic music
3157 Rhythmic music is primarily used for percussion and drum notation, but it can
3158 also be used to show the rhythms of melodies.
3161 * Showing melody rhythms::
3162 * Entering percussion::
3163 * Percussion staves::
3167 @node Showing melody rhythms
3168 @subsection Showing melody rhythms
3170 Sometimes you might want to show only the rhythm of a melody. This
3171 can be done with the rhythmic staff. All pitches of notes on such a
3172 staff are squashed, and the staff itself has a single line
3174 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3175 \context RhythmicStaff {
3177 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3183 Program reference: @internalsref{RhythmicStaff}.
3185 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
3188 @node Entering percussion
3189 @subsection Entering percussion
3195 Percussion notes may be entered in @code{\drummode} mode, which is
3196 similar to the standard mode for entering notes. Each piece of
3197 percussion has a full name and an abbreviated name, and both can be used
3200 @lilypond[quote,raggedright,verbatim]
3202 hihat hh bassdrum bd
3206 The complete list of drum names is in the init file
3207 @file{ly/@/drumpitch@/-init@/.ly}.
3208 @c TODO: properly document this.
3212 Program reference: @internalsref{DrumNoteEvent}.
3214 @node Percussion staves
3215 @subsection Percussion staves
3219 A percussion part for more than one instrument typically uses a
3220 multiline staff where each position in the staff refers to one piece
3224 To typeset the music, the notes must be interpreted in a
3225 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3227 @lilypond[quote,raggedright,verbatim]
3228 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3229 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3231 \new DrumVoice { \voiceOne \up }
3232 \new DrumVoice { \voiceTwo \down }
3236 The above example shows verbose polyphonic notation. The short
3237 polyphonic notation, described in @ref{Polyphony}, can also be used if
3238 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3240 @lilypond[quote,raggedright,fragment,verbatim]
3242 \context DrumVoice = "1" { s1 *2 }
3243 \context DrumVoice = "2" { s1 *2 }
3247 { \repeat unfold 16 hh16 }
3256 There are also other layout possibilities. To use these, set the
3257 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3258 The following variables have been predefined
3262 This is the default. It typesets a typical drum kit on a five-line staff
3264 @lilypond[quote,linewidth=10.0\cm]
3266 cymc cyms cymr hh hhc hho hhho hhp
3267 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
3269 cymc cyms cymr hh hhc hho hhho hhp \break
3270 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3272 << \new DrumStaff \with {
3273 \remove Bar_engraver
3274 \remove Time_signature_engraver
3275 \override Stem #'transparent = ##t
3276 \override Stem #'Y-extent-callback = ##f
3277 minimumVerticalExtent = #'(-4.0 . 5.0)
3279 \context Lyrics \nam
3284 \override LyricText #'font-family = #'typewriter
3285 \override BarNumber #'transparent =##T
3291 The drum scheme supports six different toms. When there are fewer toms,
3292 simply select the toms that produce the desired result, i.e., to get toms
3293 on the three middle lines you use @code{tommh}, @code{tomml}, and
3296 @item timbales-style
3297 This typesets timbales on a two line staff
3299 @lilypond[quote,raggedright]
3300 nam = \lyricmode { timh ssh timl ssl cb }
3301 mus = \drummode { timh ssh timl ssl cb s16 }
3304 \context DrumStaff \with {
3305 \remove Bar_engraver
3306 \remove Time_signature_engraver
3307 \override Stem #'transparent = ##t
3308 \override Stem #'Y-extent-callback = ##f
3309 \override StaffSymbol #'line-count = #2
3310 \override StaffSymbol #'staff-space = #2
3311 minimumVerticalExtent = #'(-3.0 . 4.0)
3312 drumStyleTable = #timbales-style
3315 \override LyricText #'font-family = #'typewriter
3322 This typesets congas on a two line staff
3324 @lilypond[quote,raggedright]
3325 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3326 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3329 \context DrumStaff \with {
3330 \remove Bar_engraver
3331 \remove Time_signature_engraver
3332 drumStyleTable = #congas-style
3333 \override StaffSymbol #'line-count = #2
3335 %% this sucks; it will lengthen stems.
3336 \override StaffSymbol #'staff-space = #2
3337 \override Stem #'transparent = ##t
3338 \override Stem #'Y-extent-callback = ##f
3341 \override LyricText #'font-family = #'typewriter
3348 This typesets bongos on a two line staff
3350 @lilypond[quote,raggedright]
3351 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3352 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3355 \context DrumStaff\with {
3356 \remove Bar_engraver
3357 \remove Time_signature_engraver
3358 \override StaffSymbol #'line-count = #2
3359 drumStyleTable = #bongos-style
3361 %% this sucks; it will lengthen stems.
3362 \override StaffSymbol #'staff-space = #2
3363 \override Stem #'transparent = ##t
3364 \override Stem #'Y-extent-callback = ##f
3367 \override LyricText #'font-family = #'typewriter
3373 @item percussion-style
3374 To typeset all kinds of simple percussion on one line staves.
3376 @lilypond[quote,raggedright]
3377 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3378 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3381 \context DrumStaff\with{
3382 \remove Bar_engraver
3383 drumStyleTable = #percussion-style
3384 \override StaffSymbol #'line-count = #1
3385 \remove Time_signature_engraver
3386 \override Stem #'transparent = ##t
3387 \override Stem #'Y-extent-callback = ##f
3390 \override LyricText #'font-family = #'typewriter
3397 If you do not like any of the predefined lists you can define your own
3398 list at the top of your file
3400 @lilypond[quote,raggedright,verbatim]
3402 (bassdrum default #f -1)
3403 (snare default #f 0)
3405 (pedalhihat xcircle "stopped" 2)
3406 (lowtom diamond #f 3)))
3407 up = \drummode { hh8 hh hh hh hhp4 hhp }
3408 down = \drummode { bd4 sn bd toml8 toml }
3411 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
3412 \new DrumVoice { \voiceOne \up }
3413 \new DrumVoice { \voiceTwo \down }
3420 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
3422 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3426 Because general MIDI does not contain rim shots, the sidestick is used
3427 for this purpose instead.
3430 @section Piano music
3432 Piano staves are two normal staves coupled with a brace. The staves
3433 are largely independent, but sometimes voices can cross between the
3434 two staves. The same notation is also used for harps and other key
3435 @c Is this `harp' or `harpsichord'?
3436 instruments. The @internalsref{PianoStaff} is especially built to
3437 handle this cross-staffing behavior. In this section we discuss the
3438 @internalsref{PianoStaff} and some other pianistic peculiarities.
3442 * Automatic staff changes::
3443 * Manual staff switches::
3446 * Staff switch lines::
3447 * Cross staff stems::
3452 Dynamics are not centered, but workarounds do exist. See the
3453 ``piano centered dynamics'' template in @ref{Piano templates}.
3455 @cindex cross staff stem
3456 @cindex stem, cross staff
3457 @cindex distance between staves in piano music
3459 The distance between the two staves is the same for all systems in the
3460 score. It is possible to override this per system, but it does require
3461 an arcane command incantation. See
3462 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
3465 @node Automatic staff changes
3466 @subsection Automatic staff changes
3467 @cindex Automatic staff changes
3469 Voices can be made to switch automatically between the top and the bottom
3470 staff. The syntax for this is
3474 \autochange @dots{}@var{music}@dots{}
3479 This will create two staves inside the current PianoStaff, called
3480 @code{up} and @code{down}. The lower staff will be in bass clef by
3483 A @code{\relative} section that is outside of @code{\autochange} has
3484 no effect on the pitches of @var{music}, so, if necessary, put
3485 @code{\relative} inside @code{\autochange} like
3489 \autochange \relative @dots{} @dots{}
3494 The autochanger switches on basis of the pitch (middle C is the turning
3495 point), and it looks ahead skipping over rests to switch in
3496 advance. Here is a practical example
3498 @lilypond[quote,verbatim,raggedright]
3500 \autochange \relative c'
3509 In this manual: @ref{Manual staff switches}.
3511 Program reference: @internalsref{AutoChangeMusic}.
3517 The staff switches may not end up in optimal places. For high
3518 quality output, staff switches should be specified manually.
3521 @code{\autochange} cannot be inside @code{\times}.
3523 Internally, the @code{\partcombine} interprets both arguments as
3524 @code{Voice}s named @code{one} and @code{two}, and then decides when
3525 the parts can be combined. Consequently, if the arguments switch to
3526 differently named @internalsref{Voice} contexts, the events in those
3530 @node Manual staff switches
3531 @subsection Manual staff switches
3533 @cindex manual staff switches
3534 @cindex staff switch, manual
3536 Voices can be switched between staves manually, using the command
3538 \change Staff = @var{staffname} @var{music}
3542 The string @var{staffname} is the name of the staff. It switches the
3543 current voice from its current staff to the Staff called
3544 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3545 @code{"down"}. The @context{Staff} referred to must already exist, so
3546 usually the setup for a score will start with a setup of the staves,
3550 \context Staff = up @{
3551 \skip 1 * 10 % @emph{keep staff alive}
3553 \context Staff = down @{
3554 \skip 1 * 10 % @emph{idem}
3560 and the @context{Voice} is inserted afterwards
3563 \context Staff = down
3564 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3572 Pianos have pedals that alter the way sound is produced. Generally, a
3573 piano has three pedals, sustain, una corda, and sostenuto.
3576 Piano pedal instruction can be expressed by attaching
3577 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3578 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3581 @lilypond[quote,raggedright,fragment,verbatim]
3582 c'4\sustainDown c'4\sustainUp
3585 What is printed can be modified by setting @code{pedal@var{X}Strings},
3586 where @var{X} is one of the pedal types: @code{Sustain},
3587 @code{Sostenuto} or @code{UnaCorda}. Refer to
3588 @internalsref{SustainPedal} in the program reference for more
3591 Pedals can also be indicated by a sequence of brackets, by setting the
3592 @code{pedalSustainStyle} property to bracket objects
3594 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3595 \set Staff.pedalSustainStyle = #'bracket
3597 b\sustainUp\sustainDown
3598 b g \sustainUp a \sustainDown \bar "|."
3601 A third style of pedal notation is a mixture of text and brackets,
3602 obtained by setting the @code{pedalSustainStyle} property to
3605 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3606 \set Staff.pedalSustainStyle = #'mixed
3608 b\sustainUp\sustainDown
3609 b g \sustainUp a \sustainDown \bar "|."
3612 The default `*Ped.' style for sustain and damper pedals corresponds to
3613 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3616 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3617 c\sostenutoDown d e c, f g a\sostenutoUp
3620 For fine-tuning the appearance of a pedal bracket, the properties
3621 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3622 @code{PianoPedalBracket} objects (see
3623 @internalsref{PianoPedalBracket} in the Program reference) can be
3624 modified. For example, the bracket may be extended to the right edge
3627 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3628 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3629 c\sostenutoDown d e c, f g a\sostenutoUp
3633 @subsection Arpeggio
3636 @cindex broken arpeggio
3637 @cindex @code{\arpeggio}
3639 You can specify an arpeggio sign on a chord by attaching an
3640 @code{\arpeggio} to a chord
3643 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3647 When an arpeggio crosses staves, you attach an arpeggio to the chords
3648 in both staves, and set
3649 @internalsref{PianoStaff}.@code{connectArpeggios}
3651 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3652 \context PianoStaff <<
3653 \set PianoStaff.connectArpeggios = ##t
3654 \new Staff { <c' e g c>\arpeggio }
3655 \new Staff { \clef bass <c,, e g>\arpeggio }
3659 The direction of the arpeggio is sometimes denoted by adding an
3660 arrowhead to the wiggly line
3662 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3671 A square bracket on the left indicates that the player should not
3672 arpeggiate the chord
3674 @c todo: ugh, lousy typography. Look for real example. --hwn
3676 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3683 @cindex @code{\arpeggio}
3685 @cindex @code{\arpeggioUp}
3687 @cindex @code{\arpeggioDown}
3688 @code{\arpeggioDown},
3689 @cindex @code{\arpeggioNeutral}
3690 @code{\arpeggioNeutral},
3691 @cindex @code{\arpeggioBracket}
3692 @code{\arpeggioBracket}.
3696 Program reference: @internalsref{ArpeggioEvent},
3697 @internalsref{Arpeggio}.
3701 It is not possible to mix connected arpeggios and unconnected
3702 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3704 @node Staff switch lines
3705 @subsection Staff switch lines
3708 @cindex follow voice
3709 @cindex staff switching
3712 @cindex @code{followVoice}
3714 Whenever a voice switches to another staff, a line connecting the notes
3715 can be printed automatically. This is switched on by setting
3716 @code{followVoice} to true
3718 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3719 \context PianoStaff <<
3720 \set followVoice = ##t
3721 \context Staff \context Voice {
3726 \context Staff=two { \clef bass \skip 1*2 }
3732 Program reference: @internalsref{VoiceFollower}.
3736 @cindex @code{\showStaffSwitch}
3737 @code{\showStaffSwitch},
3738 @cindex @code{\hideStaffSwitch}
3739 @code{\hideStaffSwitch}.
3742 @node Cross staff stems
3743 @subsection Cross staff stems
3745 Chords that cross staves may be produced by increasing the length
3746 of the stem in the lower staff, so it reaches the stem in the upper
3747 staff, or vice versa.
3749 @lilypond[raggedright,verbatim,quote]
3750 stemExtend = \once \override Stem #'length = #22
3751 noFlag = \once \override Stem #'flag-style = #'no-flag
3752 \context PianoStaff <<
3754 \stemDown \stemExtend
3768 @section Vocal music
3770 There are three different issues when printing vocal music
3774 Song texts must be entered as text, not notes. For example, the
3775 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
3779 Song texts must be printed as text, not as notes.
3782 Song texts must be aligned with the notes of their melody.
3785 The simplest solution for printing music uses the @code{\addlyrics}
3786 function to solve all these problems at once. However, these
3787 three functions can be controlled separately, which is necessary
3788 for complex vocal music.
3792 * Setting simple songs::
3794 * Hyphens and extenders::
3795 * The Lyrics context::
3796 * Flexibility in alignment::
3799 * Other vocal issues::
3802 @node Setting simple songs
3803 @subsection Setting simple songs
3805 The easiest way to add lyrics to a melody is to append
3808 \addlyrics @{ @var{the lyrics} @}
3812 to a melody. Here is an example,
3814 @lilypond[raggedright,verbatim,fragment,quote]
3816 \relative { c2 e4 g2. }
3817 \addlyrics { play the game }
3820 More stanzas can be added by adding more
3821 @code{\addlyrics} sections
3823 @lilypond[raggedright,verbatim,fragment,quote]
3825 \relative { c2 e4 g2. }
3826 \addlyrics { play the game }
3827 \addlyrics { speel het spel }
3828 \addlyrics { joue le jeu }
3831 @c TODO - this isn't such a great place for this note, but I can't
3832 @c find a better place without rearranging a lot of lyric stuff.
3833 @c It's yet another thing to look at post-3.0.
3835 The @code{\addlyrics} command is actually just a convienient way
3836 to write a more complicated LilyPond structure that sets up the
3837 lyrics. You should use @code{\addlyrics} unless you need to do
3838 fancy things, in which case you should investigate
3839 @code{\lyricsto} or @code{\lyricmode}.
3843 \addlyrics @{ LYRICS @}
3850 \context Voice = blah @{ music @}
3851 \lyricsto "blah" \new lyrics @{ LYRICS @}
3856 @code{\addlyrics} cannot handle polyphony.
3859 @node Entering lyrics
3860 @subsection Entering lyrics
3864 @cindex @code{\lyricmode}
3867 Lyrics are entered in a special input mode. This mode is introduced
3868 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3869 @code{lyricsto}. In this mode you can enter lyrics,
3870 with punctuation and accents, and the input @code{d} is not parsed as
3871 a pitch, but rather as a one letter syllable. Syllables are entered
3872 like notes, but with pitches replaced by text. For example,
3874 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3878 A word lyrics mode begins with an alphabetic character, and ends with
3879 any space or digit. The following characters can be any character
3880 that is not a digit or white space. One important consequence of this
3881 is that a word can end with @code{@}}. The following example is
3882 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3883 opening brace is not balanced
3885 \lyricmode @{ twinkle@}
3888 @cindex @code{\property}, in @code{\lyricmode}
3890 Similarly, a period which follows an alphabetic sequence is included in
3891 the resulting string. As a consequence, spaces must be inserted around
3894 \override Score . LyricText #'font-shape = #'italic
3898 @cindex spaces, in lyrics
3899 @cindex quotes, in lyrics
3901 Any @code{_} character that appears in an unquoted word is converted
3902 to a space. This provides a mechanism for introducing spaces into words
3903 without using quotes. Quoted words can also be used in Lyrics mode to
3904 specify words that cannot be written with the above rules. The
3905 following example incorporates double quotes
3908 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3911 This example is slightly academic, since it gives better looking
3912 results using single quotes, @code{``} and @code{''}
3914 \lyricmode @{ He said: ``Let my peo ple go'' @}
3918 The full definition of a word start in Lyrics mode is somewhat more
3921 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3922 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3923 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3924 any 8-bit character with ASCII code over 127, or a two-character
3925 combination of a backslash followed by one of @code{`}, @code{'},
3926 @code{"}, or @code{^}.
3932 Program reference: events @internalsref{LyricEvent}, and
3933 @internalsref{LyricText}.
3937 The definition of lyrics mode is too complex.
3939 @node Hyphens and extenders
3940 @subsection Hyphens and extenders
3944 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3945 The hyphen will have variable length depending on the space between
3946 the syllables and it will be centered between the syllables.
3951 When a lyric is sung over many notes (this is called a melisma), this is
3952 indicated with a horizontal line centered between a syllable and the
3953 next one. Such a line is called an extender line, and it is entered as
3957 FIXME: check that this compiles and displays correctly. I don't want
3958 to commit this part blindly.
3960 In tighly engraved music, hyphens can be removed. In some languages
3961 (e.g. German and Hungarian), hyphens should not disappear, since
3962 spelling depends on hyphenation. For that purpose, hyphens can be
3963 forced to remain by overriding @code{minimum-length} of
3964 the @code{LyricHyphen} grob.
3968 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
3975 \lyrics \new Lyrics \with {
3976 % Otherwise lyrics are so far apart that hyphens don't disappear
3977 \override SeparationItem #'padding = #0.0
3978 }{ bla -- bla -- bla -- bla --
3979 bla -- bla -- bla -- bla --
3981 \override LyricHyphen #'minimum-length = #0.7
3982 \override LyricHyphen #'spacing-procedure =
3983 #Hyphen_spanner::set_spacing_rods
3985 bla -- bla -- bla -- bla
3992 \StaffContext \remove "Time_signature_engraver"
4003 Program reference: @internalsref{HyphenEvent},
4004 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
4005 @internalsref{LyricExtender}
4009 @node The Lyrics context
4010 @subsection The Lyrics context
4013 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
4015 \context Lyrics \lyricmode @dots{}
4018 @cindex automatic syllable durations
4019 @cindex @code{\lyricsto}
4020 @cindex lyrics and melodies
4022 This will place the lyrics according to the durations that were
4023 entered. The lyrics can also be aligned under a given melody
4024 automatically. In this case, it is no longer necessary to enter the
4025 correct duration for each syllable. This is achieved by combining the
4026 melody and the lyrics with the @code{\lyricsto} expression
4028 \lyricsto @var{name} \new Lyrics @dots{}
4031 This aligns the lyrics to the
4032 notes of the @internalsref{Voice} context called @var{name}, which has
4033 to exist. Therefore, normally the @code{Voice} is specified first, and
4034 then the lyrics are specified with @code{\lyricsto}. The command
4035 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
4036 @code{\lyricmode} keyword may be omitted.
4038 For different or more complex orderings, the best way is to setup the
4039 hierarchy of staves and lyrics first, e.g.,
4041 \context ChoirStaff <<
4042 \context Lyrics = sopranoLyrics @{ s1 @}
4043 \context Voice = soprano @{ @emph{music} @}
4044 \context Lyrics = tenorLyrics @{ s1 @}
4045 \context Voice = tenor @{ @emph{music} @}
4048 and then combine the appropriate melodies and lyric lines
4050 \lyricsto "soprano" \context Lyrics = sopranoLyrics
4055 The final input would resemble
4058 <<\context ChoirStaff << @emph{setup the music} >>
4059 \lyricsto "soprano" @emph{etc}
4060 \lyricsto "alto" @emph{etc}
4066 The @code{\lyricsto} command detects melismata: it only puts one
4067 syllable under a tied or slurred group of notes. If you want to force
4068 an unslurred group of notes to be a melisma, insert @code{\melisma}
4069 after the first note of the group, and @code{\melismaEnd} after the
4072 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
4074 \context Voice = "lala" {
4082 \lyricsto "lala" \new Lyrics {
4088 In addition, notes are considered a melisma if they are manually
4089 beamed, and automatic beaming (see @ref{Setting automatic beam
4090 behavior}) is switched off.
4096 The criteria for deciding melismata can
4097 be tuned with the property @code{melismaBusyProperties}. See
4098 @internalsref{Melisma_translator} in the program reference for more
4103 Lyrics can also be entered without @code{\lyricsto}. In this case the
4104 duration of each syllable must be entered explicitly, for example,
4111 The alignment to a melody can be specified with the
4112 @code{associatedVoice} property,
4115 \set associatedVoice = #"lala"
4119 The value of the property (here: @code{"lala"}) should be the name of
4120 a @internalsref{Voice} context. Without this setting, extender lines
4121 will not be formatted properly.
4123 Here is an example demonstrating manual lyric durations,
4125 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
4126 << \context Voice = melody {
4130 \new Lyrics \lyricmode {
4131 \set associatedVoice = #"melody"
4137 @cindex choral score
4139 A complete example of a SATB score setup is in section
4140 @ref{Vocal ensembles}.
4145 @code{\melisma}, @code{\melismaEnd}
4146 @cindex @code{\melismaEnd}
4147 @cindex @code{\melisma}
4151 Program reference: @internalsref{LyricCombineMusic},
4152 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
4155 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
4156 @c TODO: make separate section for melismata
4160 Melismata are not detected automatically, and extender lines must be
4164 @c TODO: document \new Staff << Voice \lyricsto >> bug
4166 @node Flexibility in alignment
4167 @subsection Flexibility in alignment
4170 Often, different stanzas of one song are put to one melody in slightly
4171 differing ways. Such variations can still be captured with
4174 One possibility is that the text has a melisma in one stanza, but
4175 multiple syllables in another one. One solution is to make the faster
4176 voice ignore the melisma. This is done by setting
4177 @code{ignoreMelismata} in the Lyrics context.
4179 There has one tricky aspect. The setting for @code{ignoreMelismata}
4180 must be set one syllable @emph{before} the non-melismatic syllable
4181 in the text, as shown here,
4183 @lilypond[verbatim,raggedright,quote]
4185 \relative \context Voice = "lahlah" {
4186 \set Staff.autoBeaming = ##f
4192 \new Lyrics \lyricsto "lahlah" {
4195 \new Lyrics \lyricsto "lahlah" {
4196 \set ignoreMelismata = ##t % applies to "fas"
4198 \unset ignoreMelismata
4205 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4206 should be entered before ``go''.
4208 The reverse is also possible: making a lyric line slower than the
4209 standard. This can be achieved by insert @code{\skip}s into the
4210 lyrics. For every @code{\skip}, the text will be delayed another note.
4213 @lilypond[verbatim,raggedright,quote]
4214 \relative { c c g' }
4221 More complex variations in text underlay are possible. It is possible
4222 to switch the melody for a line of lyrics during the text. This is
4223 done by setting the @code{associatedVoice} property. In the example
4225 @lilypond[raggedright,quote]
4227 \relative \context Voice = "lahlah" {
4228 \set Staff.autoBeaming = ##f
4231 \context Voice = alternative {
4234 % show associations clearly.
4235 \override NoteColumn #'force-hshift = #-3
4246 \new Lyrics \lyricsto "lahlah" {
4247 Ju -- ras -- sic Park
4249 \new Lyrics \lyricsto "lahlah" {
4250 % Tricky: need to set associatedVoice
4251 % one syllable too soon!
4252 \set associatedVoice = alternative % applies to "ran"
4256 \set associatedVoice = lahlah % applies to "rus"
4262 the text for the first stanza is set to a melody called ``lahlah'',
4265 \new Lyrics \lyricsto "lahlah" @{
4266 Ju -- ras -- sic Park
4271 The second stanza initially is set to the @code{lahlah} context, but
4272 for the syllable ``ran'', it switches to a different melody.
4273 This is achieved with
4275 \set associatedVoice = alternative
4279 Here, @code{alternative} is the name of the @code{Voice} context
4280 containing the triplet.
4282 Again, the command must be one syllable too early, before ``Ty'' in
4286 \new Lyrics \lyricsto "lahlah" @{
4287 \set associatedVoice = alternative % applies to "ran"
4291 \set associatedVoice = lahlah % applies to "rus"
4297 The underlay is switched back to the starting situation by assigning
4298 @code{lahlah} to @code{associatedVoice}.
4304 @subsection More stanzas
4306 @cindex phrasing, in lyrics
4309 @cindex stanza number
4310 @cindex singer's names
4311 @cindex name of singer
4313 Stanza numbers can be added by setting @code{stanza}, e.g.,
4315 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4317 \time 3/4 g2 e4 a2 f4 g2.
4320 Hi, my name is Bert.
4323 Oh, che -- ri, je t'aime
4327 These numbers are put just before the start of first syllable.
4329 Names of singers can also be added. They are printed at the start of
4330 the line, just like instrument names. They are created by setting
4331 @code{vocalName}. A short version may be entered as @code{vocNam}.
4334 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4336 \time 3/4 g2 e4 a2 f4 g2.
4338 \set vocalName = "Bert "
4339 Hi, my name is Bert.
4341 \set vocalName = "Ernie "
4342 Oh, che -- ri, je t'aime
4348 Program reference: Layout objects @internalsref{LyricText} and
4349 @internalsref{VocalName}. Music expressions
4350 @internalsref{LyricEvent}.
4358 The term @emph{ambitus} denotes a range of pitches for a given voice
4359 in a part of music. It may also denote the pitch range that a musical
4360 instrument is capable of playing. Ambits are printed on vocal parts,
4361 so performers can easily determine it meets their capabilities.
4363 Ambits are denoted at the beginning of a piece near the initial clef.
4364 The range is graphically specified by two note heads that represent the
4365 minimum and maximum pitch. To print such ambits, add the
4366 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4373 \consists Ambitus_engraver
4378 This results in the following output
4380 @lilypond[quote,raggedright]
4384 \consists Ambitus_engraver
4388 \relative \new Staff {
4393 If you have multiple voices in a single staff and you want a single
4394 ambitus per staff rather than per each voice, add the
4395 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4396 rather than to the @internalsref{Voice} context. Here is an example,
4398 @lilypond[verbatim,raggedright,quote]
4400 \consists "Ambitus_engraver"
4404 \remove "Ambitus_engraver"
4406 \override Ambitus #'X-offset-callbacks
4407 = #(list (lambda (grob axis) -1.0))
4412 \remove "Ambitus_engraver"
4421 This example uses one advanced feature,
4424 \override Ambitus #'X-offset-callbacks
4425 = #(list (lambda (grob axis) -1.0))
4429 This code moves the ambitus to the left. The same effect could have
4430 been achieved with @code{extra-offset}, but then the formatting system
4431 would not reserve space for the moved object.
4435 Program reference: @internalsref{Ambitus},
4436 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4437 @internalsref{AmbitusAccidental}.
4439 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
4443 There is no collision handling in the case of multiple per-voice
4446 @node Other vocal issues
4447 @subsection Other vocal issue
4450 yeah, I'm giving up somewhat by stuffing a bunch of things in
4451 here. But at least they're in the manual now; it's easier to
4452 move them around in the manual once they're already here.
4454 Besides, if users complain about everything stuffed in here, I
4455 can ask them for specific instructions about where to move these
4456 examples, and that might get them more involved in the docs. -gp
4459 You can display alternate (or divisi) lyrics by naming voice
4460 contexts and attaching lyrics to those specific contexts.
4462 @lilypond[verbatim,raggedright,quote]
4464 \context Voice = "melody" {
4469 \context Voice = splitpart { \voiceTwo c4 }
4474 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
4475 \new Lyrics \lyricsto "splitpart" { shall }
4480 You can use this trick to display different lyrics for a repeated
4483 @lilypond[verbatim,raggedright,quote]
4485 \context Voice = melody \relative c' {
4487 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
4489 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
4492 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
4494 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
4495 dodo rere mimi fafa solsol }
4501 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4502 @section Other instrument specific notation
4504 This section includes extra information for writing string music, and may
4505 include extra information for other instruments in the future.
4511 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4512 @subsection Harmonic notes
4514 @cindex artificial harmonics
4517 Artificial harmonics are notated with a different notehead style. They
4518 are entered by marking the harmonic pitch with @code{\harmonic}.
4520 @lilypond[raggedright,verbatim,quote,fragment]
4525 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4529 @cindex guitar tablature
4531 Tablature notation is used for notating music for plucked string
4532 instruments. Pitches are not denoted with note heads, but by
4533 indicating on which string and fret a note must be played. LilyPond
4534 offers limited support for tablature.
4537 * Tablatures basic::
4538 * Non-guitar tablatures::
4541 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4542 @subsection Tablatures basic
4543 @cindex Tablatures basic
4545 The string number associated to a note is given as a backslash
4546 followed by a number, e.g., @code{c4\3} for a C quarter on the third
4547 string. By default, string 1 is the highest one, and the tuning
4548 defaults to the standard guitar tuning (with 6 strings). The notes
4549 are printed as tablature, by using @internalsref{TabStaff} and
4550 @internalsref{TabVoice} contexts
4552 @lilypond[quote,raggedright,fragment,verbatim]
4559 @cindex @code{minimumFret}
4562 When no string is specified, the first string that does not give a
4563 fret number less than @code{minimumFret} is selected. The default
4564 value for @code{minimumFret} is 0
4569 \set TabStaff.minimumFret = #8
4572 @lilypond[quote,raggedright]
4576 \set TabStaff.minimumFret = #8
4579 \context StaffGroup <<
4580 \context Staff { \clef "G_8" \frag }
4581 \context TabStaff { \frag }
4587 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4588 @internalsref{StringNumberEvent}.
4592 Chords are not handled in a special way, and hence the automatic
4593 string selector may easily select the same string to two notes in a
4597 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4598 @subsection Non-guitar tablatures
4599 @cindex Non-guitar tablatures
4601 You can change the number of strings, by setting the number of lines
4602 in the @internalsref{TabStaff}.
4604 You can change the tuning of the strings. A string tuning is given as
4605 a Scheme list with one integer number for each string, the number
4606 being the pitch (measured in semitones relative to middle C) of an
4607 open string. The numbers specified for @code{stringTuning} are the
4608 numbers of semitones to subtract or add, starting the specified pitch
4609 by default middle C, in string order. In the next example,
4610 @code{stringTunings} is set for the pitches e, a, d, and g
4612 @lilypond[quote,raggedright,fragment,verbatim]
4613 \context TabStaff <<
4614 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4616 a,4 c' a e' e c' a e'
4623 No guitar special effects have been implemented.
4627 Program reference: @internalsref{Tab_note_heads_engraver}.
4630 @node Popular music, Orchestral music, Tablatures, Notation manual
4631 @section Popular music
4633 This section discusses issues that arise when writing popular music.
4638 * Printing chord names::
4643 @node Chord names, Chords mode, Popular music, Popular music
4644 @subsection Chord names
4647 LilyPond has support for printing chord names. Chords may be entered
4648 in musical chord notation, i.e., @code{< .. >}, but they can also be
4649 entered by name. Internally, the chords are represented as a set of
4650 pitches, so they can be transposed
4653 @lilypond[quote,raggedright,verbatim,raggedright]
4654 twoWays = \transpose c c' {
4663 << \context ChordNames \twoWays
4664 \context Voice \twoWays >>
4667 This example also shows that the chord printing routines do not try to
4668 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4671 @c this menu isn't needed.
4675 * Printing chord names::
4680 @subsection Chords mode
4683 In chord mode sets of pitches (chords) are entered with normal note
4684 names. A chord is entered by the root, which is entered like a
4687 @lilypond[quote,raggedright,fragment,verbatim]
4688 \chordmode { es4. d8 c2 }
4692 The mode is introduced by the keyword @code{\chordmode}.
4697 Other chords may be entered by suffixing a colon and introducing a
4698 modifier (which may include a number if desired)
4699 @lilypond[quote,fragment,verbatim]
4700 \chordmode { e1:m e1:7 e1:m7 }
4702 The first number following the root is taken to be the `type' of the
4703 chord, thirds are added to the root until it reaches the specified
4705 @lilypond[quote,fragment,verbatim]
4706 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4709 @cindex root of chord
4710 @cindex additions, in chords
4711 @cindex removals, in chords
4713 More complex chords may also be constructed adding separate steps
4714 to a chord. Additions are added after the number following
4715 the colon and are separated by dots
4716 @lilypond[quote,verbatim,fragment]
4717 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4719 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4721 @lilypond[quote,verbatim,fragment]
4722 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4724 Removals are specified similarly and are introduced by a caret. They
4725 must come after the additions
4726 @lilypond[quote,verbatim,fragment]
4727 \chordmode { c^3 c:7^5 c:9^3.5 }
4730 Modifiers can be used to change pitches. The following modifiers are
4735 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4738 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
4742 The augmented chord. This modifier raises the 5th step.
4745 The major 7th chord. This modifier raises the 7th step if present.
4748 The suspended 4th or 2nd. This modifier removes the 3rd
4749 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4753 Modifiers can be mixed with additions
4754 @lilypond[quote,verbatim,fragment]
4755 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4758 @cindex modifiers, in chords.
4765 Since an unaltered 11 does not sound good when combined with an
4766 unaltered 3, the 11 is removed in this case (unless it is added
4768 @lilypond[quote,raggedright,fragment,verbatim]
4769 \chordmode { c:13 c:13.11 c:m13 }
4774 An inversion (putting one pitch of the chord on the bottom), as well
4775 as bass notes, can be specified by appending
4776 @code{/}@var{pitch} to the chord
4777 @lilypond[quote,raggedright,fragment,verbatim]
4778 \chordmode { c1 c/g c/f }
4782 A bass note can be added instead transposed out of the chord,
4783 by using @code{/+}@var{pitch}.
4785 @lilypond[quote,raggedright,fragment,verbatim]
4786 \chordmode { c1 c/+g c/+f }
4789 Chords is a mode similar to @code{\lyricmode}, etc. Most
4790 of the commands continue to work, for example, @code{r} and
4791 @code{\skip} can be used to insert rests and spaces, and property
4792 commands may be used to change various settings.
4798 Each step can only be present in a chord once. The following
4799 simply produces the augmented chord, since @code{5+} is interpreted
4802 @lilypond[quote,raggedright,verbatim,fragment]
4803 \chordmode { c:5.5-.5+ }
4807 @node Printing chord names
4808 @subsection Printing chord names
4810 @cindex printing chord names
4814 For displaying printed chord names, use the @internalsref{ChordNames} context.
4815 The chords may be entered either using the notation
4816 described above, or directly using @code{<} and @code{>}
4818 @lilypond[quote,verbatim,raggedright]
4820 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4823 \context ChordNames \harmonies
4824 \context Staff \harmonies
4828 You can make the chord changes stand out by setting
4829 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4830 display chord names when there is a change in the chords scheme and at
4831 the start of a new line
4833 @lilypond[quote,verbatim,raggedright]
4834 harmonies = \chordmode {
4835 c1:m c:m \break c:m c:m d
4838 \context ChordNames {
4839 \set chordChanges = ##t
4841 \context Staff \transpose c c' \harmonies
4845 The previous examples all show chords over a staff. This is not
4846 necessary. Chords may also be printed separately. It may be necessary
4847 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4848 for showing repeats.
4850 @lilypond[raggedright,verbatim]
4851 \new ChordNames \with {
4852 \override BarLine #'bar-size = #4
4853 voltaOnThisStaff = ##t
4854 \consists Bar_engraver
4855 \consists "Volta_engraver"
4857 \repeat volta 2 \chordmode {
4866 The default chord name layout is a system for Jazz music, proposed by
4867 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4868 following properties
4871 @cindex @code{chordNameExceptions}
4872 @item chordNameExceptions
4873 This is a list that contains the chords that have special formatting.
4875 The exceptions list should be encoded as
4877 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
4880 To get this information into @code{chordNameExceptions} takes a little
4881 manoeuvring. The following code transforms @code{chExceptionMusic}
4882 (which is a sequential music) into a list of exceptions.
4884 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4889 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4892 adds the new exceptions to the default ones, which are defined in
4893 @file{ly/@/chord@/-modifier@/-init@/.ly}.
4895 For an example of tuning this property, see also
4896 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
4897 @cindex exceptions, chord names.
4900 @cindex @code{majorSevenSymbol}
4901 @item majorSevenSymbol
4902 This property contains the markup object used for the 7th step, when
4903 it is major. Predefined options are @code{whiteTriangleMarkup} and
4904 @code{blackTriangleMarkup}. See
4905 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
4907 @cindex @code{chordNameSeparator}
4908 @item chordNameSeparator
4909 Different parts of a chord name are normally separated by a
4910 slash. By setting @code{chordNameSeparator}, you can specify other
4912 @lilypond[quote,raggedright,fragment,verbatim]
4913 \context ChordNames \chordmode {
4915 \set chordNameSeparator
4916 = \markup { \typewriter "|" }
4921 @cindex @code{chordRootNamer}
4922 @item chordRootNamer
4923 The root of a chord is usually printed as a letter with an optional
4924 alteration. The transformation from pitch to letter is done by this
4925 function. Special note names (for example, the German ``H'' for a
4926 B-chord) can be produced by storing a new function in this property.
4928 @cindex @code{chordNoteNamer}
4929 @item chordNoteNamer
4930 The default is to print single pitch, e.g., the bass note, using the
4931 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4932 to a specialized function to change this behavior. For example, the
4933 base can be printed in lower case.
4937 The predefined variables @code{\germanChords},
4938 @code{\semiGermanChords} set these variables. The effect is
4941 @lilypondfile[raggedright]{chord-names-german.ly}
4943 There are also two other chord name schemes implemented: an alternate
4944 Jazz chord notation, and a systematic scheme called Banter chords. The
4945 alternate Jazz notation is also shown on the chart in @ref{Chord name
4946 chart}. Turning on these styles is described in the input file
4947 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4951 @cindex chords, jazz
4956 @cindex @code{\germanChords}
4957 @code{\germanChords},
4958 @cindex @code{\semiGermanChords}
4959 @code{\semiGermanChords}.
4966 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
4967 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
4968 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4971 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
4972 @file{scm/@/chord@/-entry@/.scm}.
4977 Chord names are determined solely from the list of pitches. Chord
4978 inversions are not identified, and neither are added bass notes. This
4979 may result in strange chord names when chords are entered with the
4980 @code{< .. >} syntax.
4984 @subsection Fret diagrams
4985 @cindex fret diagrams
4986 @cindex chord diagrams
4988 Fret diagrams can be added to music as a markup to the desired note. The
4989 markup contains information about the desired fret diagram, as shown in the
4992 @lilypond[verbatim, raggedright, quote]
4994 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4996 fis' ^\markup \override #'(size . 0.75) {
4997 \override #'(finger-code . below-string) {
4998 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4999 (place-fret 5 4 3) (place-fret 4 4 4)
5000 (place-fret 3 3 2) (place-fret 2 2 1)
5005 c' ^\markup \override #'(dot-radius . 0.35) {
5006 \override #'(finger-code . in-dot) {
5007 \override #'(dot-color . white) {
5008 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
5017 There are three different fret-diagram markup interfaces: standard, terse,
5018 and verbose. The three interfaces produce equivalent markups, but have
5019 varying amounts of information in the markup string. Details about the
5020 markup interfaces are found at @ref{Overview of text markup commands}.
5022 You can set a number of graphical properties according to your preference.
5023 Details about the property interface to fret diagrams are found at
5024 @internalsref{fret-diagram-interface}.
5029 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
5033 @subsection Improvisation
5035 Improvisation is sometimes denoted with slashed note heads. Such note
5036 heads can be created by adding a @internalsref{Pitch_squash_engraver}
5037 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
5041 \set squashedPosition = #0
5042 \override NoteHead #'style = #'slash
5046 switches on the slashes.
5048 There are shortcuts @code{\improvisationOn} (and an accompanying
5049 @code{\improvisationOff}) for this command sequence. They are used in
5050 the following example
5052 @lilypond[verbatim,raggedright,quote]
5054 \consists Pitch_squash_engraver
5056 e8 e g a a16(bes)(a8) g \improvisationOn
5059 ~fis2 \improvisationOff a16(bes) a8 g e
5065 @node Orchestral music
5066 @section Orchestral music
5068 @cindex Writing parts
5070 Orchestral music involves some special notation, both in the full
5071 score and the individual parts. This section explains how to tackle
5072 some common problems in orchestral music.
5077 * System start delimiters::
5078 * Aligning to cadenzas::
5081 * Instrument names::
5083 * Instrument transpositions::
5084 * Multi measure rests::
5085 * Automatic part combining::
5087 * Different editions from one source::
5088 * Quoting other voices::
5089 * Formatting cue notes::
5092 @node System start delimiters
5093 @subsection System start delimiters
5095 Polyphonic scores consist of many staves. These staves can be
5096 constructed in three different ways
5098 @item The group is started with a brace at the left, and bar lines are
5099 connected. This is done with the @internalsref{GrandStaff} context.
5101 @lilypond[verbatim,raggedright,quote]
5110 @item The group is started with a bracket, and bar lines are connected.
5111 This is done with the
5112 @internalsref{StaffGroup} context
5114 @lilypond[verbatim,raggedright,quote]
5123 @item The group is started with a vertical line. Bar lines are not
5124 connected. This is the default for the score.
5126 @lilypond[verbatim,raggedright,quote]
5135 @cindex Staff, multiple
5136 @cindex bracket, vertical
5137 @cindex brace, vertical
5144 The bar lines at the start of each system are
5145 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
5146 @internalsref{SystemStartBracket}. Only one of these types is created
5147 in every context, and that type is determined by the property
5148 @code{systemStartDelimiter}.
5150 @node Aligning to cadenzas
5151 @subsection Aligning to cadenzas
5154 In an orchestral context, cadenzas present a special problem:
5155 when constructing a score that includes a cadenza, all other
5156 instruments should skip just as many notes as the length of the
5157 cadenza, otherwise they will start too soon or too late.
5159 A solution to this problem are the functions @code{mmrest-of-length}
5160 and @code{skip-of-length}. These Scheme functions take a piece of music
5161 as argument, and generate a @code{\skip} or multi-rest, exactly as
5162 long as the piece. The use of @code{mmrest-of-length} is demonstrated
5163 in the following example.
5165 @lilypond[verbatim,raggedright,quote]
5166 cadenza = \relative c' {
5167 c4 d8 << { e f g } \\ { d4. } >>
5172 \new Staff { \cadenza c'4 }
5174 #(ly:export (mmrest-of-length cadenza))
5184 @node Rehearsal marks
5185 @subsection Rehearsal marks
5186 @cindex Rehearsal marks
5188 @cindex @code{\mark}
5190 To print a rehearsal mark, use the @code{\mark} command
5192 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
5201 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
5202 @c umm, is the manual the right place for feature requests? :) -gp
5203 @c FIXME - should make that tunable.
5205 The mark is incremented automatically if you use @code{\mark
5206 \default}, but you can also use an integer argument to set the mark
5207 manually. The value to use is stored in the property
5208 @code{rehearsalMark}.
5210 The style is defined by the property @code{markFormatter}. It is a
5211 function taking the current mark (an integer) and the current context
5212 as argument. It should return a markup object. In the following
5213 example, @code{markFormatter} is set to a canned procedure. After a
5214 few measures, it is set to function that produces a boxed number.
5216 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5217 \set Score.markFormatter = #format-mark-numbers
5220 \set Score.markFormatter = #format-mark-box-numbers
5226 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
5227 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
5228 @code{format-mark-letters} and @code{format-mark-box-letters}.
5229 These can be used as inspiration for other formatting functions.
5232 @cindex coda on bar line
5233 @cindex segno on bar line
5234 @cindex fermata on bar line
5235 @cindex bar lines, symbols on
5237 The @code{\mark} command can also be used to put signs like coda,
5238 segno, and fermata on a bar line. Use @code{\markup} to
5239 access the appropriate symbol
5241 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5242 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
5246 If the mark occurs at a line break, the mark will be printed at the
5247 beginning of the next line.
5248 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
5249 @c delete this sentence. -gp
5250 If there is no next line, then the mark will not be printed at all.
5251 To print the mark at the end of the current line, use
5254 \override Score.RehearsalMark
5255 #'break-visibility = #begin-of-line-invisible
5261 @cindex bar lines, putting symbols on
5265 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5267 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
5268 definition of @code{format-mark-numbers} and
5269 @code{format-mark-letters}. They can be used as inspiration for other
5270 formatting functions.
5272 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
5274 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
5278 @subsection Bar numbers
5282 @cindex measure numbers
5283 @cindex @code{currentBarNumber}
5285 Bar numbers are printed by default at the start of the line. The
5286 number itself is stored in the @code{currentBarNumber} property, which
5287 is normally updated automatically for every measure.
5289 Bar numbers can be typeset at regular intervals instead of at the
5290 beginning of each line. This is illustrated in the following example,
5291 whose source is available as
5292 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
5294 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5296 Bar numbers can be typeset manually by tweaking the
5297 @code{markFormatter} property
5299 @lilypond[verbatim,raggedright,quote]
5301 \set Score.markFormatter
5302 = #(lambda (mark context)
5305 (number->string (ly:context-property context
5306 'currentBarNumber)))))
5308 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
5312 Bar numbers can be manually changed by setting the
5313 @code{Staff.currentBarNumber} property
5315 @lilypond[verbatim,raggedright,quote]
5317 \repeat unfold 4 {c4 c c c} \break
5318 \set Score.currentBarNumber = #50
5319 \repeat unfold 4 {c4 c c c}
5325 Program reference: @internalsref{BarNumber}.
5328 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
5329 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
5333 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5334 there is one at the top. To solve this, the
5335 @code{padding} property of @internalsref{BarNumber} can be
5336 used to position the number correctly.
5338 @node Instrument names
5339 @subsection Instrument names
5341 In an orchestral score, instrument names are printed at the left side
5344 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5345 and @internalsref{Staff}.@code{instr}. This will print a string before
5346 the start of the staff. For the first staff, @code{instrument} is
5347 used, for the following ones, @code{instr} is used.
5349 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5350 \set Staff.instrument = "Ploink "
5351 \set Staff.instr = "Plk "
5357 You can also use markup texts to construct more complicated instrument
5360 @lilypond[quote,fragment,verbatim,raggedright]
5361 \set Staff.instrument = \markup {
5362 \column { "Clarinetti"
5363 \line { "in B" \smaller \flat } } }
5367 For longer instrument names, it may be useful to increase the
5368 @code{indent} setting in the @code{\layout} block.
5372 Program reference: @internalsref{InstrumentName}.
5376 When you put a name on a grand staff or piano staff, the width of the
5377 brace is not taken into account. You must add extra spaces to the end of
5378 the name to avoid a collision.
5381 @subsection Transpose
5383 @cindex transposition of pitches
5384 @cindex @code{\transpose}
5386 A music expression can be transposed with @code{\transpose}. The
5389 \transpose @var{from} @var{to} @var{musicexpr}
5392 This means that @var{musicexpr} is transposed by the interval between
5393 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5394 is changed to @code{to}.
5397 For example, consider a piece written in the key of D-major. If
5398 this piece is a little too low for its performer, it can be
5399 transposed up to E-major with
5401 \transpose d e @dots{}
5404 Consider a part written for violin (a C instrument). If
5405 this part is to be played on the A clarinet, the following
5406 transposition will produce the appropriate part
5409 \transpose a c @dots{}
5412 @code{\transpose} distinguishes between enharmonic pitches: both
5413 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5414 half a tone. The first version will print sharps and the second
5415 version will print flats
5417 @lilypond[quote,raggedright,verbatim]
5418 mus = { \key d \major cis d fis g }
5422 \transpose c g' \mus
5423 \transpose c f' \mus
5427 @code{\transpose} may also be used to input written notes for a
5428 transposing instrument. Pitches are normally entered into LilyPond
5429 in C (or ``concert pitch''), but they may be entered in another
5430 key. For example, when entering music for a B-flat trumpet which
5431 begins on concert D, one would write
5434 \transpose c bes @{ e4 @dots{} @}
5437 To print this music in B-flat again (ie producing a trumpet part,
5438 instead of a concert pitch conductor's score) you would wrap the
5439 existing music with another @code{transpose}
5442 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
5448 Program reference: @internalsref{TransposedMusic}, and
5449 @internalsref{UntransposableMusic}.
5453 If you want to use both @code{\transpose} and @code{\relative},
5454 you must put @code{\transpose} outside of @code{\relative}, since
5455 @code{\relative} will have no effect music that appears inside a
5458 @node Instrument transpositions
5459 @subsection Instrument transpositions
5461 The key of a transposing instrument can also be specified. This
5462 applies to many wind instruments, for example, clarinets (B-flat, A, and
5463 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
5465 The transposition is entered after the keyword @code{\transposition}
5468 \transposition bes %% B-flat clarinet
5472 This command sets the property @code{instrumentTransposition}. The value of
5473 this property is used for MIDI output and quotations. It does not
5474 affect how notes are printed in the current staff. To change the printed
5475 output, see @ref{Transpose}.
5477 The pitch to use for @code{\transposition} should correspond to the
5478 transposition of the notes. For example, when entering a score in
5479 concert pitch, typically all voices are entered in C, so
5480 they should be entered as
5493 The command @code{\transposition} should be used when the music is
5494 entered from a (transposed) orchestral part. For example, in
5495 classical horn parts, the tuning of the instrument is often changed
5496 during a piece. When copying the notes from the part, use
5497 @code{\transposition}, e.g.,
5510 @cindex transposition, MIDI
5511 @cindex transposition, instrument
5514 @node Multi measure rests
5515 @subsection Multi measure rests
5516 @cindex multi measure rests
5517 @cindex Rests, multi measure
5521 Multi-measure rests are entered using `@code{R}'. It is specifically
5522 meant for full bar rests and for entering parts: the rest can expand
5523 to fill a score with rests, or it can be printed as a single
5524 multi-measure rest. This expansion is controlled by the property
5525 @code{Score.skipBars}. If this is set to true, empty measures will not
5526 be expanded, and the appropriate number is added automatically
5528 @lilypond[quote,raggedright,fragment,verbatim]
5529 \time 4/4 r1 | R1 | R1*2
5530 \set Score.skipBars = ##t R1*17 R1*4
5533 The @code{1} in @code{R1} is similar to the duration notation used for
5534 notes. Hence, for time signatures other than 4/4, you must enter other
5535 durations. This can be done with augmentation dots or fractions
5537 @lilypond[quote,raggedright,fragment,verbatim]
5538 \set Score.skipBars = ##t
5547 An @code{R} spanning a single measure is printed as either a whole rest
5548 or a breve, centered in the measure regardless of the time signature.
5550 If there are only a few measures of rest, LilyPond prints ``church rests''
5551 (a series of rectangles) in the staff. To replace that with a simple
5552 rest, use @code{MultiMeasureRest.expand-limit}.
5554 @lilypond[quote,raggedright,fragment,verbatim]
5555 \set Score.skipBars = ##t
5557 \override MultiMeasureRest #'expand-limit = 1
5562 @cindex text on multi-measure rest
5563 @cindex script on multi-measure rest
5564 @cindex fermata on multi-measure rest
5566 Texts can be added to multi-measure rests by using the
5567 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5568 A variable (@code{\fermataMarkup}) is provided for
5571 @lilypond[quote,raggedright,verbatim,fragment]
5572 \set Score.skipBars = ##t
5574 R2.*10^\markup { \italic "ad lib." }
5578 If you want to have text on the left end of a multi-measure rest,
5579 attach the text to a zero-length skip note, i.e.,
5587 @cindex whole rests for a full measure
5591 Program reference: @internalsref{MultiMeasureRestEvent},
5592 @internalsref{MultiMeasureTextEvent},
5593 @internalsref{MultiMeasureRestMusicGroup}, and
5594 @internalsref{MultiMeasureRest}.
5596 The layout object @internalsref{MultiMeasureRestNumber} is for the
5597 default number, and @internalsref{MultiMeasureRestText} for user
5602 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
5603 over multi-measure rests. And the pitch of multi-measure rests (or
5604 staff-centered rests) can not be influenced.
5606 @cindex condensing rests
5608 There is no way to automatically condense multiple rests into a single
5609 multi-measure rest. Multi-measure rests do not take part in rest
5612 Be careful when entering multi-measure rests followed by whole
5613 notes. The following will enter two notes lasting four measures each
5617 When @code{skipBars} is set, the result will look OK, but the bar
5618 numbering will be off.
5620 @node Automatic part combining
5621 @subsection Automatic part combining
5622 @cindex automatic part combining
5623 @cindex part combiner
5626 Automatic part combining is used to merge two parts of music onto a
5627 staff. It is aimed at typesetting orchestral scores. When the two
5628 parts are identical for a period of time, only one is shown. In
5629 places where the two parts differ, they are typeset as separate
5630 voices, and stem directions are set automatically. Also, solo and
5631 @emph{a due} parts are identified and can be marked.
5633 The syntax for part combining is
5636 \partcombine @var{musicexpr1} @var{musicexpr2}
5641 The following example demonstrates the basic functionality of the part
5642 combiner: putting parts on one staff, and setting stem directions and
5645 @lilypond[quote,verbatim,raggedright,fragment]
5646 \new Staff \partcombine
5647 \relative g' { g g a( b) c c r r }
5648 \relative g' { g g r4 r e e g g }
5651 The first @code{g} appears only once, although it was
5652 specified twice (once in each part). Stem, slur, and tie directions are
5653 set automatically, depending whether there is a solo or unisono. The
5654 first part (with context called @code{one}) always gets up stems, and
5655 `Solo', while the second (called @code{two}) always gets down stems and
5658 If you just want the merging parts, and not the textual markings, you
5659 may set the property @code{printPartCombineTexts} to false
5661 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5663 \set Staff.printPartCombineTexts = ##f
5665 \relative g' { g a( b) r }
5666 \relative g' { g r4 r f }
5670 To change the text that is printed for solos or merging, you may
5671 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
5674 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5676 \set Score.soloText = #"ichi"
5677 \set Score.soloIIText = #"ni"
5678 \set Score.aDueText = #"tachi"
5680 \relative g' { g4 g a( b) r }
5681 \relative g' { g4 g r r f }
5685 Both arguments to @code{\partcombine} will be interpreted as
5686 @internalsref{Voice} contexts. If using relative octaves,
5687 @code{\relative} should be specified for both music expressions, i.e.,
5691 \relative @dots{} @var{musicexpr1}
5692 \relative @dots{} @var{musicexpr2}
5696 A @code{\relative} section that is outside of @code{\partcombine} has
5697 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5701 Program reference: @internalsref{PartCombineMusic},
5702 @internalsref{SoloOneEvent}, and
5703 @internalsref{SoloTwoEvent}, and
5704 @internalsref{UnisonoEvent}.
5708 When @code{printPartCombineTexts} is set, when the two voices play the
5709 same notes on and off, the part combiner may typeset @code{a2} more
5710 than once in a measure.
5712 @code{\partcombine} cannot be inside @code{\times}.
5714 @code{\partcombine} cannot be inside @code{\relative}.
5716 Internally, the @code{\partcombine} interprets both arguments as
5717 @code{Voice}s named @code{one} and @code{two}, and then decides when
5718 the parts can be combined. Consequently, if the arguments switch to
5719 differently named @internalsref{Voice} contexts, the events in those
5723 @subsection Hiding staves
5725 @cindex Frenched scores
5726 @cindex Hiding staves
5728 In orchestral scores, staff lines that only have rests are usually
5729 removed. This saves some space. This style is called `French Score'.
5730 For @internalsref{Lyrics},
5731 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5732 switched on by default. When the lines of these contexts turn out
5733 empty after the line-breaking process, they are removed.
5735 For normal staves, a specialized @internalsref{Staff} context is
5736 available, which does the same: staves containing nothing (or only
5737 multi-measure rests) are removed. The context definition is stored in
5738 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5739 in this example disappears in the second line
5741 @lilypond[quote,raggedright,verbatim]
5743 \context { \RemoveEmptyStaffContext }
5748 \new Staff { e4 f g a \break c1 }
5749 \new Staff { c4 d e f \break R1 }
5754 The first system shows all staves in full. If empty staves should be
5755 removed from the first system too, set @code{remove-first} to false in
5756 @internalsref{RemoveEmptyVerticalGroup}.
5758 Another application is making ossia sections, i.e., alternative
5759 melodies on a separate piece of staff, with help of a Frenched
5760 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
5763 @node Different editions from one source
5764 @subsection Different editions from one source
5767 The @code{\tag} command marks music expressions with a name. These
5768 tagged expressions can be filtered out later. With this mechanism it
5769 is possible to make different versions of the same music source.
5771 In the following example, we see two versions of a piece of music, one
5772 for the full score, and one with cue notes for the instrumental part
5788 The same can be applied to articulations, texts, etc.: they are
5791 -\tag #@var{your-tag}
5793 to an articulation, for example,
5798 This defines a note with a conditional fingering indication.
5801 @cindex removeWithTag
5802 By applying the @code{\keepWithTag} and @code{\removeWithTag}
5803 commands, tagged expressions can be filtered. For example,
5807 \keepWithTag #'score @var{the music}
5808 \keepWithTag #'part @var{the music}
5813 @lilypondfile[raggedright,quote]{tag-filter.ly}
5816 The argument of the @code{\tag} command should be a symbol, or a list
5817 of symbols, for example,
5819 \tag #'(original-part transposed-part) @dots{}
5826 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
5830 Multiple rests are not merged if you create the score with both tagged
5834 @node Quoting other voices
5835 @subsection Quoting other voices
5837 With quotations, fragments of other parts can be inserted into a part
5838 directly. Before a part can be quoted, it must be marked especially as
5839 quotable. This is done with the @code{\addquote} command.
5842 \addquote @var{name} @var{music}
5847 Here, @var{name} is an identifying string. The @var{music} is any kind
5848 of music. Here is an example of @code{\addquote}
5851 \addquote clarinet \relative c' @{
5856 This command must be entered at toplevel, i.e., outside any music
5859 After calling @code{\addquote}, the quotation may then be done with
5860 @code{\quoteDuring} or @code{\cueDuring},
5863 \quoteDuring #@var{name} @var{music}
5866 During a part, a piece of music can be quoted with the @code{\quoteDuring}
5870 \quoteDuring #"clarinet" @{ s2. @}
5873 This would cite three quarter notes (the duration of @code{s2.}) of
5874 the previously added @code{clarinet} voice.
5877 More precisely, it takes the current time-step of the part being
5878 printed, and extracts the notes at the corresponding point of the
5879 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5880 should be the entire part of the voice to be quoted, including any
5881 rests at the beginning.
5883 Quotations take into account the transposition of both source and target
5884 instruments, if they are specified using the @code{\transposition} command.
5886 @lilypond[quote,raggedright,verbatim]
5887 \addquote clarinet \relative c' {
5893 e'8 f'8 \quoteDuring #"clarinet" { s2 }
5897 The type of events that are present in cue notes can be trimmed with
5898 the @code{quotedEventTypes} property. The default value is
5899 @code{(note-event rest-event)}, which means that only notes and
5900 rests of the cued voice end up in the @code{\quoteDuring}.
5904 \set Staff.quotedEventTypes =
5905 #'(note-event articulation-event dynamic-event)
5909 will quote notes (but no rests), together with scripts and dynamics.
5913 Only the contents of the first @internalsref{Voice} occurring in an
5914 @code{\addquote} command will be considered for quotation, so
5915 @var{music} can not contain @code{\new} and @code{\context Voice}
5916 statements that would switch to a different Voice.
5918 Quoting grace notes is broken and can even cause LilyPond to crash.
5922 In this manual: @ref{Instrument transpositions}.
5924 Examples: @inputfileref{input/@/regression,quote@/.ly}
5925 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
5927 Program reference: @internalsref{QuoteMusic}.
5929 @node Formatting cue notes
5930 @subsection Formatting cue notes
5932 The previous section deals with inserting notes from another voice.
5933 There is a more advanced music function called @code{\cueDuring},
5934 which makes formatting cue notes easier.
5939 \cueDuring #@var{name} #@var{updown} @var{music}
5942 This will insert notes from the part @var{name} into a
5943 @internalsref{Voice} called @code{cue}. This happens simultaneously
5944 with @var{music}, which usually is a rest. When the cue notes start,
5945 the staff in effect becomes polyphonic for a moment. The argument
5946 @var{updown} determines whether the cue notes should be notated as a
5947 first or second voice.
5950 @lilypond[verbatim,raggedright]
5953 \override Stem #'length = #5.5
5954 \override Beam #'thickness = #0.384
5955 \override Beam #'space-function =
5956 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5959 \addquote clarinet \relative {
5964 \new Staff \relative <<
5966 % setup a context for cue notes.
5967 \context Voice = cue { \smaller \skip 1*21 }
5969 \set Score.skipBars = ##t
5973 \cueDuring #"clarinet" #1 {
5982 Here are a couple of hints for successful cue notes
5986 Cue notes have smaller font sizes.
5988 the cued part is marked with the instrument playing the cue.
5990 when the original part takes over again, this should be marked with
5991 the name of the original instrument.
5993 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5995 @c Yes, this is good practice. Otherwise, the start of the original
5996 @c part can only be seen from the font size. This is not good enough
5997 @c for sight-reading. It is possilbe to use other
5998 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
6003 any other changes introduced by the cued part should also be
6004 undone. For example, if the cued instrument plays in a different clef,
6005 the original clef should be stated once again.
6013 @node Ancient notation
6014 @section Ancient notation
6016 @cindex Vaticana, Editio
6017 @cindex Medicaea, Editio
6022 Support for ancient notation includes features for mensural notation
6023 and Gregorian Chant notation. There is also limited support for
6024 figured bass notation.
6026 Many graphical objects provide a @code{style} property, see
6029 @ref{Ancient note heads},
6031 @ref{Ancient accidentals},
6033 @ref{Ancient rests},
6035 @ref{Ancient clefs},
6037 @ref{Ancient flags},
6039 @ref{Ancient time signatures}.
6042 By manipulating such a grob property, the typographical appearance of
6043 the affected graphical objects can be accommodated for a specific
6044 notation flavor without the need for introducing any new notational
6047 In addition to the standard articulation signs described in section
6048 @ref{Articulations}, specific articulation signs for ancient notation
6053 @ref{Ancient articulations}
6056 Other aspects of ancient notation can not that easily be expressed
6057 in terms of just changing a style property of a graphical object or
6058 adding articulation signs. Some notational concepts are introduced
6059 specifically for ancient notation,
6070 If this all is too much of documentation for you, and you just want to
6071 dive into typesetting without worrying too much about the details on
6072 how to customize a context, you may have a look at the predefined
6073 contexts. Use them to set up predefined style-specific voice and
6074 staff contexts, and directly go ahead with the note entry,
6078 @ref{Gregorian Chant contexts},
6080 @ref{Mensural contexts}.
6083 There is limited support for figured bass notation which came
6084 up during the baroque period.
6091 Here are all suptopics at a glance:
6094 * Ancient note heads::
6095 * Ancient accidentals::
6099 * Ancient time signatures::
6100 * Ancient articulations::
6104 * Gregorian Chant contexts::
6105 * Mensural contexts::
6110 @node Ancient note heads
6111 @subsection Ancient note heads
6116 For ancient notation, a note head style other than the @code{default}
6117 style may be chosen. This is accomplished by setting the @code{style}
6118 property of the @internalsref{NoteHead} object to @code{baroque},
6119 @code{neomensural} or @code{mensural}. The @code{baroque} style
6120 differs from the @code{default} style only in using a square shape
6121 for @code{\breve} note heads. The @code{neomensural} style differs from
6122 the @code{baroque} style in that it uses rhomboidal heads for whole notes
6123 and all smaller durations. Stems are centered on the note heads.
6124 This style is particularly useful when transcribing mensural music,
6125 e.g., for the incipit. The @code{mensural} style finally produces note
6126 heads that mimic the look of note heads in historic printings of the
6129 The following example demonstrates the @code{neomensural} style
6131 @lilypond[quote,fragment,raggedright,verbatim]
6132 \set Score.skipBars = ##t
6133 \override NoteHead #'style = #'neomensural
6134 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
6137 When typesetting a piece in Gregorian Chant notation, the
6138 @internalsref{Gregorian_ligature_engraver} will automatically select
6139 the proper note heads, so there is no need to explicitly set the
6140 note head style. Still, the note head style can be set, e.g., to
6141 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
6142 @internalsref{Mensural_ligature_engraver} is used to automatically
6143 assemble mensural ligatures. See @ref{Ligatures} for how ligature
6148 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
6149 overview over all available note head styles.
6152 @node Ancient accidentals
6153 @subsection Ancient accidentals
6158 Use the @code{style} property of grob @internalsref{Accidental} to
6159 select ancient accidentals. Supported styles are
6160 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
6162 @lilypond[quote,raggedright,staffsize=26]
6169 \line { " " \musicglyph #"accidentals.vaticana-1"
6170 " " \musicglyph #"accidentals.vaticana0" }
6174 \line { " " \musicglyph #"accidentals.medicaea-1" }
6178 \line { " " \musicglyph #"accidentals.hufnagel-1" }
6182 \line { " " \musicglyph #"accidentals.mensural-1"
6183 " " \musicglyph #"accidentals.mensural1" }
6189 \context { \Score \remove "Bar_number_engraver" }
6191 \remove "Clef_engraver"
6192 \remove "Key_engraver"
6193 \remove "Time_signature_engraver"
6194 \remove "Staff_symbol_engraver"
6195 minimumVerticalExtent = ##f
6201 As shown, not all accidentals are supported by each style. When
6202 trying to access an unsupported accidental, LilyPond will switch to a
6203 different style, as demonstrated in
6204 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6206 Similarly to local accidentals, the style of the key signature can be
6207 controlled by the @code{style} property of the
6208 @internalsref{KeySignature} grob.
6212 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
6213 @ref{Accidentals} give a general introduction of the use of
6214 accidentals. @ref{Key signature} gives a general introduction of
6215 the use of key signatures.
6217 Program reference: @internalsref{KeySignature}.
6219 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6222 @subsection Ancient rests
6227 Use the @code{style} property of grob @internalsref{Rest} to select
6228 ancient rests. Supported styles are @code{classical},
6229 @code{neomensural}, and @code{mensural}. @code{classical} differs
6230 from the @code{default} style only in that the quarter rest looks like
6231 a horizontally mirrored 8th rest. The @code{neomensural} style suits
6232 well for, e.g., the incipit of a transcribed mensural piece of music.
6233 The @code{mensural} style finally mimics the appearance of rests as
6234 in historic prints of the 16th century.
6236 The following example demonstrates the @code{neomensural} style
6238 @lilypond[quote,fragment,raggedright,verbatim]
6239 \set Score.skipBars = ##t
6240 \override Rest #'style = #'neomensural
6241 r\longa r\breve r1 r2 r4 r8 r16
6244 There are no 32th and 64th rests specifically for the mensural or
6245 neo-mensural style. Instead, the rests from the default style will be
6246 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
6249 There are no rests in Gregorian Chant notation; instead, it uses
6254 In this manual: @ref{Rests} gives a general introduction into the use of rests.
6258 @subsection Ancient clefs
6263 LilyPond supports a variety of clefs, many of them ancient.
6265 The following table shows all ancient clefs that are supported via the
6266 @code{\clef} command. Some of the clefs use the same glyph, but
6267 differ only with respect to the line they are printed on. In such
6268 cases, a trailing number in the name is used to enumerate these clefs.
6269 Still, you can manually force a clef glyph to be typeset on an
6270 arbitrary line, as described in @ref{Clef}. The note printed to the
6271 right side of each clef in the example column denotes the @code{c'}
6272 with respect to that clef.
6274 @multitable @columnfractions .4 .4 .2
6283 modern style mensural C clef
6285 @code{neomensural-c1}, @code{neomensural-c2},@*
6286 @code{neomensural-c3}, @code{neomensural-c4}
6288 @lilypond[fragment,relative=1,notime]
6289 \clef "neomensural-c2" c
6293 petrucci style mensural C clefs, for use on different staff lines
6294 (the examples show the 2nd staff line C clef)
6296 @code{petrucci-c1}, @code{petrucci-c2},@*
6297 @code{petrucci-c3}, @code{petrucci-c4},@*
6300 @lilypond[fragment,relative=1,notime]
6301 \clef "petrucci-c2" c
6305 petrucci style mensural F clef
6309 @lilypond[fragment,relative=1,notime]
6310 \clef "petrucci-f" c
6314 petrucci style mensural G clef
6318 @lilypond[fragment,relative=1,notime]
6319 \clef "petrucci-g" c
6323 historic style mensural C clef
6325 @code{mensural-c1}, @code{mensural-c2},@*
6326 @code{mensural-c3}, @code{mensural-c4}
6328 @lilypond[fragment,relative=1,notime]
6329 \clef "mensural-c2" c
6333 historic style mensural F clef
6337 @lilypond[fragment,relative=1,notime]
6338 \clef "mensural-f" c
6342 historic style mensural G clef
6346 @lilypond[fragment,relative=1,notime]
6347 \clef "mensural-g" c
6351 Editio Vaticana style do clef
6353 @code{vaticana-do1}, @code{vaticana-do2},@*
6356 @lilypond[fragment,relative=1,notime]
6357 \override Staff.StaffSymbol #'line-count = #4
6358 \clef "vaticana-do2" c
6362 Editio Vaticana style fa clef
6364 @code{vaticana-fa1}, @code{vaticana-fa2}
6366 @lilypond[fragment,relative=1,notime]
6367 \override Staff.StaffSymbol #'line-count = #4
6368 \clef "vaticana-fa2" c
6372 Editio Medicaea style do clef
6374 @code{medicaea-do1}, @code{medicaea-do2},@*
6377 @lilypond[fragment,relative=1,notime]
6378 \override Staff.StaffSymbol #'line-count = #4
6379 \clef "medicaea-do2" c
6383 Editio Medicaea style fa clef
6385 @code{medicaea-fa1}, @code{medicaea-fa2}
6387 @lilypond[fragment,relative=1,notime]
6388 \override Staff.StaffSymbol #'line-count = #4
6389 \clef "medicaea-fa2" c
6393 historic style hufnagel do clef
6395 @code{hufnagel-do1}, @code{hufnagel-do2},@*
6398 @lilypond[fragment,relative=1,notime]
6399 \override Staff.StaffSymbol #'line-count = #4
6400 \clef "hufnagel-do2" c
6404 historic style hufnagel fa clef
6406 @code{hufnagel-fa1}, @code{hufnagel-fa2}
6408 @lilypond[fragment,relative=1,notime]
6409 \override Staff.StaffSymbol #'line-count = #4
6410 \clef "hufnagel-fa2" c
6414 historic style hufnagel combined do/fa clef
6416 @code{hufnagel-do-fa}
6418 @lilypond[fragment,relative=1,notime]
6419 \clef "hufnagel-do-fa" c
6425 @emph{Modern style} means ``as is typeset in contemporary editions of
6426 transcribed mensural music''.
6428 @emph{Petrucci style} means ``inspired by printings published by the
6429 famous engraver Petrucci (1466-1539)''.
6431 @emph{Historic style} means ``as was typeset or written in historic
6432 editions (other than those of Petrucci)''.
6434 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6436 Petrucci used C clefs with differently balanced left-side vertical
6437 beams, depending on which staff line it is printed.
6441 In this manual: see @ref{Clef}.
6445 The mensural g clef is mapped to the Petrucci g clef.
6450 @subsection Ancient flags
6455 Use the @code{flag-style} property of grob @internalsref{Stem} to
6456 select ancient flags. Besides the @code{default} flag style,
6457 only the @code{mensural} style is supported
6459 @lilypond[quote,fragment,raggedright,verbatim]
6460 \override Stem #'flag-style = #'mensural
6461 \override Stem #'thickness = #1.0
6462 \override NoteHead #'style = #'mensural
6464 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
6465 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6468 Note that the innermost flare of each mensural flag always is
6469 vertically aligned with a staff line.
6471 There is no particular flag style for neo-mensural notation. Hence,
6472 when typesetting the incipit of a transcribed piece of mensural
6473 music, the default flag style should be used. There are no flags in
6474 Gregorian Chant notation.
6478 The attachment of ancient flags to stems is slightly off due to a
6479 change in early 2.3.x.
6481 Vertically aligning each flag with a staff line assumes that stems
6482 always end either exactly on or exactly in the middle between two
6483 staff lines. This may not always be true when using advanced layout
6484 features of classical notation (which however are typically out of
6485 scope for mensural notation).
6487 @node Ancient time signatures
6488 @subsection Ancient time signatures
6490 @cindex time signatures
6493 There is limited support for mensural time signatures. The
6494 glyphs are hard-wired to particular time fractions. In other words,
6495 to get a particular mensural signature glyph with the @code{\time n/m}
6496 command, @code{n} and @code{m} have to be chosen according to the
6499 @lilypond[quote,raggedright]
6503 \remove Staff_symbol_engraver
6504 \remove Clef_engraver
6505 \remove Time_signature_engraver
6508 \set Score.timing = ##f
6509 \set Score.barAlways = ##t
6510 s_\markup { "$\\backslash$time 4/4" }
6511 ^\markup { " " \musicglyph #"timesig.neomensural4/4" }
6513 s_\markup { "$\\backslash$time 2/2" }
6514 ^\markup { " " \musicglyph #"timesig.neomensural2/2" }
6516 s_\markup { "$\\backslash$time 6/4" }
6517 ^\markup { " " \musicglyph #"timesig.neomensural6/4" }
6519 s_\markup { "$\\backslash$time 6/8" }
6520 ^\markup { " " \musicglyph #"timesig.neomensural6/8" }
6522 s_\markup { "$\\backslash$time 3/2" }
6523 ^\markup { " " \musicglyph #"timesig.neomensural3/2" }
6525 s_\markup { "$\\backslash$time 3/4" }
6526 ^\markup { " " \musicglyph #"timesig.neomensural3/4" }
6528 s_\markup { "$\\backslash$time 9/4" }
6529 ^\markup { " " \musicglyph #"timesig.neomensural9/4" }
6531 s_\markup { "$\\backslash$time 9/8" }
6532 ^\markup { " " \musicglyph #"timesig.neomensural9/8" }
6534 s_\markup { "$\\backslash$time 4/8" }
6535 ^\markup { " " \musicglyph #"timesig.neomensural4/8" }
6537 s_\markup { "$\\backslash$time 2/4" }
6538 ^\markup { " " \musicglyph #"timesig.neomensural2/4" }
6542 Use the @code{style} property of grob @internalsref{TimeSignature} to
6543 select ancient time signatures. Supported styles are
6544 @code{neomensural} and @code{mensural}. The above table uses the
6545 @code{neomensural} style. This style is appropriate for the
6546 incipit of transcriptions of mensural pieces. The @code{mensural}
6547 style mimics the look of historical printings of the 16th century.
6549 The following examples show the differences in style,
6551 @lilypond[raggedright,fragment,relative=1,quote]
6555 c1^\markup { \hspace #-2.0 \typewriter default }
6557 \override Staff.TimeSignature #'style = #'numbered
6559 c1^\markup { \hspace #-2.0 \typewriter numbered }
6561 \override Staff.TimeSignature #'style = #'mensural
6563 c1^\markup { \hspace #-2.0 \typewriter mensural }
6565 \override Staff.TimeSignature #'style = #'neomensural
6567 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6568 \override Staff.TimeSignature #'style = #'single-digit
6570 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6576 This manual: @ref{Time signature} gives a general introduction to
6577 the use of time signatures.
6581 Ratios of note durations do not change with the time signature. For
6582 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6583 be made by hand, by setting
6586 breveTP = #(ly:make-duration -1 0 3 2)
6592 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6594 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6595 addressable with @code{\time}. Use a @code{\markup} instead
6597 @node Ancient articulations
6598 @subsection Ancient articulations
6600 @cindex articulations
6602 In addition to the standard articulation signs described in section
6603 @ref{Articulations}, articulation signs for ancient notation are
6604 provided. These are specifically designed for use with notation in
6605 Editio Vaticana style.
6607 @lilypond[quote,raggedright,verbatim]
6608 \include "gregorian-init.ly"
6610 \context VaticanaVoice {
6611 \override TextScript #'font-family = #'typewriter
6612 \override TextScript #'font-shape = #'upright
6613 \override Script #'padding = #-0.1
6615 a4\circulus_"circulus" s1
6616 a4\semicirculus_"semicirculus" s1 s
6617 a4\accentus_"accentus" s1
6618 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6625 Some articulations are vertically placed too closely to the
6626 correpsonding note heads.
6629 @subsection Custodes
6634 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6635 symbol that appears at the end of a staff. It anticipates the pitch
6636 of the first note(s) of the following line thus helping the performer
6637 to manage line breaks during performance.
6639 Custodes were frequently used in music notation until the 17th
6640 century. Nowadays, they have survived only in a few particular forms
6641 of musical notation such as contemporary editions of Gregorian chant
6642 like the @emph{editio vaticana}. There are different custos glyphs
6643 used in different flavors of notational style.
6645 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6646 @internalsref{Staff} context when declaring the @code{\layout} block,
6647 as shown in the following example
6653 \consists Custos_engraver
6654 Custos \override #'style = #'mensural
6659 The result looks like this
6661 @lilypond[quote,raggedright]
6665 \override Staff.Custos #'style = #'mensural
6670 \context { \Staff \consists Custos_engraver }
6675 The custos glyph is selected by the @code{style} property. The styles
6676 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
6677 @code{mensural}. They are demonstrated in the following fragment
6679 @lilypond[quote,raggedright,fragment]
6680 \new Lyrics \lyricmode {
6682 \typewriter "vaticana"
6683 \line { " " \musicglyph #"custodes.vaticana-u0" }
6686 \typewriter "medicaea"
6687 \line { " " \musicglyph #"custodes.medicaea-u0" }
6690 \typewriter "hufnagel"
6691 \line { " " \musicglyph #"custodes.hufnagel-u0" }
6694 \typewriter "mensural"
6695 \line { " " \musicglyph #"custodes.mensural-u0" }
6702 Program reference: @internalsref{Custos}.
6704 Examples: @inputfileref{input/@/regression,custos@/.ly}.
6708 @subsection Divisiones
6714 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6715 `division') is a staff context symbol that is used to structure
6716 Gregorian music into phrases and sections. The musical meaning of
6717 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
6718 can be characterized as short, medium, and long pause, somewhat like
6719 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6720 only marks the end of a chant, but is also frequently used within a
6721 single antiphonal/responsorial chant to mark the end of each section.
6724 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
6725 contains definitions that you can apply by just inserting
6726 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6727 and @code{\finalis} at proper places in the input. Some editions use
6728 @emph{virgula} or @emph{caesura} instead of divisio minima.
6729 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
6732 @lilypondfile[quote,raggedright]{divisiones.ly}
6736 @cindex @code{\virgula}
6738 @cindex @code{\caesura}
6740 @cindex @code{\divisioMinima}
6741 @code{\divisioMinima},
6742 @cindex @code{\divisioMaior}
6743 @code{\divisioMaior},
6744 @cindex @code{\divisioMaxima}
6745 @code{\divisioMaxima},
6746 @cindex @code{\finalis}
6751 In this manual: @ref{Breath marks}.
6753 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6755 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
6758 @subsection Ligatures
6762 @c TODO: Should double check if I recalled things correctly when I wrote
6763 @c down the following paragraph by heart.
6765 A ligature is a graphical symbol that represents at least two distinct
6766 notes. Ligatures originally appeared in the manuscripts of Gregorian
6767 chant notation to denote ascending or descending sequences of notes.
6769 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6770 Some ligature styles may need additional input syntax specific for
6771 this particular type of ligature. By default, the
6772 @internalsref{LigatureBracket} engraver just puts a square bracket
6775 @lilypond[quote,raggedright,verbatim]
6783 To select a specific style of ligatures, a proper ligature engraver
6784 has to be added to the @internalsref{Voice} context, as explained in
6785 the following subsections. Only white mensural ligatures
6786 are supported with certain limitations.
6792 Ligatures need special spacing that has not yet been implemented. As
6793 a result, there is too much space between ligatures most of the time,
6794 and line breaking often is unsatisfactory. Also, lyrics do not
6795 correctly align with ligatures.
6797 Accidentals must not be printed within a ligature, but instead need to
6798 be collected and printed in front of it.
6800 Augmentum dots within ligatures are not handled correctly.
6804 * White mensural ligatures::
6805 * Gregorian square neumes ligatures::
6808 @node White mensural ligatures
6809 @subsubsection White mensural ligatures
6811 @cindex Mensural ligatures
6812 @cindex White mensural ligatures
6814 There is limited support for white mensural ligatures.
6816 To engrave white mensural ligatures, in the layout block put the
6817 @internalsref{Mensural_ligature_engraver} into the
6818 @internalsref{Voice} context, and remove the
6819 @internalsref{Ligature_bracket_engraver}, like this
6825 \remove Ligature_bracket_engraver
6826 \consists Mensural_ligature_engraver
6831 There is no additional input language to describe the shape of a
6832 white mensural ligature. The shape is rather determined solely from
6833 the pitch and duration of the enclosed notes. While this approach may
6834 take a new user a while to get accustomed to, it has the great advantage
6835 that the full musical information of the ligature is known internally.
6836 This is not only required for correct MIDI output, but also allows for
6837 automatic transcription of the ligatures.
6842 \set Score.timing = ##f
6843 \set Score.defaultBarType = "empty"
6844 \override NoteHead #'style = #'neomensural
6845 \override Staff.TimeSignature #'style = #'neomensural
6847 \[ g\longa c\breve a\breve f\breve d'\longa \]
6849 \[ e1 f1 a\breve g\longa \]
6851 @lilypond[quote,raggedright]
6854 \set Score.timing = ##f
6855 \set Score.defaultBarType = "empty"
6856 \override NoteHead #'style = #'neomensural
6857 \override Staff.TimeSignature #'style = #'neomensural
6859 \[ g\longa c\breve a\breve f\breve d'\longa \]
6861 \[ e1 f1 a\breve g\longa \]
6866 \remove Ligature_bracket_engraver
6867 \consists Mensural_ligature_engraver
6873 Without replacing @internalsref{Ligature_bracket_engraver} with
6874 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6877 @lilypond[quote,raggedright]
6879 \set Score.timing = ##f
6880 \set Score.defaultBarType = "empty"
6881 \override NoteHead #'style = #'neomensural
6882 \override Staff.TimeSignature #'style = #'neomensural
6884 \[ g\longa c\breve a\breve f\breve d'\longa \]
6886 \[ e1 f1 a\breve g\longa \]
6892 The implementation is experimental. It may output strange warnings,
6893 incorrect results, and might even crash on more complex ligatures.
6895 @node Gregorian square neumes ligatures
6896 @subsubsection Gregorian square neumes ligatures
6898 @cindex Square neumes ligatures
6899 @cindex Gregorian square neumes ligatures
6901 There is limited support for Gregorian square neumes notation
6902 (following the style of the Editio Vaticana). Core ligatures can
6903 already be typeset, but essential issues for serious typesetting are
6904 still lacking, such as (among others) horizontal alignment of multiple
6905 ligatures, lyrics alignment and proper handling of accidentals.
6908 The following table contains the extended neumes table of the 2nd
6909 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6910 1983 by the monks of Solesmes.
6912 @multitable @columnfractions .4 .2 .2 .2
6929 @c TODO: \layout block is identical in all of the below examples.
6930 @c Therefore, it should somehow be included rather than duplicated all
6933 @c why not make identifiers in ly/engraver-init.ly? --hwn
6935 @c Because it's just used to typeset plain notes without
6936 @c a staff for demonstration purposes rather than something
6937 @c special of Gregorian chant notation. --jr
6942 @lilypond[staffsize=26,linewidth=1.5\cm]
6943 \include "gregorian-init.ly"
6948 \noBreak s^\markup {"a"} \noBreak
6950 % Punctum Inclinatum
6952 \noBreak s^\markup {"b"}
6954 \layout { \neumeDemoLayout }}
6957 @lilypond[staffsize=26,linewidth=2.5\cm]
6958 \include "gregorian-init.ly"
6961 % Punctum Auctum Ascendens
6962 \[ \auctum \ascendens b \]
6963 \noBreak s^\markup {"c"} \noBreak
6965 % Punctum Auctum Descendens
6966 \[ \auctum \descendens b \]
6967 \noBreak s^\markup {"d"} \noBreak
6969 % Punctum Inclinatum Auctum
6970 \[ \inclinatum \auctum b \]
6971 \noBreak s^\markup {"e"}
6973 \layout { \neumeDemoLayout }}
6976 @lilypond[staffsize=26,linewidth=1.0\cm]
6977 \include "gregorian-init.ly"
6980 % Punctum Inclinatum Parvum
6981 \[ \inclinatum \deminutum b \]
6982 \noBreak s^\markup {"f"}
6984 \layout { \neumeDemoLayout }}
6990 @lilypond[staffsize=26,linewidth=1.0\cm]
6991 \include "gregorian-init.ly"
6996 \noBreak s^\markup {"g"}
6998 \layout { \neumeDemoLayout }}
7004 @code{3. Apostropha vel Stropha}
7006 @lilypond[staffsize=26,linewidth=1.0\cm]
7007 \include "gregorian-init.ly"
7012 \noBreak s^\markup {"h"}
7014 \layout { \neumeDemoLayout }}
7017 @lilypond[staffsize=26,linewidth=1.0\cm]
7018 \include "gregorian-init.ly"
7022 \[ \stropha \auctum b \]
7023 \noBreak s^\markup {"i"}
7025 \layout { \neumeDemoLayout }}
7032 @lilypond[staffsize=26,linewidth=1.0\cm]
7033 \include "gregorian-init.ly"
7038 \noBreak s^\markup {"j"}
7040 \layout { \neumeDemoLayout }}
7046 @code{5. Clivis vel Flexa}
7048 @lilypond[staffsize=26,linewidth=1.0\cm]
7049 \include "gregorian-init.ly"
7056 \layout { \neumeDemoLayout }}
7059 @lilypond[staffsize=26,linewidth=2.0\cm]
7060 \include "gregorian-init.ly"
7063 % Clivis Aucta Descendens
7064 \[ b \flexa \auctum \descendens g \]
7065 \noBreak s^\markup {"l"} \noBreak
7067 % Clivis Aucta Ascendens
7068 \[ b \flexa \auctum \ascendens g \]
7069 \noBreak s^\markup {"m"}
7071 \layout { \neumeDemoLayout }}
7074 @lilypond[staffsize=26,linewidth=1.0\cm]
7075 \include "gregorian-init.ly"
7079 \[ b \flexa \deminutum g \]
7082 \layout { \neumeDemoLayout }}
7086 @code{6. Podatus vel Pes}
7088 @lilypond[staffsize=26,linewidth=1.0\cm]
7089 \include "gregorian-init.ly"
7096 \layout { \neumeDemoLayout }}
7099 @lilypond[staffsize=26,linewidth=2.0\cm]
7100 \include "gregorian-init.ly"
7103 % Pes Auctus Descendens
7104 \[ g \pes \auctum \descendens b \]
7105 \noBreak s^\markup {"p"} \noBreak
7107 % Pes Auctus Ascendens
7108 \[ g \pes \auctum \ascendens b \]
7109 \noBreak s^\markup {"q"}
7111 \layout { \neumeDemoLayout }}
7114 @lilypond[staffsize=26,linewidth=1.0\cm]
7115 \include "gregorian-init.ly"
7119 \[ g \pes \deminutum b \]
7122 \layout { \neumeDemoLayout }}
7126 @code{7. Pes Quassus}
7128 @lilypond[staffsize=26,linewidth=1.0\cm]
7129 \include "gregorian-init.ly"
7133 \[ \oriscus g \pes \virga b \]
7136 \layout { \neumeDemoLayout }}
7139 @lilypond[staffsize=26,linewidth=1.0\cm]
7140 \include "gregorian-init.ly"
7143 % Pes Quassus Auctus Descendens
7144 \[ \oriscus g \pes \auctum \descendens b \]
7147 \layout { \neumeDemoLayout }}
7152 @code{8. Quilisma Pes}
7154 @lilypond[staffsize=26,linewidth=1.0\cm]
7155 \include "gregorian-init.ly"
7159 \[ \quilisma g \pes b \]
7162 \layout { \neumeDemoLayout }}
7165 @lilypond[staffsize=26,linewidth=1.0\cm]
7166 \include "gregorian-init.ly"
7169 % Quilisma Pes Auctus Descendens
7170 \[ \quilisma g \pes \auctum \descendens b \]
7173 \layout { \neumeDemoLayout }}
7178 @code{9. Podatus Initio Debilis}
7180 @lilypond[staffsize=26,linewidth=1.0\cm]
7181 \include "gregorian-init.ly"
7184 % Pes Initio Debilis
7185 \[ \deminutum g \pes b \]
7188 \layout { \neumeDemoLayout }}
7191 @lilypond[staffsize=26,linewidth=1.0\cm]
7192 \include "gregorian-init.ly"
7195 % Pes Auctus Descendens Initio Debilis
7196 \[ \deminutum g \pes \auctum \descendens b \]
7199 \layout { \neumeDemoLayout }}
7206 @lilypond[staffsize=26,linewidth=1.0\cm]
7207 \include "gregorian-init.ly"
7211 \[ a \pes b \flexa g \]
7214 \layout { \neumeDemoLayout }}
7217 @lilypond[staffsize=26,linewidth=1.0\cm]
7218 \include "gregorian-init.ly"
7221 % Torculus Auctus Descendens
7222 \[ a \pes b \flexa \auctum \descendens g \]
7225 \layout { \neumeDemoLayout }}
7228 @lilypond[staffsize=26,linewidth=1.0\cm]
7229 \include "gregorian-init.ly"
7232 % Torculus Deminutus
7233 \[ a \pes b \flexa \deminutum g \]
7236 \layout { \neumeDemoLayout }}
7240 @code{11. Torculus Initio Debilis}
7242 @lilypond[staffsize=26,linewidth=1.0\cm]
7243 \include "gregorian-init.ly"
7246 % Torculus Initio Debilis
7247 \[ \deminutum a \pes b \flexa g \]
7250 \layout { \neumeDemoLayout }}
7253 @lilypond[staffsize=26,linewidth=1.0\cm]
7254 \include "gregorian-init.ly"
7257 % Torculus Auctus Descendens Initio Debilis
7258 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
7261 \layout { \neumeDemoLayout }}
7264 @lilypond[staffsize=26,linewidth=1.0\cm]
7265 \include "gregorian-init.ly"
7268 % Torculus Deminutus Initio Debilis
7269 \[ \deminutum a \pes b \flexa \deminutum g \]
7272 \layout { \neumeDemoLayout }}
7276 @code{12. Porrectus}
7278 @lilypond[staffsize=26,linewidth=1.0\cm]
7279 \include "gregorian-init.ly"
7283 \[ a \flexa g \pes b \]
7286 \layout { \neumeDemoLayout }}
7289 @lilypond[staffsize=26,linewidth=1.0\cm]
7290 \include "gregorian-init.ly"
7293 % Porrectus Auctus Descendens
7294 \[ a \flexa g \pes \auctum \descendens b \]
7297 \layout { \neumeDemoLayout }}
7300 @lilypond[staffsize=26,linewidth=1.0\cm]
7301 \include "gregorian-init.ly"
7304 % Porrectus Deminutus
7305 \[ a \flexa g \pes \deminutum b \]
7308 \layout { \neumeDemoLayout }}
7314 @lilypond[staffsize=26,linewidth=1.0\cm]
7315 \include "gregorian-init.ly"
7319 \[ \virga b \inclinatum a \inclinatum g \]
7322 \layout { \neumeDemoLayout }
7326 @lilypond[staffsize=26,linewidth=1.0\cm]
7327 \include "gregorian-init.ly"
7331 \[ \virga b \inclinatum a \inclinatum \auctum g \]
7334 \layout { \neumeDemoLayout }}
7337 @lilypond[staffsize=26,linewidth=1.0\cm]
7338 \include "gregorian-init.ly"
7341 % Climacus Deminutus
7342 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7345 \layout { \neumeDemoLayout }}
7349 @code{14. Scandicus}
7351 @lilypond[staffsize=26,linewidth=1.0\cm]
7352 \include "gregorian-init.ly"
7356 \[ g \pes a \virga b \]
7359 \layout { \neumeDemoLayout }}
7362 @lilypond[staffsize=26,linewidth=1.0\cm]
7363 \include "gregorian-init.ly"
7366 % Scandicus Auctus Descendens
7367 \[ g \pes a \pes \auctum \descendens b \]
7370 \layout { \neumeDemoLayout }}
7373 @lilypond[staffsize=26,linewidth=1.0\cm]
7374 \include "gregorian-init.ly"
7377 % Scandicus Deminutus
7378 \[ g \pes a \pes \deminutum b \]
7381 \layout { \neumeDemoLayout }}
7387 @lilypond[staffsize=26,linewidth=1.0\cm]
7388 \include "gregorian-init.ly"
7392 \[ g \oriscus a \pes \virga b \]
7395 \layout { \neumeDemoLayout }}
7398 @lilypond[staffsize=26,linewidth=1.0\cm]
7399 \include "gregorian-init.ly"
7402 % Salicus Auctus Descendens
7403 \[ g \oriscus a \pes \auctum \descendens b \]
7406 \layout { \neumeDemoLayout }}
7413 @lilypond[staffsize=26,linewidth=1.0\cm]
7414 \include "gregorian-init.ly"
7418 \[ \stropha b \stropha b \stropha a \]
7421 \layout { \neumeDemoLayout }
7430 Unlike most other neumes notation systems, the input language for
7431 neumes does not reflect the typographical appearance, but is designed
7432 to focus on musical meaning. For example, @code{\[ a \pes b
7433 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7434 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7435 curved flexa shape and only a single Punctum head. There is no
7436 command to explicitly typeset the curved flexa shape; the decision of
7437 when to typeset a curved flexa shape is based on the musical
7438 input. The idea of this approach is to separate the musical aspects
7439 of the input from the notation style of the output. This way, the
7440 same input can be reused to typeset the same music in a different
7441 style of Gregorian chant notation.
7443 The following table shows the code fragments that produce the
7444 ligatures in the above neumes table. The letter in the first column
7445 in each line of the below table indicates to which ligature in the
7446 above table it refers. The second column gives the name of the
7447 ligature. The third column shows the code fragment that produces this
7448 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
7450 @multitable @columnfractions .02 .31 .67
7470 @code{\[ \inclinatum b \]}
7478 @code{\[ \auctum \ascendens b \]}
7486 @code{\[ \auctum \descendens b \]}
7491 Punctum Inclinatum@*
7494 @code{\[ \inclinatum \auctum b \]}
7499 Punctum Inclinatum@*
7501 @code{\[ \inclinatum \deminutum b \]}
7508 @code{\[ \virga b \]}
7515 @code{\[ \stropha b \]}
7522 @code{\[ \stropha \auctum b \]}
7529 @code{\[ \oriscus b \]}
7536 @code{\[ b \flexa g \]}
7544 @code{\[ b \flexa \auctum \descendens g \]}
7552 @code{\[ b \flexa \auctum \ascendens g \]}
7559 @code{\[ b \flexa \deminutum g \]}
7566 @code{\[ g \pes b \]}
7574 @code{\[ g \pes \auctum \descendens b \]}
7582 @code{\[ g \pes \auctum \ascendens b \]}
7589 @code{\[ g \pes \deminutum b \]}
7596 @code{\[ \oriscus g \pes \virga b \]}
7602 Auctus Descendens @tab
7603 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7610 @code{\[ \quilisma g \pes b \]}
7618 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7625 @code{\[ \deminutum g \pes b \]}
7630 Pes Auctus Descendens@*
7633 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7640 @code{\[ a \pes b \flexa g \]}
7648 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7655 @code{\[ a \pes b \flexa \deminutum g \]}
7660 Torculus Initio Debilis
7662 @code{\[ \deminutum a \pes b \flexa g \]}
7668 Descendens Initio Debilis
7670 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7675 Torculus Deminutus@*
7678 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7685 @code{\[ a \flexa g \pes b \]}
7693 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7700 @code{\[ a \flexa g \pes \deminutum b \]}
7707 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7714 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7721 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7728 @code{\[ g \pes a \virga b \]}
7736 @code{\[ g \pes a \pes \auctum \descendens b \]}
7743 @code{\[ g \pes a \pes \deminutum b \]}
7750 @code{\[ g \oriscus a \pes \virga b \]}
7755 Salicus Auctus Descendens
7757 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7764 @code{\[ \stropha b \stropha b \stropha a \]}
7769 The following head prefixes are supported
7771 @cindex @code{\virga}
7773 @cindex @code{\stropha}
7775 @cindex @code{\inclinatum}
7777 @cindex @code{\auctum}
7779 @cindex @code{\descendens}
7781 @cindex @code{\ascendens}
7783 @cindex @code{\oriscus}
7785 @cindex @code{\quilisma}
7787 @cindex @code{\deminutum}
7790 Head prefixes can be accumulated, though restrictions apply. For
7791 example, either @code{\descendens} or @code{\ascendens} can be applied
7792 to a head, but not both to the same head.
7795 @cindex @code{\flexa}
7796 Two adjacent heads can be tied together with the @code{\pes} and
7797 @code{\flexa} infix commands for a rising and falling line of melody,
7802 @node Gregorian Chant contexts
7803 @subsection Gregorian Chant contexts
7805 @cindex VaticanaVoiceContext
7806 @cindex VaticanaStaffContext
7808 The predefined @code{VaticanaVoiceContext} and
7809 @code{VaticanaStaffContext} can be used to engrave a piece of
7810 Gregorian Chant in the style of the Editio Vaticana. These contexts
7811 initialize all relevant context properties and grob properties to
7812 proper values, so you can immediately go ahead entering the chant, as
7813 the following excerpt demonstrates
7815 @lilypond[quote,raggedright,verbatim]
7816 \include "gregorian-init.ly"
7819 \context VaticanaVoice = "cantus" {
7820 \override Score.BarNumber #'transparent = ##t {
7821 \[ c'\melisma c' \flexa a \]
7822 \[ a \flexa \deminutum g\melismaEnd \]
7824 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7825 c' \divisioMinima \break
7826 \[ c'\melisma c' \flexa a \]
7827 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7830 \lyricsto "cantus" \new Lyrics {
7831 San- ctus, San- ctus, San- ctus
7838 @node Mensural contexts
7839 @subsection Mensural contexts
7841 @cindex MensuralVoiceContext
7842 @cindex MensuralStaffContext
7844 The predefined @code{MensuralVoiceContext} and
7845 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7846 style. These contexts initialize all relevant context properties and
7847 grob properties to proper values, so you can immediately go ahead
7848 entering the chant, as the following excerpt demonstrates
7850 @lilypond[quote,raggedright,verbatim]
7853 \context MensuralVoice = "discantus" \transpose c c' {
7854 \override Score.BarNumber #'transparent = ##t {
7855 c'1\melisma bes a g\melismaEnd
7857 \[ f1\melisma a c'\breve d'\melismaEnd \]
7859 c'\breve\melisma a1 g1\melismaEnd
7860 fis\longa^\signumcongruentiae
7863 \lyricsto "discantus" \new Lyrics {
7864 San -- ctus, San -- ctus, San -- ctus
7872 @subsection Figured bass
7874 @cindex Basso continuo
7876 @c TODO: musicological blurb about FB
7879 LilyPond has limited support for figured bass
7881 @lilypond[quote,raggedright,verbatim,fragment]
7883 \context Voice { \clef bass dis4 c d ais g fis}
7884 \context FiguredBass \figuremode {
7885 < 6 >4 < 7 >8 < 6+ [_!] >
7892 The support for figured bass consists of two parts: there is an input
7893 mode, introduced by @code{\figuremode}, where you can enter bass figures
7894 as numbers, and there is a context called @internalsref{FiguredBass} that
7895 takes care of making @internalsref{BassFigure} objects.
7897 In figures input mode, a group of bass figures is delimited by
7898 @code{<} and @code{>}. The duration is entered after the @code{>}
7902 @lilypond[quote,raggedright,fragment]
7903 \context FiguredBass
7904 \figuremode { <4 6> }
7907 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
7913 @lilypond[quote,raggedright,fragment]
7914 \context FiguredBass
7915 \figuremode { <4- 6+ 7!> }
7918 Spaces or dashes may be inserted by using @code{_}. Brackets are
7919 introduced with @code{[} and @code{]}
7924 @lilypond[quote,raggedright,fragment]
7925 \context FiguredBass
7926 \figuremode { < [4 6] 8 [_! 12] > }
7929 Although the support for figured bass may superficially resemble chord
7930 support, it works much simpler. The @code{\figuremode} mode simply
7931 stores the numbers and @internalsref{FiguredBass} context prints
7932 them as entered. There is no conversion to pitches and no
7933 realizations of the bass are played in the MIDI file.
7935 Internally, the code produces markup texts. You can use any of the
7936 markup text properties to override formatting. For example, the
7937 vertical spacing of the figures may be set with @code{baseline-skip}.
7941 Program reference: @internalsref{BassFigureEvent} music,
7942 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
7946 Slash notation for alterations is not supported.
7948 @node Contemporary notation
7949 @section Contemporary notation
7951 In the 20th century, composers have greatly expanded the musical
7952 vocabulary. With this expansion, many innovations in musical notation
7953 have been tried. The book ``Music Notation in the 20th century'' by
7954 Kurt Stone gives a comprehensive overview (see @ref{Literature
7955 list}). In general, the use of new, innovative notation makes a piece
7956 harder to understand and perform and its use should therefore be
7957 avoided. For this reason, support for contemporary notation in
7958 LilyPond is limited.
7962 * Polymetric notation::
7964 * Special fermatas::
7968 @node Polymetric notation
7969 @subsection Polymetric notation
7971 Double time signatures are not supported explicitly, but they can be
7972 faked. In the next example, the markup for the time signature is
7973 created with a markup text. This markup text is inserted in the
7974 @internalsref{TimeSignature} grob.
7976 @lilypond[verbatim,raggedright]
7981 \musicglyph #"scripts.stopped"
7982 \bracket \column { "5" "8" }
7987 \override Staff.TimeSignature #'print-function = #Text_interface::print
7988 \override Staff.TimeSignature #'text = #tsMarkup
7990 c'2 \bar ":" c'4 c'4.
7994 Each staff can also have its own time signature. This is done by
7995 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
8000 \context @{ \Score \remove "Timing_engraver" @}
8001 \context @{ \Staff \consists "Timing_engraver" @}
8006 Now, each staff has its own time signature.
8019 c4. c8 c c c4. c8 c c
8024 @lilypond[quote,raggedright]
8026 \context{ \Score \remove "Timing_engraver" }
8027 \context{ \Staff \consists "Timing_engraver" }
8041 c4. c8 c c c4. c8 c c
8047 A different form of polymetric notation is where note lengths have
8048 different values across staves.
8050 This notation can be created by setting a common time signature for
8051 each staff but replacing it manually using
8052 @code{timeSignatureFraction} to the desired fraction. Then the printed
8053 durations in each staff are scaled to the common time signature.
8054 The latter is done with @code{\compressmusic}, which is similar to
8055 @code{\times}, but does not create a tuplet bracket.
8058 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
8059 used in parallel. In the second staff, shown durations are multiplied by
8060 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
8061 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
8063 @lilypond[quote,raggedright,verbatim,fragment]
8071 \set Staff.timeSignatureFraction = #'(9 . 8)
8072 \compressmusic #'(2 . 3)
8073 \repeat unfold 6 { c8[ c c] }
8077 \set Staff.timeSignatureFraction = #'(10 . 8)
8078 \compressmusic #'(3 . 5) {
8079 \repeat unfold 2 { c8[ c c] }
8080 \repeat unfold 2 { c8[ c] }
8081 | c4. c4. \times 2/3 { c8 c c } c4
8092 When using different time signatures in parallel, the spacing is
8093 aligned vertically, but bar lines distort the regular spacing.
8098 @subsection Clusters
8102 A cluster indicates a continuous range of pitches to be played. They
8103 can be denoted as the envelope of a set of notes. They are entered by
8104 applying the function @code{makeClusters} to a sequence of
8106 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
8107 \makeClusters { <c e > <b f'> }
8110 The following example (from
8111 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
8114 @lilypondfile[raggedright,quote]{cluster.ly}
8116 Ordinary notes and clusters can be put together in the same staff,
8117 even simultaneously. In such a case no attempt is made to
8118 automatically avoid collisions between ordinary notes and clusters.
8122 Program reference: @internalsref{ClusterSpanner},
8123 @internalsref{ClusterSpannerBeacon},
8124 @internalsref{Cluster_spanner_engraver}, and
8125 @internalsref{ClusterNoteEvent}.
8127 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
8131 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
8132 accurately. Use @code{<g a>8 <e a>8} instead.
8136 @node Special fermatas
8137 @subsection Special fermatas
8139 @cindex fermatas, special
8141 In contemporary music notation, special fermata symbols denote breaks
8142 of differing lengths. The following fermatas are supported
8144 @lilypond[quote,raggedright]
8167 \context Lyrics \lyricmode {
8168 \override LyricText #'font-family = #'typewriter
8169 "shortfermata" "fermata" "longfermata" "verylongfermata"
8174 See @ref{Articulations} for general instructions how to apply scripts
8175 such as fermatas to notes.
8177 @node Feathered beams
8178 @subsection Feathered beams
8180 Feathered beams are not supported natively, but they can be faked by
8181 forcing two beams to overlap. Here is an example,
8183 @c don't change relative setting witout changing positions!
8184 @lilypond[raggedright,relative=1,fragment,verbatim]
8189 \once \override Voice.Beam #'positions = #'(0 . 0.5)
8194 \once \override Voice.Beam #'positions = #'(0 . -0.5)
8202 @node Educational use
8203 @section Educational use
8205 With the amount of control that LilyPond offers, one can make great
8206 teaching tools in addition to great musical scores.
8210 * Blank music sheet::
8212 * Shaped note heads ::
8213 * Easy Notation note heads::
8217 @subsection Balloon help
8219 Elements of notation can be marked and named with the help of a square
8220 balloon. The primary purpose of this feature is to explain notation.
8222 The following example demonstrates its use.
8224 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
8227 #(add-balloon-text 'NoteHead "heads, or tails?"
8234 The function @code{add-balloon-text} takes the name of a grob, the
8235 label to print, and the position where to put the label relative to
8236 the object. In the above example, the text ``heads or tails?'' ends
8237 3 spaces below and 1 space to the right of the marked head.
8240 @cindex notation, explaining
8244 Program reference: @internalsref{text-balloon-interface}.
8246 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
8251 @node Blank music sheet
8252 @subsection Blank music sheet
8254 A blank music sheet can be produced also by using invisible notes, and
8255 removing @code{Bar_number_engraver}.
8258 @lilypond[quote,verbatim]
8260 \repeat unfold 2 % Change this for more lines.
8265 \override TimeSignature #'transparent = ##t
8266 defaultBarType = #""
8267 \remove Bar_number_engraver
8269 \context Staff \emptymusic
8270 \context TabStaff \emptymusic
8276 @subsection Hidden notes
8278 @cindex Hidden notes
8279 @cindex Invisible notes
8280 @cindex Transparent notes
8282 Hidden (or invisible or transparent) notes can be useful in preparing theory
8283 or composition exercises.
8285 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
8293 Hidden notes are also great for performing weird tricks. For example,
8294 slurs cannot be attached to rests or spacer rests, but you may wish
8295 to include that in your score -- string instruments use this notation
8296 when doing pizzicato to indicate that the note should ring for as long
8299 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
8302 c4^"pizz"( \hideNotes c)
8303 \unHideNotes c( \hideNotes c)
8310 @node Shaped note heads
8311 @subsection Shaped note heads
8313 In shaped note head notation, the shape of the note head corresponds
8314 to the harmonic function of a note in the scale. This notation was
8315 popular in the 19th century American song books.
8317 Shaped note heads can be produced by setting @code{\aikenHeads} or
8318 @code{\sacredHarpHeads}, depending on the style desired.
8320 @lilypond[verbatim,relative=1,fragment]
8327 Shapes are determined on the step in the scale, where the base of the
8328 scale is determined by the @code{\key} command
8331 @findex shapeNoteStyles
8333 @findex \sacredHarpHeads
8335 Shaped note heads are implemented through the @code{shapeNoteStyles}
8336 property. Its value is a vector of symbols. The k-th element indicates
8337 the style to use for the k-th step of the scale. Arbitrary
8338 combinations are possible, eg.,
8341 @lilypond[verbatim,relative=1,fragment]
8342 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
8347 @node Easy Notation note heads
8348 @subsection Easy Notation note heads
8350 @cindex easy notation
8353 The `easy play' note head includes a note name inside the head. It is
8354 used in music for beginners
8356 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
8361 The command @code{\setEasyHeads} overrides settings for the
8362 @internalsref{NoteHead} object. To make the letters readable, it has
8363 to be printed in a large font size. To print with a larger font, see
8364 @ref{Setting global staff size}.
8368 @cindex @code{\setEasyHeads}
8369 @code{\setEasyHeads}