2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[quote,fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C
90 @lilypond[quote,fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[quote,verbatim,relative=3]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave
153 @lilypond[quote,fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch
186 @lilypond[quote,fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
209 @lilypond[quote,relative=1]
220 Rests are entered like notes, with the note name @code{r}
222 @lilypond[quote,raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone
238 @lilypond[quote,raggedright,verbatim]
244 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
251 @cindex Invisible rest
254 An invisible rest (also called a `skip') can be entered like a note
255 with note name `@code{s}' or with @code{\skip @var{duration}}
257 @lilypond[quote,raggedright,verbatim]
261 The @code{s} syntax is only available in note mode and chord mode. In
262 other situations, you should use the @code{\skip} command
264 @lilypond[quote,raggedright,verbatim]
267 { \time 4/8 \skip 2 \time 4/4 }
268 \notes\relative c'' { a2 a1 }
273 The skip command is merely an empty musical placeholder. It does not
274 produce any output, not even transparent output.
276 The @code{s} skip command does create @internalsref{Staff} and
277 @internalsref{Voice} when necessary, similar to note and rest
278 commands. For example, the following results in an empty staff.
280 @lilypond[quote,raggedright,verbatim]
281 \score { \notes { s4 } }
284 The same fragment using @code{\skip} results in an empty page.
288 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
293 @subsection Durations
297 @cindex @code{\longa}
298 @cindex @code{\breve}
299 @cindex @code{\maxima}
302 In Note, Chord, and Lyrics mode, durations are designated by numbers
303 and dots: durations are entered as their reciprocal values. For example,
304 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
305 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
306 longer than a whole you must use variables
310 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
312 r1 r2 r4 r8 r16 r32 r64 r64
317 \notes \relative c'' {
318 a\breve*1/2 \autoBeamOff
319 a1 a2 a4 a8 a16 a32 a64 a64
320 r\longa*1/4 r\breve *1/2
321 r1 r2 r4 r8 r16 r32 r64 r64
327 \remove "Clef_engraver"
328 \override StaffSymbol #'transparent = ##t
329 \override TimeSignature #'transparent = ##t
330 \override BarLine #'transparent = ##t
331 \consists "Pitch_squash_engraver"
338 If the duration is omitted then it is set to the previously entered
339 duration. The default for the first note is a quarter note. The duration
340 can be followed by dots (`@code{.}') in order to obtain dotted note
344 @lilypond[quote,fragment,verbatim]
345 a' b' c''8 b' a'4 a'4. b'4.. c'8.
350 You can alter the length of duration by a fraction @var{N/M}
351 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
352 will not affect the appearance of the notes or rests produced.
354 In the following example, the first three notes take up exactly two
355 beats, but no triplet bracket is printed.
356 @lilypond[quote,fragment,relative=3,verbatim]
358 a4*2/3 gis4*2/3 a4*2/3
364 Dots are normally moved up to avoid staff lines, except in polyphonic
365 situations. The following commands may be used to force a particular
368 @cindex @code{\dotsUp}
370 @cindex @code{\dotsDown}
372 @cindex @code{\dotsBoth}
377 This manual: @ref{Tuplets}
379 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
384 Whenever a note is found, a @internalsref{Stem} object is created
385 automatically. For whole notes and rests, they are also created but
390 @cindex @code{\stemUp}
392 @cindex @code{\stemDown}
394 @cindex @code{\stemBoth}
405 A tie connects two adjacent note heads of the same pitch. The tie in
406 effect extends the length of a note. Ties should not be confused with
407 slurs, which indicate articulation, or phrasing slurs, which indicate
408 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
410 @lilypond[quote,fragment,verbatim]
411 e' ~ e' <c' e' g'> ~ <c' e' g'>
414 When a tie is applied to a chord, all note heads whose pitches match
415 are connected. When no note heads match, no ties will be created.
417 In its meaning a tie is just a way of extending a note duration, similar
418 to the augmentation dot; in the following example there are two ways of
419 notating exactly the same concept
421 @lilypond[quote,fragment,raggedright]
422 \time 3/4 c'2. c'2 ~ c'4
424 If you need to tie a lot of notes over bars, it may be easier to use automatic
425 note splitting (see @ref{Automatic note splitting}).
430 @cindex @code{\tieUp}
432 @cindex @code{\tieDown}
434 @cindex @code{\tieBoth}
436 @cindex @code{\tieDotted}
438 @cindex @code{\tieSolid}
443 In this manual: @ref{Automatic note splitting}.
445 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
447 For tying only a subset of the note heads of a pair of chords, see
448 @inputfileref{input/regression,tie-chord-partial.ly}.
453 Switching staves when a tie is active will not produce a slanted tie.
455 Formatting of ties is a difficult subject. The results are often not
465 @cindex @code{\times}
467 Tuplets are made out of a music expression by multiplying all durations
470 @cindex @code{\times}
472 \times @var{fraction} @var{musicexpr}
476 The duration of @var{musicexpr} will be multiplied by the fraction.
477 The fraction's denominator will be printed over the notes, optionally
478 with a bracket. The most common tuplet is the triplet in which 3
479 notes have the length of 2, so the notes are 2/3 of their written
482 @lilypond[quote,fragment,verbatim]
483 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
486 The property @code{tupletSpannerDuration} specifies how long each
487 bracket should last. With this, you can make lots of tuplets while
488 typing @code{\times} only once, saving lots of typing. In the next
489 example, there are two triplets shown, while @code{\times} was only
492 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
493 \set tupletSpannerDuration = #(ly:make-moment 1 4)
494 \times 2/3 { c'8 c c c c c }
497 The format of the number is determined by the property
498 @code{tupletNumberFormatFunction}. The default prints only the
499 denominator, but if it is set to the Scheme function
500 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
504 @cindex @code{tupletNumberFormatFunction}
505 @cindex tuplet formatting
510 @cindex @code{\tupletUp}
512 @cindex @code{\tupletDown}
514 @cindex @code{\tupletBoth}
519 User manual: @ref{Changing context properties on the fly} for the
523 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
525 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
529 Nested tuplets are not formatted automatically. In this case, outer
530 tuplet brackets should be moved manually, which is demonstrated in
531 @inputfileref{input/regression,tuplet-nest.ly}.
535 @node Easier music entry
536 @section Easier music entry
539 This section deals with tricks and features of the input language that
540 were added solely to help entering music, finding and correcting
541 mistakes. There are also external tools that make debugging easier.
542 See @ref{Point and click} for more information.
544 It is also possible to enter and edit music using other programs. For
545 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
546 website for more information.
553 * Skipping corrected music::
554 * Automatic note splitting::
560 @node Relative octaves
561 @subsection Relative octaves
563 @cindex relative octave specification
565 Octaves are specified by adding @code{'} and @code{,} to pitch names.
566 When you copy existing music, it is easy to accidentally put a pitch
567 in the wrong octave and hard to find such an error. The relative
568 octave mode prevents these errors: a single error puts the rest of the
569 piece off by one octave
571 @cindex @code{\relative}
573 \relative @var{startpitch} @var{musicexpr}
576 The octave of notes that appear in @var{musicexpr} are calculated as
577 follows: If no octave changing marks are used, the basic interval
578 between this and the last note is always taken to be a fourth or
579 less. This distance is determined without regarding alterations; a
580 @code{fisis} following a @code{ceses} will be put above the
583 The octave changing marks @code{'} and @code{,} can be added to raise
584 or lower the pitch by an extra octave. Upon entering relative mode,
585 an absolute starting pitch must be specified that will act as the
586 predecessor of the first note of @var{musicexpr}.
588 Here is the relative mode shown in action
589 @lilypond[quote,fragment,raggedright,verbatim]
595 Octave changing marks are used for intervals greater than a fourth
596 @lilypond[quote,fragment,verbatim]
602 If the preceding item is a chord, the first note of the chord is used
603 to determine the first note of the next chord
605 @lilypond[quote,fragment,verbatim]
612 @cindex @code{\notes}
614 The pitch after the @code{\relative} contains a note name. To parse
615 the note name as a pitch, it must be surrounded by @code{\notes}
617 The relative conversion will not affect @code{\transpose},
618 @code{\chords} or @code{\relative} sections in its argument. If you
619 want to use relative within transposed music, you must place an
620 additional @code{\relative} inside the @code{\transpose}.
623 @subsection Octave check
626 Octave checks make octave errors easier to correct: a note may be
627 followed by @code{=}@var{quotes} which indicates what its absolute
628 octave should be. In the following example,
630 \relative c'' @{ c='' b=' d,='' @}
634 @c take care with @code, adds confusing quotes.
635 the d will generate a warning, because a d'' is expected, but a d' is
636 found. In the output, the octave is corrected for this and the
641 There is also a syntax that is separate from the notes. The syntax
647 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
648 quotes) in \relative mode. If not, a warning is printed, and the
649 octave is corrected, for example, the first check is passed
650 successfully. The second check fails with an error message. The
651 octave is adjusted so the following notes are in the correct octave
662 The octave of a note following an octave check is determined with
663 respect to the note preceding it. In the next fragment, the last note
664 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
665 be deleted without changing the meaning of the piece.
667 @lilypond[quote,verbatim,fragment]
676 @subsection Bar check
680 @cindex @code{barCheckSynchronize}
683 Bar checks help detect errors in the durations. A bar check is
684 entered using the bar symbol, `@code{|}'. Whenever it is encountered
685 during interpretation, it should fall on a measure boundary. If it
686 does not, a warning is printed. In the next example, the second bar
687 check will signal an error
689 \time 3/4 c2 e4 | g2 |
692 Bar checks can also be used in lyrics, for example
697 Twin -- kle | Twin -- kle
702 @cindex skipTypesetting
704 Failed bar checks are caused by entering incorrect
705 durations. Incorrect durations often completely garble up the score,
706 especially if it is polyphonic, so you should start correcting the
707 score by scanning for failed bar checks and incorrect durations. To
708 speed up this process, you can use @code{skipTypesetting}, described
711 It is also possible to redefine the meaning of @code{|}. This is done
712 by assigning a music expression to @code{pipeSymbol},
715 pipeSymbol = \bar "||"
718 \notes { c'2 c'2 | c'2 c'2 | }
723 @node Skipping corrected music
724 @subsection Skipping corrected music
726 The property @code{Score.skipTypesetting} can be used to switch on and
727 off typesetting completely during the interpretation phase. When
728 typesetting is switched off, the music is processed much more quickly.
729 This can be used to skip over the parts of a score that have already
730 been checked for errors
732 @lilypond[quote,fragment,raggedright,verbatim]
735 \set Score.skipTypesetting = ##t
737 \set Score.skipTypesetting = ##f
741 @node Automatic note splitting
742 @subsection Automatic note splitting
744 Long notes can be converted automatically to tied notes. This is done
745 by replacing the @internalsref{Note_heads_engraver} by the
746 @internalsref{Completion_heads_engraver}.
747 In the following examples, notes crossing the bar line are split and tied.
750 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
752 \remove "Note_heads_engraver"
753 \consists "Completion_heads_engraver"
755 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
759 This engraver splits all running notes at the bar line, and inserts
760 ties. One of its uses is to debug complex scores: if the measures are
761 not entirely filled, then the ties exactly show how much each measure
766 Not all durations (especially those containing tuplets) can be
767 represented exactly; the engraver will not insert tuplets.
771 Examples: @inputfileref{input/regression,completion-heads.ly}.
773 Program reference: @internalsref{Completion_heads_engraver}.
777 @section Staff notation
779 This section describes music notation that occurs on staff level,
780 such as keys, clefs and time signatures.
782 @cindex Staff notation
796 @subsection Staff symbol
798 @cindex adjusting staff symbol
800 Notes, dynamic signs, etc. are grouped
801 with a set of horizontal lines, into a staff (plural `staves'). In our
802 system, these lines are drawn using a separate layout object called
806 @cindex staff lines, setting number of
807 @cindex staff lines, setting thickness of
808 @cindex thickness of staff lines, setting
809 @cindex number of staff lines, setting
813 Program reference: @internalsref{StaffSymbol}.
815 Examples: @inputfileref{input/test,staff-lines.ly},
816 @inputfileref{input/test,staff-size.ly}.
820 If a staff is ended halfway a piece, the staff symbol may not end
821 exactly on the bar line.
825 @subsection Key signature
826 @cindex Key signature
830 The key signature indicates the scale in which a piece is played. It
831 is denoted by a set of alterations (flats or sharps) at the start of
835 Setting or changing the key signature is done with the @code{\key}
838 @code{\key} @var{pitch} @var{type}
841 @cindex @code{\minor}
842 @cindex @code{\major}
843 @cindex @code{\minor}
844 @cindex @code{\ionian}
845 @cindex @code{\locrian}
846 @cindex @code{\aeolian}
847 @cindex @code{\mixolydian}
848 @cindex @code{\lydian}
849 @cindex @code{\phrygian}
850 @cindex @code{\dorian}
852 Here, @var{type} should be @code{\major} or @code{\minor} to get
853 @var{pitch}-major or @var{pitch}-minor, respectively.
854 The standard mode names @code{\ionian},
855 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
856 @code{\phrygian}, and @code{\dorian} are also defined.
858 This command sets the context property
859 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
860 can be specified by setting this property directly.
862 Accidentals and key signatures often confuse new users, because
863 unaltered notes get natural signs depending on the key signature. For
864 more information, see @ref{More about pitches}.
868 The ordering of a key cancellation is wrong when it is combined with
869 repeat bar lines. The cancellation is also printed after a line break.
873 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
875 @cindex @code{keySignature}
882 The clef indicates which lines of the staff correspond to which
886 The clef can be set or changed with the @code{\clef} command
887 @lilypond[quote,fragment,verbatim]
888 \key f\major c''2 \clef alto g'2
891 Supported clef-names include
892 @c Moved standard clefs to the top /MB
896 @item treble, violin, G, G2
909 G clef on 1st line, so-called French violin clef
914 @cindex mezzosoprano clef
917 @cindex baritone clef
920 @cindex varbaritone clef
931 By adding @code{_8} or @code{^8} to the clef name, the clef is
932 transposed one octave down or up, respectively, and @code{_15} and
933 @code{^15} transposes by two octaves. The argument @var{clefname}
934 must be enclosed in quotes when it contains underscores or digits. For
938 @cindex choral tenor clef
939 @lilypond[quote,verbatim,fragment,relative=1]
943 This command is equivalent to setting @code{clefGlyph},
944 @code{clefPosition} (which controls the Y position of the clef),
945 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
946 when any of these properties are changed.
950 Program reference: the object for this symbol is @internalsref{Clef}.
954 @node Ottava brackets
955 @subsection Ottava brackets
957 ``Ottava'' brackets introduce an extra transposition of an octave for
958 the staff. They are created by invoking the function
959 @code{set-octavation}
965 @lilypond[quote,verbatim,fragment]
975 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
976 (for 15ma) as arguments. Internally the function sets the properties
977 @code{ottavation} (e.g. to @code{"8va"}) and
978 @code{centralCPosition}. For overriding the text of the bracket, set
979 @code{ottavation} after invoking @code{set-octavation}, i.e.,
983 \set Staff.ottavation = #"8"
988 Program reference: @internalsref{OttavaBracket}.
990 Examples: @inputfileref{input/regression,ottava.ly},
991 @inputfileref{input/regression,ottava-broken.ly}.
995 @code{set-octavation} will get confused when clef changes happen
996 during an octavation bracket.
999 @subsection Time signature
1000 @cindex Time signature
1002 @cindex @code{\time}
1004 Time signature indicates the metrum of a piece: a regular pattern of
1005 strong and weak beats. It is denoted by a fraction at the start of the
1009 The time signature is set or changed by the @code{\time}
1011 @lilypond[quote,fragment,verbatim]
1012 \time 2/4 c'2 \time 3/4 c'2.
1015 The symbol that is printed can be customized with the @code{style}
1016 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1017 2/2 time. There are many more options for its layout. See
1018 @inputfileref{input/test,time.ly} for more examples.
1021 This command sets the property @code{timeSignatureFraction},
1022 @code{beatLength} and @code{measureLength} in the @code{Timing}
1023 context, which is normally aliased to @internalsref{Score}. The
1024 property @code{measureLength} determines where bar lines should be
1025 inserted, and how automatic beams should be generated. Changing the
1026 value of @code{timeSignatureFraction} also causes the symbol to be
1029 More options are available through the Scheme function
1030 @code{set-time-signature}. In combination with the
1031 @internalsref{Measure_grouping_engraver}, it will create
1032 @internalsref{MeasureGrouping} signs. Such signs ease reading
1033 rhythmically complex modern music. In the following example, the 9/8
1034 measure is subdivided in 2, 2, 2 and 3. This is passed to
1035 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1037 @lilypond[quote,raggedright,verbatim]
1039 \notes \relative c'' {
1040 #(set-time-signature 9 8 '(2 2 2 3))
1041 g8[ g] d[ d] g[ g] a8[( bes g]) |
1042 #(set-time-signature 5 8 '(3 2))
1048 \consists "Measure_grouping_engraver"
1056 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1061 Automatic beaming does not use the measure grouping specified with
1062 @code{set-time-signature}.
1064 @node Partial measures
1065 @subsection Partial measures
1068 @cindex partial measure
1069 @cindex measure, partial
1070 @cindex shorten measures
1071 @cindex @code{\partial}
1073 Partial measures, for example in upsteps, are entered using the
1074 @code{\partial} command
1075 @lilypond[quote,fragment,verbatim,relative=2]
1076 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1079 The syntax for this command is
1081 \partial @var{duration}
1083 This is internally translated into
1085 \set Timing.measurePosition = -@var{length of duration}
1088 The property @code{measurePosition} contains a rational number
1089 indicating how much of the measure has passed at this point.
1091 @node Unmetered music
1092 @subsection Unmetered music
1096 Bar lines and bar numbers are calculated automatically. For unmetered
1097 music (e.g. cadenzas), this is not desirable. By setting
1098 @code{Score.timing} to false, this automatic timing can be switched
1099 off. Empty bar lines,
1106 indicate where line breaks can occur.
1111 @cindex @code{\cadenzaOn}
1113 @cindex @code{\cadenzaOff}
1117 @subsection Bar lines
1121 @cindex measure lines
1125 Bar lines delimit measures, but are also used to indicate repeats.
1126 Normally, they are inserted automatically. Line breaks may only
1127 happen on bar lines.
1129 Special types of bar lines can be forced with the @code{\bar} command
1131 @lilypond[quote,relative=2,fragment,verbatim]
1135 The following bar types are available
1136 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1149 For allowing line breaks, there is a special command,
1153 This will insert an invisible bar line, and allow line breaks at this
1156 In scores with many staves, a @code{\bar} command in one staff is
1157 automatically applied to all staves. The resulting bar lines are
1158 connected between different staves of a @internalsref{StaffGroup}
1160 @lilypond[quote,fragment,verbatim]
1162 \context StaffGroup <<
1168 \new Staff { \clef bass c4 g e g }
1170 \new Staff { \clef bass c2 c2 }
1174 A bar line is created whenever the @code{whichBar} property is set.
1175 At the start of a measure it is set to the contents of
1176 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1177 to override default measure bars.
1179 The command @code{\bar }@var{bartype} is a short cut for doing
1180 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1181 is set to a string, a bar line of that type is created.
1184 @cindex repeatCommands
1185 @cindex defaultBarType
1187 You are encouraged to use @code{\repeat} for repetitions. See
1194 In this manual: @ref{Repeats}.
1197 Program reference: the bar line objects that are created at
1198 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1199 lines that span staves are @internalsref{SpanBar} objects.
1201 @cindex bar lines at start of system
1202 @cindex start of system
1204 The bar lines at the start of each system are
1205 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1206 @internalsref{SystemStartBracket}. Only one of these types is created
1207 in every context, and that type is determined by the property
1208 @code{systemStartDelimiter}.
1210 Examples: @inputfileref{input/test,bar-lines.ly},
1216 The easiest way to enter fragments with more than one voice on a staff
1217 is to split chords using the separator @code{\\}. You can use it for
1218 small, short-lived voices or for single chords
1222 @lilypond[quote,verbatim,fragment]
1223 \context Staff \relative c'' {
1224 c4 << { f d e } \\ { b c2 } >>
1225 c4 << g' \\ b, \\ f' \\ d >>
1229 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1230 voices are sometimes called "layers" other notation packages}
1232 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1233 each of these contexts, vertical direction of slurs, stems, etc. is set
1236 @cindex @code{\voiceOne}
1237 @cindex @code{\voiceFour}
1239 This can also be done by instantiating @internalsref{Voice} contexts
1240 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1241 a stem directions and horizontal shift for each part
1244 @lilypond[quote,raggedright,verbatim]
1247 \new Voice { \voiceOne cis2 b }
1248 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1249 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1253 The command @code{\oneVoice} will revert back to the normal setting.
1254 @cindex @code{\oneVoice}
1257 Normally, note heads with a different number of dots are not merged, but
1258 when the object property @code{merge-differently-dotted} is set in
1259 the @internalsref{NoteCollision} object, they are merged
1260 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1263 \override Staff.NoteCollision
1264 #'merge-differently-dotted = ##t
1266 } \\ { g8.[ f16] g8.[ f16] } >>
1269 Similarly, you can merge half note heads with eighth notes, by setting
1270 @code{merge-differently-headed}
1271 @lilypond[quote,fragment,relative=2,verbatim]
1274 \override Staff.NoteCollision
1275 #'merge-differently-headed = ##t
1276 c8 c4. } \\ { c2 c2 } >>
1279 LilyPond also vertically shifts rests that are opposite of a stem,
1282 @lilypond[quote,raggedright,fragment,verbatim]
1283 \context Voice << c''4 \\ r4 >>
1291 @cindex @code{\oneVoice}
1293 @cindex @code{\voiceOne}
1295 @cindex @code{\voiceTwo}
1297 @cindex @code{\voiceThree}
1299 @cindex @code{\voiceFour}
1303 The following commands specify in what chords of the current voice
1304 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1305 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1308 @cindex @code{\shiftOn}
1310 @cindex @code{\shiftOnn}
1312 @cindex @code{\shiftOnnn}
1314 @cindex @code{\shiftOff}
1321 Program reference: the objects responsible for resolving collisions are
1322 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1324 Examples: See also example files
1325 @inputfileref{input/regression,collision-dots.ly},
1326 @inputfileref{input/regression,collision-head-chords.ly},
1327 @inputfileref{input/regression,collision-heads.ly},
1328 @inputfileref{input/regression,collision-mesh.ly}, and
1329 @inputfileref{input/regression,collisions.ly}.
1334 Resolving collisions is a intricate subject, and only a few situations
1335 are handled. When LilyPond cannot cope, the @code{force-hshift}
1336 property of the @internalsref{NoteColumn} object and pitched rests can
1337 be used to override typesetting decisions.
1339 When using @code{merge-differently-headed} with an upstem eighth or a
1340 shorter note, and a downstem half note, the eighth note gets the wrong
1343 There is no support for clusters where the same note occurs with
1344 different accidentals in the same chord. In this case, it is
1345 recommended to use enharmonic transcription, or to use special cluster
1346 notation (see @ref{Clusters}).
1351 Beams are used to group short notes into chunks that are aligned with
1352 the metrum. They are inserted automatically
1354 @lilypond[quote,fragment,verbatim,relative=2]
1355 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1358 When these automatic decisions are not good enough, beaming can be
1359 entered explicitly. It is also possible to define beaming patterns
1360 that differ from the defaults.
1362 Individual notes may be marked with @code{\noBeam}, to prevent them
1365 @lilypond[quote,fragment,verbatim,relative=2]
1366 \time 2/4 c8 c\noBeam c c
1372 Program reference: @internalsref{Beam}.
1375 @cindex Automatic beams
1378 * Setting automatic beam behavior::
1382 @subsection Manual beams
1383 @cindex beams, manual
1387 In some cases it may be necessary to override the automatic beaming
1388 algorithm. For example, the autobeamer will not put beams over rests
1389 or bar lines. Such beams are specified by manually: the begin and end
1390 point are marked with @code{[} and @code{]}
1392 @lilypond[quote,fragment,relative=1,verbatim]
1394 r4 r8[ g' a r8] r8 g[ | a] r8
1398 @cindex @code{stemLeftBeamCount}
1400 Normally, beaming patterns within a beam are determined automatically.
1401 If necessary, the properties @code{stemLeftBeamCount} and
1402 @code{stemRightBeamCount} can be used to override the defaults. If
1403 either property is set, its value will be used only once, and then it
1406 @lilypond[quote,fragment,relative=1,verbatim]
1409 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1412 @cindex @code{stemRightBeamCount}
1415 The property @code{subdivideBeams} can be set in order to subdivide
1416 all 16th or shorter beams at beat positions, as defined by the
1417 @code{beatLength} property.
1420 @lilypond[quote,relative=2,verbatim,noindent]
1422 \set subdivideBeams = ##t
1424 \set Score.beatLength = #(ly:make-moment 1 8)
1427 @cindex subdivideBeams
1429 Kneed beams are inserted automatically, when a large gap is detected
1430 between the note heads. This behavior can be tuned through the object
1431 property @code{auto-knee-gap}.
1433 Normally, line breaks are forbidden when beams cross bar lines. This
1434 behavior can be changed by setting @code{allowBeamBreak}.
1436 @cindex @code{allowBeamBreak}
1437 @cindex beams and line breaks
1439 @cindex beams, kneed
1441 @cindex auto-knee-gap
1446 User manual: @ref{Changing context properties on the fly} for the
1452 @cindex Frenched staves
1454 Automatically kneed cross-staff beams cannot be used together with
1457 Beams do not avoid collisions with symbols around the notes, such as
1458 texts and accidentals.
1462 @node Setting automatic beam behavior
1463 @subsection Setting automatic beam behavior
1465 @cindex @code{autoBeamSettings}
1466 @cindex @code{(end * * * *)}
1467 @cindex @code{(begin * * * *)}
1468 @cindex automatic beams, tuning
1469 @cindex tuning automatic beaming
1471 @c [TODO: use \applycontext]
1473 In normal time signatures, automatic beams can start on any note but can
1474 only end in a few positions within the measure: beams can end on a beat,
1475 or at durations specified by the properties in
1476 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1477 are defined in @file{scm/auto-beam.scm}.
1479 The value of @code{autoBeamSettings} is changed with two functions,
1481 #(override-auto-beam-setting
1482 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1484 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1486 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1487 @var{context} is an optional context (default: @code{'Voice}). It
1488 determines whether the rule applies to begin or end-points. The
1489 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1490 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1491 to a time signature (wildcards `@code{* *}' may be entered to
1492 designate all time signatures), @var{a}/@var{b} is a duration. By
1493 default, this command changes settings for the current voice. It is
1494 also possible to adjust settings at higher contexts, by adding a
1495 @var{context} argument.
1497 For example, if automatic beams should end on every quarter note, use
1500 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1502 Since the duration of a quarter note is 1/4 of a whole note, it is
1503 entered as @code{(ly:make-moment 1 4)}.
1505 The same syntax can be used to specify beam starting points. In this
1506 example, automatic beams can only end on a dotted quarter note
1508 #(override-auto-beam-setting '(end * * * *) 3 8)
1510 In 4/4 time signature, this means that automatic beams could end only on
1511 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1512 3/8, has passed within the measure).
1514 Rules can also be restricted to specific time signatures. A rule that
1515 should only be applied in @var{N}/@var{M} time signature is formed by
1516 replacing the second asterisks by @var{N} and @var{M}. For example, a
1517 rule for 6/8 time exclusively looks like
1519 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1522 If a rule should be to applied only to certain types of beams, use the
1523 first pair of asterisks. Beams are classified according to the
1524 shortest note they contain. For a beam ending rule that only applies
1525 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1528 @cindex automatic beam generation
1530 @cindex @code{autoBeaming}
1533 If beams are used to indicate melismata in songs, then automatic
1534 beaming should be switched off. This is done by setting
1535 @code{autoBeaming} to @code{#f}.
1539 @cindex @code{\autoBeamOff}
1540 @code{\autoBeamOff},
1541 @cindex @code{\autoBeamOn}
1547 If a score ends while an automatic beam has not been ended and is
1548 still accepting notes, this last beam will not be typeset at all. The
1549 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1550 >>}. If a polyphonic voice ends while an automatic beam is still
1551 accepting notes, it is not typeset.
1553 The rules for ending a beam depend on the shortest note in a beam.
1554 So, while it is possible to have different ending rules for eight
1555 beams and sixteenth beams, a beam that contains both eight and
1556 sixteenth notes will use the rules for the sixteenth beam.
1558 In the example below, the autobeamer makes eight beams and sixteenth
1559 end at 3 eights; the third beam can only be corrected by specifying
1562 @lilypond[quote,raggedright,fragment,relative=1]
1563 #(override-auto-beam-setting '(end * * * *) 3 8)
1564 % rather show case where it goes wrong
1565 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1566 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1568 It is not possible to specify beaming parameters that act differently in
1569 different parts of a measure. This means that it is not possible to use
1570 automatic beaming in irregular meters such as @code{5/8}.
1573 @section Accidentals
1576 This section describes how to change the way that accidentals are
1577 inserted automatically before the running notes.
1579 Common rules for typesetting accidentals have been canned in a
1580 function. This function is called as follows
1582 @cindex @code{set-accidental-style}
1584 #(set-accidental-style 'modern 'Voice)
1587 The function takes two arguments: a symbol that denotes the style (in
1588 the example, @code{modern}), and another symbol that denotes the
1589 context name (in this example, @code{Voice}). If no context name is
1590 supplied, @code{Staff} is the default.
1592 The following styles are supported
1595 This is the default typesetting behavior. It should correspond
1596 to 18th century common practice: Accidentals are
1597 remembered to the end of the measure in which they occur and
1598 only on their own octave.
1602 The normal behavior is to remember the accidentals on
1603 Staff-level. This variable, however, typesets accidentals
1604 individually for each voice. Apart from that, the rule is similar to
1607 This leads to some weird and often unwanted results
1608 because accidentals from one voice do not get canceled in other
1610 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1612 #(set-accidental-style 'voice)
1618 Hence you should only use @code{voice} if the voices
1619 are to be read solely by individual musicians. If the staff is to be
1620 used by one musician (e.g. a conductor) then you use
1621 @code{modern} or @code{modern-cautionary}
1625 @cindex @code{modern} style accidentals
1626 This rule corresponds to the common practice in the 20th
1628 This rule prints the same accidentals as @code{default}, but temporary
1629 accidentals also are canceled in other octaves. Furthermore,
1630 in the same octave, they also get canceled in the following
1633 @lilypond[quote,raggedright,fragment,verbatim]
1634 #(set-accidental-style 'modern)
1635 cis' c'' cis'2 | c'' c'
1638 @item @code{modern-cautionary}
1639 @cindex @code{modern-cautionary}
1640 This rule is similar to @code{modern}, but the
1641 ``extra'' accidentals (the ones not typeset by
1642 @code{default}) are typeset as cautionary accidentals.
1643 They are printed in reduced size or with parentheses
1644 @lilypond[quote,raggedright,fragment,verbatim]
1645 #(set-accidental-style 'modern-cautionary)
1646 cis' c'' cis'2 | c'' c'
1649 @cindex @code{modern-voice}
1651 This rule is used for multivoice accidentals to be read both by musicians
1652 playing one voice and musicians playing all voices. Accidentals are
1653 typeset for each voice, but they @emph{are} canceled across voices in
1654 the same @internalsref{Staff}.
1656 @cindex @code{modern-voice-cautionary}
1657 @item modern-voice-cautionary
1658 This rule is the same as @code{modern-voice}, but with the extra
1659 accidentals (the ones not typeset by @code{voice}) typeset
1660 as cautionaries. Even though all accidentals typeset by
1661 @code{default} @emph{are} typeset by this variable then
1662 some of them are typeset as cautionaries.
1665 @cindex @code{piano} accidentals
1666 This rule reflects 20th century practice for piano notation. Very similar to
1667 @code{modern} but accidentals also get canceled
1668 across the staves in the same @internalsref{GrandStaff} or
1669 @internalsref{PianoStaff}.
1671 @item piano-cautionary
1672 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1673 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1674 typeset as cautionaries.
1677 @cindex @code{no-reset} accidental style
1679 This is the same as @code{default} but with accidentals lasting
1680 ``forever'' and not only until the next measure
1681 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1682 #(set-accidental-style 'no-reset)
1687 This is sort of the opposite of @code{no-reset}: Accidentals
1688 are not remembered at all---and hence all accidentals are
1689 typeset relative to the key signature, regardless of what was
1692 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1693 #(set-accidental-style 'forget)
1694 \key d\major c4 c cis cis d d dis dis
1701 Program reference: @internalsref{Accidental_engraver},
1702 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1707 Simultaneous notes are considered to be entered in sequential
1708 mode. This means that in a chord the accidentals are typeset as if the
1709 notes in the chord happened once at a time - in the order in which
1710 they appear in the input file.
1712 This is only a problem when accidentals in a chord depend on each
1713 other. This problem can be solved by manually inserting @code{!} and
1714 @code{?} for the problematic notes.
1716 In the default scheme, accidentals only depend on other
1717 accidentals with the same pitch on the same staff, so no conflicts are
1720 @node Expressive marks
1721 @section Expressive marks
1724 @c todo: should change ordering
1725 @c where to put text spanners, metronome marks,
1734 * Analysis brackets::
1736 * Fingering instructions::
1747 A slur indicates that notes are to be played bound or @emph{legato}.
1750 They are entered using parentheses
1751 @lilypond[quote,relative=2,fragment,verbatim]
1752 f( g)( a) a8 b( a4 g2 f4)
1757 @c TODO: should explain that ^( and _( set directions
1758 @c should set attachments with ^ and _ ?
1760 Slurs avoid crossing stems, and are generally attached to note heads.
1761 However, in some situations with beams, slurs may be attached to stem
1762 ends. If you want to override this layout you can do this through the
1763 object property @code{attachment} of @internalsref{Slur}. Its value
1764 is a pair of symbols, specifying the attachment type of the left and
1767 @lilypond[quote,fragment,relative=1,verbatim]
1769 \override Stem #'length = #5.5
1771 \override Slur #'attachment = #'(stem . stem)
1775 If a slur would strike through a stem or beam, the slur will be moved
1776 away upward or downward. If this happens, attaching the slur to the
1777 stems might look better
1779 @lilypond[quote,fragment,relative=1,verbatim]
1782 \override Slur #'attachment = #'(stem . stem)
1789 @cindex @code{\slurUp}
1791 @cindex @code{\slurDown}
1793 @cindex @code{\slurBoth}
1795 @cindex @code{\slurDotted}
1797 @cindex @code{\slurSolid}
1802 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1807 Producing nice slurs is a difficult problem, and LilyPond
1808 uses a simple, empiric method to produce slurs. In some cases, its
1812 @cindex Adjusting slurs
1814 @node Phrasing slurs
1815 @subsection Phrasing slurs
1817 @cindex phrasing slurs
1818 @cindex phrasing marks
1820 A phrasing slur (or phrasing mark) connects chords and is used to
1821 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1824 @lilypond[quote,fragment,verbatim,relative=1]
1825 \time 6/4 c'\( d( e) f( e) d\)
1828 Typographically, the phrasing slur behaves almost exactly like a
1829 normal slur. However, they are treated as different objects. A
1830 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1831 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1832 @code{\phrasingSlurBoth}.
1834 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1835 will only affect normal slurs and not phrasing slurs.
1839 @cindex @code{\phrasingSlurUp}
1840 @code{\phrasingSlurUp},
1841 @cindex @code{\phrasingSlurDown}
1842 @code{\phrasingSlurDown},
1843 @cindex @code{\phrasingSlurBoth}
1844 @code{\phrasingSlurBoth}.
1848 Program reference: see also @internalsref{PhrasingSlur}, and
1849 @internalsref{PhrasingSlurEvent}.
1853 Phrasing slurs have the same limitations in their formatting as normal
1854 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1857 @subsection Breath marks
1859 Breath marks are entered using @code{\breathe}
1862 @lilypond[quote,fragment,relative=1,verbatim]
1866 The glyph of the breath mark can be tuned by overriding the
1867 @code{text} property of the @code{BreathingSign} layout object with
1868 any markup text. For example,
1869 @lilypond[quote,fragment,verbatim,relative=1]
1871 \override BreathingSign #'text
1872 = #(make-musicglyph-markup "scripts-rvarcomma")
1879 Program reference: @internalsref{BreathingSign},
1880 @internalsref{BreathingSignEvent}.
1882 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1885 @node Metronome marks
1886 @subsection Metronome marks
1889 @cindex beats per minute
1890 @cindex metronome marking
1892 Metronome settings can be entered as follows
1894 \tempo @var{duration} = @var{per-minute}
1897 In the MIDI output, they are interpreted as a tempo change, and in the
1898 paper output, a metronome marking is printed
1899 @cindex @code{\tempo}
1900 @lilypond[quote,fragment,verbatim]
1906 Program reference: @internalsref{MetronomeChangeEvent}.
1911 @subsection Text spanners
1912 @cindex Text spanners
1914 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1915 are written as texts, and extended over many measures with dotted
1916 lines. You can create such texts using text spanners: attach
1917 @code{\startTextSpan} and @code{\stopTextSpan} to the
1918 start and ending note of the spanner.
1920 The string to be printed, as well as the style, is set through object
1923 @lilypond[quote,fragment,relative=1,verbatim]
1926 \override TextSpanner #'direction = #-1
1927 \override TextSpanner #'edge-text = #'("rall " . "")
1928 c2\startTextSpan b c\stopTextSpan a
1935 Internals @internalsref{TextSpanEvent},
1936 @internalsref{TextSpanner}.
1938 Examples: @inputfileref{input/regression,text-spanner.ly}.
1941 @node Analysis brackets
1942 @subsection Analysis brackets
1944 @cindex phrasing brackets
1945 @cindex musicological analysis
1946 @cindex note grouping bracket
1948 Brackets are used in musical analysis to indicate structure in musical
1949 pieces. LilyPond supports a simple form of nested horizontal brackets.
1950 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1951 @internalsref{Staff} context. A bracket is started with
1952 @code{\startGroup} and closed with @code{\stopGroup}
1954 @lilypond[quote,raggedright,verbatim]
1956 \notes \relative c'' {
1957 c4\startGroup\startGroup
1960 c4\stopGroup\stopGroup
1964 \Staff \consists "Horizontal_bracket_engraver"
1970 Program reference: @internalsref{HorizontalBracket},
1971 @internalsref{NoteGroupingEvent}.
1973 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1977 @subsection Articulations
1978 @cindex Articulations
1980 @cindex articulations
1984 A variety of symbols can appear above and below notes to indicate
1985 different characteristics of the performance. They are added to a note
1986 by adding a dash and the character signifying the
1987 articulation. They are demonstrated here
1989 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1991 The meanings of these shorthands can be changed. See
1992 @file{ly/script-init.ly} for examples.
1995 The script is automatically placed, but if you need to force
1996 directions, you can use @code{_} to force them down, or @code{^} to
1998 @lilypond[quote,fragment,verbatim]
2002 Other symbols can be added using the syntax
2003 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2004 can be forced up or down using @code{^} and @code{_},
2007 @lilypond[quote,verbatim,fragment,relative=3]
2008 c\fermata c^\fermata c_\fermata
2015 @cindex staccatissimo
2024 @cindex organ pedal marks
2033 @cindex prallmordent
2037 @cindex thumb marking
2042 @lilypondfile[quote,raggedright]{script-chart.ly}
2046 @cindex @code{\scriptUp}
2048 @cindex @code{\scriptDown}
2050 @cindex @code{\scriptBoth}
2055 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2059 These note ornaments appear in the printed output but have no
2060 effect on the MIDI rendering of the music.
2063 @node Fingering instructions
2064 @subsection Fingering instructions
2068 Fingering instructions can be entered using
2070 @var{note}-@var{digit}
2072 For finger changes, use markup texts
2074 @lilypond[quote,verbatim,raggedright,fragment]
2075 c'4-1 c'4-2 c'4-3 c'4-4
2076 c'^\markup { \finger "2-3" }
2079 @cindex finger change
2084 You can use the thumb-script to indicate that a note should be
2085 played with the thumb (e.g. in cello music)
2087 @lilypond[quote,verbatim,raggedright,fragment]
2088 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2091 Fingerings for chords can also be added to individual notes
2092 of the chord by adding them after the pitches
2093 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2094 < c-1 e-2 g-3 b-5 >4
2098 iIn this case, setting @code{fingeringOrientations} will put fingerings next
2101 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2102 \set fingeringOrientations = #'(left down)
2103 <c-1 es-2 g-4 bes-5 > 4
2104 \set fingeringOrientations = #'(up right down)
2105 <c-1 es-2 g-4 bes-5 > 4
2106 \set fingeringOrientations = #'(right)
2110 The last note demonstrates how fingering instructions can be put close
2111 to note heads in monophonic music, using this feature.
2115 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2117 Examples: @inputfileref{input/regression,finger-chords.ly}.
2120 @subsection Text scripts
2121 @cindex Text scripts
2123 @cindex text items, non-empty
2124 @cindex non-empty texts
2126 It is possible to place arbitrary strings of text or markup text (see
2127 @ref{Text markup}) above or below notes by using a string
2128 @code{c^"text"}. By default, these indications do not influence the
2129 note spacing, but by using the command @code{\fatText}, the widths
2130 will be taken into account
2132 @lilypond[quote,fragment,raggedright,verbatim]
2134 c4^"longtext" \fatText c4_"longlongtext" c4
2138 It is possible to use @TeX{} commands in the strings, but this should
2139 be avoided because the exact dimensions of the string can then no
2144 @cindex @code{\fatText}
2146 @cindex @code{\emptyText}
2151 In this manual: @ref{Text markup}.
2153 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2159 @subsection Grace notes
2162 @c should have blurb about accaciatura / appogiatura
2164 @cindex @code{\grace}
2168 Grace notes are ornaments that are written out. The most common ones
2169 are acciaccatura, which should be played as very short. It is denoted
2170 by a slurred small note with a slashed stem. The appoggiatura is a
2171 grace note that takes a fixed fraction of the main note, is and
2172 denoted as a slurred note in small print without a slash.
2173 They are entered with the commands @code{\acciaccatura} and
2174 @code{\appoggiatura}, as demonstrated in the following example
2177 @cindex appoggiatura
2178 @cindex acciaccatura
2180 @lilypond[quote,relative=2,verbatim,fragment]
2181 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2182 \acciaccatura { g16[ f] } e4
2185 Both are special forms of the @code{\grace} command. By prefixing this
2186 keyword to a music expression, a new one is formed, which will be
2187 printed in a smaller font and takes up no logical time in a measure.
2189 @lilypond[quote,relative=2,verbatim,fragment]
2191 \grace { c16[ d16] } c2 c4
2195 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2196 @code{\grace} command does not start a slur.
2198 Internally, timing for grace notes is done using a second, `grace'
2199 time. Every point in time consists of two rational numbers: one
2200 denotes the logical time, one denotes the grace timing. The above
2201 example is shown here with timing tuples
2203 @lilypond[quote,raggedright]
2206 c4 \grace c16 c4 \grace {
2209 \new Lyrics \lyrics {
2212 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2213 \markup { (\fraction 1 4 , 0 ) } 4
2215 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2216 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2218 \markup { ( \fraction 2 4 , 0 ) }
2224 The placement of grace notes is synchronized between different staves.
2225 In the following example, there are two sixteenth graces notes for
2226 every eighth grace note
2228 @lilypond[quote,relative=2,verbatim,fragment]
2229 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2230 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2235 If you want to end a note with a grace, the standard trick is to put
2236 the grace notes after a ``space note''
2238 @lilypond[quote,fragment,verbatim,relative=2]
2241 { s2 \grace { c16[ d] } } >>
2247 By adjusting the duration of the skip note (here it is a half-note),
2248 the space between the main-note and the grace is adjusted.
2251 A @code{\grace} section will introduce special typesetting settings,
2252 for example, to produce smaller type, and set directions. Hence, when
2253 introducing layout tweaks, they should be inside the grace section,
2255 @lilypond[quote,fragment,verbatim,relative=2]
2258 \override Stem #'direction = #-1
2260 \revert Stem #'direction
2267 The overrides should also be reverted inside the grace section.
2269 If the layout of grace sections must be changed throughout the music,
2270 then this can be accomplished through the function
2271 @code{add-grace-property}. The following example undefines the Stem
2272 direction for this grace, so stems do not always point up.
2276 #(add-grace-property 'Voice 'Stem 'direction '())
2282 Another option is to change the variables @code{startGraceMusic},
2283 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2284 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2285 @code{stopAppoggiaturaMusic}. More information is in the file
2286 @file{ly/grace-init.ly}.
2291 Program reference: @internalsref{GraceMusic}.
2295 A score that starts with an @code{\grace} section needs an explicit
2296 @code{\context Voice} declaration, otherwise the main note and grace
2297 note end up on different staves.
2299 Grace note synchronization can also lead to surprises. Staff notation,
2300 such as key signatures, bar lines, etc. are also synchronized. Take
2301 care when you mix staves with grace notes and staves without, for example,
2303 @lilypond[quote,relative=2,verbatim,fragment]
2304 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2305 \new Staff { c4 \bar "|:" d4 } >>
2309 This can be remedied by inserting grace skips, for the above example
2312 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2315 Grace sections should only be used within sequential music
2316 expressions. Nesting or juxtaposing grace sections is not supported,
2317 and might produce crashes or other errors.
2321 @subsection Glissando
2324 @cindex @code{\glissando}
2326 A glissando is a smooth change in pitch. It is denoted by a line or a
2327 wavy line between two notes.
2330 A glissando line can be requested by attaching a @code{\glissando} to
2333 @lilypond[quote,fragment,relative=1,verbatim]
2339 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2341 Example files: @file{input/regression,glissando.ly}
2347 Printing text over the line (such as @emph{gliss.}) is not supported.
2351 @subsection Dynamics
2364 @cindex @code{\ffff}
2374 Absolute dynamic marks are specified using a command after a note
2375 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2376 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2377 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2378 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2380 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2381 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2391 A crescendo mark is started with @code{\<} and terminated with
2392 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2393 with @code{\!}. Because these marks are bound to notes, if you must
2394 use spacer notes if multiple marks during one note are needed
2396 @lilypond[quote,fragment,verbatim]
2397 c''\< c''\! d''\> e''\!
2398 << f''1 { s4 s4\< s4\! \> s4\! } >>
2400 This may give rise to very short hairpins. Use @code{minimum-length}
2401 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2405 \override Staff.Hairpin #'minimum-length = #5
2408 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2409 is an example how to do it
2411 @lilypond[quote,fragment,relative=2,verbatim]
2421 You can also supply your own texts
2422 @lilypond[quote,fragment,relative=1,verbatim]
2424 \set crescendoText = \markup { \italic "cresc. poco" }
2425 \set crescendoSpanner = #'dashed-line
2435 @cindex @code{\dynamicUp}
2437 @cindex @code{\dynamicDown}
2438 @code{\dynamicDown},
2439 @cindex @code{\dynamicBoth}
2440 @code{\dynamicBoth}.
2442 @cindex direction, of dynamics
2446 Program reference: @internalsref{CrescendoEvent},
2447 @internalsref{DecrescendoEvent}, and
2448 @internalsref{AbsoluteDynamicEvent}.
2450 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2451 objects. Vertical positioning of these symbols is handled by the
2452 @internalsref{DynamicLineSpanner} object.
2460 @cindex @code{\repeat}
2463 Repetition is a central concept in music, and multiple notations exist
2464 for repetitions. In LilyPond, most of these notations can be captured
2465 in a uniform syntax. One of the advantages is that they can be
2466 rendered in MIDI accurately.
2468 The following types of repetition are supported
2472 Repeated music is fully written (played) out. Useful for MIDI
2473 output, and entering repetitive music.
2476 This is the normal notation: Repeats are not written out, but
2477 alternative endings (volte) are printed, left to right.
2481 Alternative endings are written stacked. This has limited use but may be
2482 used to typeset two lines of lyrics in songs with repeats, see
2483 @inputfileref{input,star-spangled-banner.ly}.
2491 Make beat or measure repeats. These look like percent signs.
2497 * Repeats and MIDI::
2498 * Manual repeat commands::
2500 * Tremolo subdivisions::
2505 @subsection Repeat syntax
2508 LilyPond has one syntactic construct for specifying different types of
2509 repeats. The syntax is
2512 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2515 If you have alternative endings, you may add
2516 @cindex @code{\alternative}
2518 \alternative @code{@{} @var{alternative1}
2520 @var{alternative3} @dots{} @code{@}}
2522 where each @var{alternative} is a music expression. If you do not
2523 give enough alternatives for all of the repeats, the first alternative
2524 is assumed to be played more than once.
2526 Normal notation repeats are used like this
2527 @lilypond[quote,fragment,verbatim,relative=2]
2529 \repeat volta 2 { c4 d e f }
2530 \repeat volta 2 { f e d c }
2533 With alternative endings
2534 @lilypond[quote,fragment,verbatim,relative=2]
2536 \repeat volta 2 {c4 d e f}
2537 \alternative { {d2 d} {f f,} }
2541 @lilypond[quote,fragment,verbatim,relative=2]
2544 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2545 \alternative { { g4 g g } { a | a a a a | b2. } }
2551 Brackets for the repeat are normally only printed over the topmost
2552 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2553 property @inputfileref{input/regression,volta-multi-staff.ly},
2554 @inputfileref{input/regression,volta-chord-names.ly}
2558 A nested repeat like
2567 is ambiguous, since it is is not clear to which @code{\repeat} the
2568 @code{\alternative} belongs. This ambiguity is resolved by always
2569 having the @code{\alternative} belong to the inner @code{\repeat}.
2570 For clarity, it is advisable to use braces in such situations.
2575 Timing information is not remembered at the start of an alternative,
2576 so after a repeat timing information must be reset by hand, for
2577 example by setting @code{Score.measurePosition} or entering
2578 @code{\partial}. Similarly, slurs or ties are also not repeated.
2583 @node Repeats and MIDI
2584 @subsection Repeats and MIDI
2586 @cindex expanding repeats
2588 For instructions on how to expand repeats for MIDI output, see the
2589 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2593 @node Manual repeat commands
2594 @subsection Manual repeat commands
2596 @cindex @code{repeatCommands}
2598 The property @code{repeatCommands} can be used to control the layout of
2599 repeats. Its value is a Scheme list of repeat commands, where each repeat
2603 @item the symbol @code{start-repeat},
2604 which prints a @code{|:} bar line,
2605 @item the symbol @code{end-repeat},
2606 which prints a @code{:|} bar line,
2607 @item the list @code{(volta @var{text})},
2608 which prints a volta bracket saying @var{text}: The text can be specified as
2609 a text string or as a markup text, see @ref{Text markup}. Do not
2610 forget to change the font, as the default number font does not contain
2611 alphabetic characters. Or,
2612 @item the list @code{(volta #f)}, which
2613 stops a running volta bracket
2616 @lilypond[quote,verbatim,fragment,relative=2]
2618 \set Score.repeatCommands = #'((volta "93") end-repeat)
2620 \set Score.repeatCommands = #'((volta #f))
2627 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2628 @internalsref{VoltaRepeatedMusic},
2629 @internalsref{UnfoldedRepeatedMusic}, and
2630 @internalsref{FoldedRepeatedMusic}.
2632 @node Tremolo repeats
2633 @subsection Tremolo repeats
2634 @cindex tremolo beams
2636 To place tremolo marks between notes, use @code{\repeat} with tremolo
2638 @lilypond[quote,verbatim,raggedright]
2640 \context Voice \notes\relative c' {
2641 \repeat "tremolo" 8 { c16 d16 }
2642 \repeat "tremolo" 4 { c16 d16 }
2643 \repeat "tremolo" 2 { c16 d16 }
2648 Tremolo marks can also be put on a single note. In this case, the
2649 note should not be surrounded by braces.
2650 @lilypond[quote,verbatim,raggedright]
2651 \repeat "tremolo" 4 c'16
2654 A similar mechanism is the tremolo subdivision, described in
2655 @ref{Tremolo subdivisions}.
2659 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2661 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2662 tremolos are @internalsref{StemTremolo} objects. The music expression is
2663 @internalsref{TremoloEvent}.
2665 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2666 @inputfileref{input/regression,stem-tremolo.ly}.
2668 @node Tremolo subdivisions
2669 @subsection Tremolo subdivisions
2670 @cindex tremolo marks
2671 @cindex @code{tremoloFlags}
2673 Tremolo marks can be printed on a single note by adding
2674 `@code{:}[@var{length}]' after the note. The length must be at least
2675 8. A @var{length} value of 8 gives one line across the note stem. If
2676 the length is omitted, the last value (stored in @code{tremoloFlags})
2679 @lilypond[quote,verbatim,fragment]
2680 c'2:8 c':32 | c': c': |
2683 @c [TODO : stok is te kort bij 32en]
2687 Tremolos entered in this way do not carry over into the MIDI output.
2691 In this manual: @ref{Tremolo repeats}.
2693 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2695 @node Measure repeats
2696 @subsection Measure repeats
2698 @cindex percent repeats
2699 @cindex measure repeats
2701 In the @code{percent} style, a note pattern can be repeated. It is
2702 printed once, and then the pattern is replaced with a special sign.
2703 Patterns of a one and two measures are replaced by percent-like signs,
2704 patterns that divide the measure length are replaced by slashes
2706 @lilypond[quote,verbatim,raggedright]
2707 \repeat "percent" 4 { c'4 }
2708 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2713 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2714 @internalsref{PercentRepeatedMusic}, and
2715 @internalsref{DoublePercentRepeat}.
2719 @node Rhythmic music
2720 @section Rhythmic music
2724 * Showing melody rhythms::
2725 * Entering percussion::
2726 * Percussion staves::
2730 @node Showing melody rhythms
2731 @subsection Showing melody rhythms
2733 Sometimes you might want to show only the rhythm of a melody. This
2734 can be done with the rhythmic staff. All pitches of notes on such a
2735 staff are squashed, and the staff itself has a single line
2737 @lilypond[quote,fragment,relative=1,verbatim]
2738 \context RhythmicStaff {
2740 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2746 Program reference: @internalsref{RhythmicStaff}.
2748 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2751 @node Entering percussion
2752 @subsection Entering percussion
2758 Percussion notes may be entered in @code{\drums} mode, which is
2759 similar to @code{notes}. Each piece of percussion has a full name and
2760 an abbreviated name, and both be used in input files
2763 hihat hh bassdrum bd
2765 @lilypond[quote,raggedright]
2766 \new DrumStaff \drums { hihat hh bassdrum bd }
2769 The complete list of drum names is in the init file
2770 @file{ly/drumpitch-init.ly}.
2771 @c TODO: properly document this.
2775 Program reference: @internalsref{DrumNoteEvent}.
2777 @node Percussion staves
2778 @subsection Percussion staves
2782 A percussion part for more than one instrument typically uses a
2783 multiline staff where each position in the staff refers to one piece
2787 To typeset the music, the notes must be interpreted in a
2788 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2791 @lilypond[quote,raggedright,verbatim]
2792 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2793 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2796 \new DrumVoice { \voiceOne \up }
2797 \new DrumVoice { \voiceTwo \down }
2802 The above example shows verbose polyphonic notation. The short
2803 polyphonic notation, described in @ref{Polyphony}, can also be used if
2804 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2806 @lilypond[quote,fragment,verbatim]
2808 \context DrumVoice = "1" { s1 *2 }
2809 \context DrumVoice = "2" { s1 *2 }
2813 { \repeat unfold 16 hh16 }
2822 There are also other layout possibilities. To use these, set the
2823 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2824 The following variables have been predefined
2828 is the default. It typesets a typical drum kit on a five-line staff
2830 @lilypond[quote,noindent]
2831 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2832 bd sn ss tomh tommh tomml toml tomfh tomfl }
2833 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2834 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2836 << \new DrumStaff\with {
2837 \remove Bar_engraver
2838 \remove Time_signature_engraver
2839 \override Stem #'transparent = ##t
2840 \override Stem #'Y-extent-callback = ##f
2841 minimumVerticalExtent = #'(-4.0 . 5.0)
2843 \context Lyrics \nam
2846 %% need to do this, because of indented @itemize
2849 \override LyricText #'font-family = #'typewriter
2850 \override BarNumber #'transparent =##T
2854 The drum scheme supports six different toms. When there fewer toms, simply
2855 select the toms that produce the desired result, i.e. to get toms on
2856 the three middle lines you use @code{tommh}, @code{tomml} and
2859 @item timbales-style
2860 to typeset timbales on a two line staff
2862 @lilypond[quote,raggedright]
2863 nam = \lyrics { timh ssh timl ssl cb }
2864 mus = \drums { timh ssh timl ssl cb s16 }
2867 \context DrumStaff \with {
2868 \remove Bar_engraver
2869 \remove Time_signature_engraver
2870 \override Stem #'transparent = ##t
2871 \override Stem #'Y-extent-callback = ##f
2872 \override StaffSymbol #'line-count = #2
2873 \override StaffSymbol #'staff-space = #2
2874 minimumVerticalExtent = #'(-3.0 . 4.0)
2875 drumStyleTable = #timbales-style
2878 \override LyricText #'font-family = #'typewriter
2885 to typeset congas on a two line staff
2887 @lilypond[quote,raggedright]
2888 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2889 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2892 \context DrumStaff\with {
2893 \remove Bar_engraver
2894 \remove Time_signature_engraver
2895 drumStyleTable = #congas-style
2896 \override StaffSymbol #'line-count = #2
2898 %% this sucks; it will lengthen stems.
2899 \override StaffSymbol #'staff-space = #2
2900 \override Stem #'transparent = ##t
2901 \override Stem #'Y-extent-callback = ##f
2904 \override LyricText #'font-family = #'typewriter
2910 to typeset bongos on a two line staff
2912 @lilypond[quote,raggedright]
2913 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2914 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2917 \context DrumStaff\with {
2918 \remove Bar_engraver
2919 \remove Time_signature_engraver
2920 \override StaffSymbol #'line-count = #2
2921 drumStyleTable = #bongos-style
2923 %% this sucks; it will lengthen stems.
2924 \override StaffSymbol #'staff-space = #2
2925 \override Stem #'transparent = ##t
2926 \override Stem #'Y-extent-callback = ##f
2929 \override LyricText #'font-family = #'typewriter
2935 @item percussion-style
2936 to typeset all kinds of simple percussion on one line staves
2937 @lilypond[quote,raggedright]
2938 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2939 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2942 \context DrumStaff\with{
2943 \remove Bar_engraver
2944 drumStyleTable = #percussion-style
2945 \override StaffSymbol #'line-count = #1
2946 \remove Time_signature_engraver
2947 \override Stem #'transparent = ##t
2948 \override Stem #'Y-extent-callback = ##f
2952 \override LyricText #'font-family = #'typewriter
2959 If you do not like any of the predefined lists you can define your own
2960 list at the top of your file
2962 @lilypond[quote,raggedright,verbatim]
2964 (bassdrum default #f -1)
2965 (snare default #f 0)
2967 (pedalhihat xcircle "stopped" 2)
2968 (lowtom diamond #f 3)))
2969 up = \drums { hh8 hh hh hh hhp4 hhp }
2970 down = \drums { bd4 sn bd toml8 toml }
2973 \set DrumStaff.drumStyleTable
2974 = #(alist->hash-table mydrums)
2975 \new DrumVoice { \voiceOne \up }
2976 \new DrumVoice { \voiceTwo \down }
2984 Init files: @file{ly/drumpitch-init.ly}.
2986 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2990 Because general MIDI does not contain rim shots, the sidestick is used
2991 for this purpose instead.
2994 @section Piano music
2996 Piano staves are two normal staves coupled with a brace. The staves
2997 are largely independent, but sometimes voices can cross between the
2998 two staves. The same notation is also used for harps and other key
2999 instruments. The @internalsref{PianoStaff} is especially built to
3000 handle this cross-staffing behavior. In this section we discuss the
3001 @internalsref{PianoStaff} and some other pianistic peculiarities.
3005 * Automatic staff changes::
3006 * Manual staff switches::
3009 * Staff switch lines::
3014 There is no support for putting chords across staves. You can get
3015 this result by increasing the length of the stem in the lower stave so
3016 it reaches the stem in the upper stave, or vice versa. An example is
3017 included with the distribution as
3018 @inputfileref{input/test,stem-cross-staff.ly}.
3020 Dynamics are not centered, but kludges do exist. See
3021 @inputfileref{input/template,piano-dynamics.ly}.
3023 @cindex cross staff stem
3024 @cindex stem, cross staff
3025 @cindex distance between staves in piano music
3027 The distance between the two staves is normally fixed across the
3028 entire score. It is possible to tune this per system, but it does
3029 require arcane command incantations. See
3030 @inputfileref{input/test,piano-staff-distance.ly}.
3033 @node Automatic staff changes
3034 @subsection Automatic staff changes
3035 @cindex Automatic staff changes
3037 Voices can switch automatically between the top and the bottom
3038 staff. The syntax for this is
3042 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3047 The two staves of the piano staff must be named @code{up} and
3050 A @code{\relative} section that is outside of @code{\autochange} has
3051 no effect on the pitches of @var{music}, so, if necessary, put
3052 @code{\relative} inside @code{\autochange} like
3056 \autochange \relative @dots{} \new Voice @dots{}
3061 The autochanger switches on basis of pitch (middle C is the turning
3062 point), and it looks ahead skipping over rests to switch in
3063 advance. Here is a practical example
3065 @lilypond[quote,verbatim,raggedright]
3066 \score { \notes \context PianoStaff <<
3067 \context Staff = "up" {
3068 \autochange \new Voice \relative c' {
3069 g4 a b c d r4 a g } }
3070 \context Staff = "down" {
3077 In this example, spacer rests are used to prevent the bottom staff from
3078 terminating too soon.
3083 In this manual: @ref{Manual staff switches}.
3085 Program reference: @internalsref{AutoChangeMusic}.
3091 The staff switches often do not end up in optimal places. For high
3092 quality output, staff switches should be specified manually.
3095 @code{\autochange} cannot be inside @code{\times}.
3097 Internally, the @code{\partcombine} interprets both arguments as
3098 @code{Voice}s named @code{one} and @code{two}, and then decides when
3099 the parts can be combined. Consequently, if the arguments switch to
3100 differently named @internalsref{Voice} contexts, the events in those
3104 @node Manual staff switches
3105 @subsection Manual staff switches
3107 @cindex manual staff switches
3108 @cindex staff switch, manual
3110 Voices can be switched between staves manually, using the following command
3112 \change Staff = @var{staffname} @var{music}
3116 The string @var{staffname} is the name of the staff. It switches the
3117 current voice from its current staff to the Staff called
3118 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3119 @code{"down"}. The @context{Staff} referred to must already exist, so
3120 usually the setup for a score will start with a setup of the staves,
3124 \context Staff = up @{
3125 \skip 1 * 10 %@emph{ keep staff alive}
3127 \context Staff = down @{
3128 \skip 1 * 10 %@emph{idem}
3134 and the @context{Voice} is inserted afterwards
3137 \context Staff = down
3138 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3146 Pianos have pedals that alter the way sound are produced. Generally, a
3147 piano has three pedals, sustain, una corda, and sostenuto.
3150 Piano pedal instruction can be expressed by attaching
3151 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3152 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3155 @lilypond[quote,fragment,verbatim]
3156 c'4\sustainDown c'4\sustainUp
3159 What is printed can be modified by setting @code{pedal@var{X}Strings},
3160 where @var{X} is one of the pedal types: @code{Sustain},
3161 @code{Sostenuto} or @code{UnaCorda}. Refer to
3162 @internalsref{SustainPedal} in the program reference for more
3165 Pedals can also be indicated by a sequence of brackets, by setting the
3166 @code{pedalSustainStyle} property to @code{bracket} objects
3168 @lilypond[quote,fragment,verbatim,relative=2]
3169 \set Staff.pedalSustainStyle = #'bracket
3171 b\sustainUp\sustainDown
3172 b g \sustainUp a \sustainDown \bar "|."
3175 A third style of pedal notation is a mixture of text and brackets,
3176 obtained by setting the @code{pedalSustainStyle} style property to
3179 @lilypond[quote,fragment,verbatim,relative=2]
3180 \set Staff.pedalSustainStyle = #'mixed
3182 b\sustainUp\sustainDown
3183 b g \sustainUp a \sustainDown \bar "|."
3186 The default `*Ped.' style for sustain and damper pedals corresponds to
3187 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3190 @lilypond[quote,fragment,verbatim,relative=2]
3191 c\sostenutoDown d e c, f g a\sostenutoUp
3194 For fine-tuning of the appearance of a pedal bracket, the properties
3195 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3196 @code{PianoPedalBracket} objects (see
3197 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3198 bracket may be extended to the end of the note head
3200 @lilypond[quote,fragment,verbatim,relative=2]
3201 \override Staff.PianoPedalBracket
3202 #'shorten-pair = #'(0 . -1.0)
3203 c\sostenutoDown d e c, f g a\sostenutoUp
3207 @subsection Arpeggio
3210 @cindex broken arpeggio
3211 @cindex @code{\arpeggio}
3213 You can specify an arpeggio sign on a chord by attaching an
3214 @code{\arpeggio} to a chord
3217 @lilypond[quote,fragment,relative=1,verbatim]
3221 When an arpeggio crosses staves, you attach an arpeggio to the chords
3222 in both staves, and set
3223 @internalsref{PianoStaff}.@code{connectArpeggios}
3225 @lilypond[quote,fragment,relative=1,verbatim]
3226 \context PianoStaff <<
3227 \set PianoStaff.connectArpeggios = ##t
3228 \new Staff { <c' e g c>\arpeggio }
3229 \new Staff { \clef bass <c,, e g>\arpeggio }
3233 The direction of the arpeggio is sometimes denoted by adding an
3234 arrowhead to the wiggly line
3236 @lilypond[quote,fragment,relative=1,verbatim]
3245 A square bracket on the left indicates that the player should not
3246 arpeggiate the chord
3248 @lilypond[quote,fragment,relative=1,verbatim]
3255 @cindex @code{\arpeggio}
3257 @cindex @code{\arpeggioUp}
3259 @cindex @code{\arpeggioDown}
3261 @cindex @code{\arpeggioBoth}
3262 @code{\arpeggioBoth},
3263 @cindex @code{\arpeggioBracket}
3264 @code{\arpeggioBracket}.
3268 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3269 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3270 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3274 It is not possible to mix connected arpeggios and unconnected
3275 arpeggios in one @internalsref{PianoStaff} at the same time.
3277 @node Staff switch lines
3278 @subsection Staff switch lines
3281 @cindex follow voice
3282 @cindex staff switching
3285 @cindex @code{followVoice}
3287 Whenever a voice switches to another staff a line connecting the notes
3288 can be printed automatically. This is enabled if the property
3289 @code{PianoStaff.followVoice} is set to true
3291 @lilypond[quote,fragment,relative=1,verbatim]
3292 \context PianoStaff <<
3293 \set PianoStaff.followVoice = ##t
3294 \context Staff \context Voice {
3299 \context Staff=two { \clef bass \skip 1*2 }
3305 The associated object is @internalsref{VoiceFollower}.
3309 @cindex @code{\showStaffSwitch}
3310 @code{\showStaffSwitch},
3311 @cindex @code{\hideStaffSwitch}
3312 @code{\hideStaffSwitch}.
3316 @section Vocal music
3319 The easiest way to add lyrics to a melody, is by appending
3324 \newlyrics @{ @var{the lyrics} @}
3327 to a melody. Here is an example,
3329 @lilypond[raggedright,verbatim]
3330 \relative { \time 3/4 c2 e4 g2. }
3331 \newlyrics { play the game }
3334 More stanzas can be added by adding more
3335 @code{\newlyrics} sections
3337 @lilypond[raggedright,verbatim]
3338 \relative { \time 3/4 c2 e4 g2. }
3339 \newlyrics { play the game }
3340 \newlyrics { speel het spel }
3341 \newlyrics { joue le jeu }
3344 The @code{\newlyrics} keyword has three functions: it interprets the
3345 following words as texts instead of notes, it sets up a context for
3346 printing texts (the @code{Lyrics} context), and it couples the melody
3347 with the lyrics, so the durations of both are aligned.
3349 These three functions can be controlled separately, and that is what
3350 the following sections are about.
3355 * The Lyrics context::
3360 @node Entering lyrics
3361 @subsection Entering lyrics
3365 @cindex @code{\lyrics}
3368 Lyrics are entered in a special input mode. This mode is is introduced
3369 by the keyword @code{\lyrics}. In this mode you can enter lyrics,
3370 with punctuation and accents without any hassle. Syllables are
3371 entered like notes, but with pitches replaced by text. For example,
3373 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3376 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3377 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3378 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3379 any 8-bit character with ASCII code over 127, or a two-character
3380 combination of a backslash followed by one of @code{`}, @code{'},
3381 @code{"}, or @code{^}.
3383 Subsequent characters of a word can be any character that is not a digit
3384 and not white space. One important consequence of this is that a word
3385 can end with @code{@}}. The following example is usually a bug. The
3386 syllable includes a @code{@}}, and hence the opening brace is not balanced
3388 \lyrics @{ twinkle@}
3391 @cindex @code{\property}, in @code{\lyrics}
3392 Similarly, a period following a alphabetic sequence, is included in
3393 the resulting string. As a consequence, spaces must be inserted around
3396 \override Score . LyricText #'font-shape = #'italic
3400 @cindex spaces, in lyrics
3401 @cindex quotes, in lyrics
3403 Any @code{_} character which appears in an unquoted word is converted
3404 to a space. This provides a mechanism for introducing spaces into words
3405 without using quotes. Quoted words can also be used in Lyrics mode to
3406 specify words that cannot be written with the above rules. The
3407 following example incorporates double quotes
3410 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3413 This example is slightly academic, since it gives better looking
3414 results to use matched single quotes, @code{``} and @code{''}
3416 \lyrics @{ He said: ``Let my peo ple go'' @}
3421 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3422 The hyphen will have variable length depending on the space between
3423 the syllables and it will be centered between the syllables.
3428 When a lyric is sung over many notes (this is called a melisma), this is
3429 indicated with a horizontal line centered between a syllable and the
3430 next one. Such a line is called an extender line, and it is entered as
3435 Program reference: events @internalsref{LyricEvent},
3436 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3437 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3438 @internalsref{LyricText}.
3440 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3444 The definition of lyrics mode is too complex.
3448 @node The Lyrics context
3449 @subsection The Lyrics context
3452 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3454 \context Lyrics \lyrics @dots{}
3457 @cindex automatic syllable durations
3458 @cindex @code{\lyricsto}
3459 @cindex lyrics and melodies
3461 This will place the lyrics according to the durations that were
3462 entered. The lyrics can also be aligned under a given melody
3463 automatically. In this case, it is no longer necessary to enter the
3464 correct duration for each syllable. This is achieved by combining the
3465 melody and the lyrics with the @code{\lyricsto} expression
3467 \lyricsto @var{name} \new Lyrics \lyrics @dots{}
3470 This aligns the lyrics to the
3472 notes of the @internalsref{Voice} context called @var{name}, which has
3473 to exist. Therefore, normally the @code{Voice} is specified first, and
3474 then the lyrics are specified with @code{\lyricsto}.
3476 For different or more complex orderings, the best way is to setup the
3477 hierarchy of staves and lyrics first, e.g.
3479 \context ChoirStaff \notes <<
3480 \context Lyrics = sopranoLyrics @{ s1 @}
3481 \context Voice = soprano @{ @emph{music} @}
3482 \context Lyrics = tenorLyrics @{ s1 @}
3483 \context Voice = tenor @{ @emph{music} @}
3486 and then combine the appropriate melodies and lyric lines
3488 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3493 The final input would resemble
3496 << \context ChoirStaff \notes << @emph{setup the music} >>
3497 \lyricsto "soprano" @emph{etc}
3498 \lyricsto "alto" @emph{etc}
3504 The @code{\lyricsto} command detects melismata: it only puts one
3505 syllable under a tied or slurred group of notes. If you want to force
3506 an unslurred group of notes to be a melisma, insert @code{\melisma}
3507 after the first note of the group, and @code{\melismaEnd} after the
3510 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3512 \context Voice = "lala" {
3520 \lyricsto "lala" \new Lyrics \lyrics {
3526 In addition, notes are considered a melisma if they are manually
3527 beamed, and automatic beaming (see @ref{Setting automatic beam
3528 behavior}) is switched off. The criteria for deciding melismata can
3529 be tuned with the property @code{melismaBusyProperties}. See
3530 @internalsref{Melisma_translator} in the program reference for more
3533 Lyrics can also be entered without @code{\lyricsto}. In this case the
3534 durations of each syllable must be entered explicitly, for example,
3541 Alignment to a melody can be specified with the @code{associatedVoice}
3545 \set associatedVoice = #"melody"
3548 Here is an example demonstrating manual lyric durations,
3550 @lilypond[relative=1,verbatim,fragment]
3551 << \context Voice = melody {
3555 \new Lyrics \lyrics {
3556 \set associatedVoice = #"melody"
3564 When multiple stanzas are put on the same melody, it can happen that
3565 two stanzas have melismata in different locations. This can be
3566 remedied by switching off melismata for one
3567 @internalsref{Lyrics}. This is achieved by setting
3568 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3569 in @inputfileref{input/regression,lyric-combine-new.ly}.
3572 @cindex choral score
3574 A complete example of a SATB score setup is in the file
3575 @inputfileref{input/template,satb.ly}.
3580 @code{\melisma}, @code{\melismaEnd}
3581 @cindex @code{\melismaEnd}
3582 @cindex @code{\melisma}
3586 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3587 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3589 Examples: @inputfileref{input/template,satb.ly},
3590 @inputfileref{input/regression,lyric-combine-new.ly}.
3594 Melismata are not detected automatically, and extender lines must be
3598 For proper processing of extender lines, the
3599 @internalsref{Lyrics} and @internalsref{Voice} should be
3600 linked. This can be achieved either by using @code{\lyricsto} or by
3601 setting corresponding names for both contexts. The latter is explained
3602 in @ref{More stanzas}.
3604 @c TODO: document \new Staff << Voice \lyricsto >> bug
3607 @subsection More stanzas
3609 @cindex phrasing, in lyrics
3612 The lyrics should be aligned with the note heads of the melody. To
3613 achieve this, each line of lyrics should be marked to correspond with
3614 the melodic line. This is done automatically when @code{\lyricsto},
3615 but it can also be done manually.
3617 To this end, give the @internalsref{Voice} context an identity
3619 \context Voice = duet @{
3624 Then set the @internalsref{Lyrics} contexts to names starting with
3625 that identity followed by a dash. In the preceding example, the
3626 @internalsref{Voice} identity is @code{duet}, so the identities of the
3627 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3629 \context Lyrics = "duet-1" @{
3630 Hi, my name is Bert. @}
3631 \context Lyrics = "duet-2" @{
3632 Ooooo, ch\'e -- ri, je t'aime. @}
3635 The complete example is shown here
3636 @lilypond[quote,raggedright,verbatim]
3639 \notes \relative c'' \context Voice = duet {
3643 \lyricsto "duet" \new Lyrics \lyrics {
3644 \set vocalName = "Bert"
3645 Hi, my name is Bert. }
3646 \lyricsto "duet" \new Lyrics \lyrics {
3647 \set vocalName = "Ernie"
3648 Ooooo, ch\'e -- ri, je t'aime. }
3654 @cindex stanza number
3655 @cindex singer's names
3656 @cindex name of singer
3658 Stanza numbers can be added by setting @code{stanza}, e.g.
3660 @lilypond[quote,verbatim,relative=2]
3662 \context Voice = duet {
3663 \time 3/4 g2 e4 a2 f4 g2. }
3664 \lyricsto "duet" \new Lyrics \lyrics {
3666 Hi, my name is Bert. }
3670 This example also demonstrates how names of the singers can be added
3671 using @code{vocalName} analogous to instrument annotations for staves.
3672 A short version may be entered as @code{vocNam}.
3674 To make empty spaces in lyrics, use @code{\skip}.
3679 Program reference: Layout objects @internalsref{LyricText} and
3680 @internalsref{VocalName}. Music expressions
3681 @internalsref{LyricEvent}.
3689 The term @emph{ambitus} denotes a range of pitches for a given voice
3690 in a part of music. It also may denote the pitch range that a musical
3691 instrument is capable of playing. Ambituses are printed on vocal
3692 parts, so singers can easily determine if it meets his or her
3695 It denoted at the beginning of a piece near the initial clef. The
3696 range is graphically specified by two note heads, that represent the
3697 minimum and maximum pitch. To print such ambituses, add the
3698 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3705 \consists Ambitus_engraver
3710 This results in the following output
3712 @lilypond[quote,raggedright]
3715 \notes \relative c' <<
3726 \consists Ambitus_engraver
3732 If you have multiple voices in a single staff, and you want a single
3733 ambitus per staff rather than per each voice, add the
3734 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3735 rather than to the @internalsref{Voice} context.
3737 It is possible to tune individual ambituses for multiple voices on a
3738 single staff, for example by erasing or shifting them horizontally. An
3739 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3743 Program reference: @internalsref{Ambitus}.
3745 Examples: @inputfileref{input/regression,ambitus.ly},
3746 @inputfileref{input/test,ambitus-mixed.ly}.
3750 There is no collision handling in the case of multiple per-voice
3756 Tablature notation is used for notating music for plucked string
3757 instruments. It notates pitches not by using note heads, but by
3758 indicating on which string and fret a note must be played. LilyPond
3759 offers limited support for tablature.
3762 * Tablatures basic::
3763 * Non-guitar tablatures::
3766 @node Tablatures basic
3767 @subsection Tablatures basic
3768 @cindex Tablatures basic
3770 The string number associated to a note is given as a backslash
3771 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3772 string. By default, string 1 is the highest one, and the tuning
3773 defaults to the standard guitar tuning (with 6 strings). The notes
3774 are printed as tablature, by using @internalsref{TabStaff} and
3775 @internalsref{TabVoice} contexts
3777 @lilypond[quote,fragment,verbatim]
3778 \notes \context TabStaff {
3786 When no string is specified, the first string that does not give a
3787 fret number less than @code{minimumFret} is selected. The default
3788 value for @code{minimumFret} is 0
3793 \set TabStaff.minimumFret = #8
3796 @lilypond[quote,noindent,raggedright]
3800 \set TabStaff.minimumFret = #8
3804 \context StaffGroup <<
3805 \context Staff { \clef "G_8" \frag }
3806 \context TabStaff { \frag }
3813 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3814 @internalsref{StringNumberEvent}.
3818 Chords are not handled in a special way, and hence the automatic
3819 string selector may easily select the same string to two notes in a
3823 @node Non-guitar tablatures
3824 @subsection Non-guitar tablatures
3825 @cindex Non-guitar tablatures
3827 You can change the number of strings, by setting the number of lines
3828 in the @internalsref{TabStaff}.
3830 You can change the tuning of the strings. A string tuning is given as
3831 a Scheme list with one integer number for each string, the number
3832 being the pitch (measured in semitones relative to middle C) of an
3833 open string. The numbers specified for @code{stringTuning} are the
3834 numbers of semitones to subtract or add, starting the specified pitch
3835 by default middle C, in string order. Thus, the notes are e, a, d, and
3838 @lilypond[quote,fragment,verbatim]
3839 \context TabStaff <<
3840 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3843 a,4 c' a e' e c' a e'
3850 No guitar special effects have been implemented.
3854 Program reference: @internalsref{Tab_note_heads_engraver}.
3858 @section Chord names
3861 LilyPond has support for both printing chord names. Chords may be
3862 entered in musical chord notation, i.e. @code{< .. >}, but they can
3863 also be entered by name. Internally, the chords are represented as a
3864 set of pitches, so they can be transposed
3867 @lilypond[quote,verbatim,raggedright]
3868 twoWays = \notes \transpose c c' {
3878 << \context ChordNames \twoWays
3879 \context Voice \twoWays >> }
3882 This example also shows that the chord printing routines do not try to
3883 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3889 * Printing chord names::
3894 @subsection Chords mode
3897 Chord mode is a mode where you can input sets of pitches using common
3898 names. It is introduced by the keyword @code{\chords}.
3899 In chords mode, a chord is entered by the root, which is entered
3901 @lilypond[quote,fragment,verbatim,relative=2]
3902 \chords { es4. d8 c2 }
3907 Other chords may be entered by suffixing a colon, and introducing a
3908 modifier, and optionally, a number
3910 @lilypond[quote,fragment,verbatim]
3911 \chords { e1:m e1:7 e1:m7 }
3913 The first number following the root is taken to be the `type' of the
3914 chord, thirds are added to the root until it reaches the specified
3916 @lilypond[quote,fragment,verbatim]
3917 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3920 @cindex root of chord
3921 @cindex additions, in chords
3922 @cindex removals, in chords
3924 More complex chords may also be constructed adding separate steps
3925 to a chord. Additions are added after the number following
3926 the colon, and are separated by dots
3928 @lilypond[quote,verbatim,fragment]
3929 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3931 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3933 @lilypond[quote,verbatim,fragment]
3934 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3936 Removals are specified similarly, and are introduced by a caret. They
3937 must come after the additions
3938 @lilypond[quote,verbatim,fragment]
3939 \chords { c^3 c:7^5 c:9^3.5 }
3942 Modifiers can be used to change pitches. The following modifiers are
3946 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3948 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3951 is the augmented chord. This modifier raises the 5th step.
3953 is the major 7th chord. This modifier raises the 7th step if present.
3955 is the suspended 4th or 2nd. This modifier removes the 3rd
3956 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3959 Modifiers can be mixed with additions
3960 @lilypond[quote,verbatim,fragment]
3961 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3964 @cindex modifiers, in chords.
3971 Since an unaltered 11 does not sound good when combined with an
3972 unaltered 3, the 11 is removed in this case (unless it is added
3975 @lilypond[quote,fragment,verbatim]
3976 \chords { c:13 c:13.11 c:m13 }
3981 An inversion (putting one pitch of the chord on the bottom), as well
3982 as bass notes, can be specified by appending
3983 @code{/}@var{pitch} to the chord
3984 @lilypond[quote,fragment,verbatim]
3985 \chords { c1 c/g c/f }
3989 A bass note can be added instead of transposed out of the chord,
3990 by using @code{/+}@var{pitch}.
3992 @lilypond[quote,fragment,verbatim]
3993 \chords { c1 c/+g c/+f }
3996 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3997 of the commands continue to work, for example, @code{r} and
3998 @code{\skip} can be used to insert rests and spaces, and property
3999 commands may be used to change various settings.
4005 Each step can only be present in a chord once. The following
4006 simply produces the augmented chord, since @code{5+} is interpreted
4009 @lilypond[quote,verbatim,fragment]
4010 \chords { c:5.5-.5+ }
4014 @node Printing chord names
4015 @subsection Printing chord names
4017 @cindex printing chord names
4021 For displaying printed chord names, use the @internalsref{ChordNames} context.
4022 The chords may be entered either using the notation
4023 described above, or directly using @code{<} and @code{>}
4025 @lilypond[quote,verbatim,raggedright]
4027 \chords {a1 b c} <d' f' a'> <e' g' b'>
4031 \context ChordNames \scheme
4032 \context Staff \scheme
4037 You can make the chord changes stand out by setting
4038 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4039 display chord names when there is a change in the chords scheme and at
4040 the start of a new line
4042 @lilypond[quote,verbatim,linewidth=9\cm]
4044 c1:m c:m \break c:m c:m d
4048 \context ChordNames {
4049 \set chordChanges = ##t
4051 \context Staff \transpose c c' \scheme
4056 The default chord name layout is a system for Jazz music, proposed by
4057 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4058 following properties
4061 @cindex chordNameExceptions
4062 @item chordNameExceptions
4063 This is a list that contains the chords that have special formatting.
4065 @inputfileref{input/regression,chord-name-exceptions.ly}.
4066 @cindex exceptions, chord names.
4069 @cindex majorSevenSymbol
4070 @item majorSevenSymbol
4071 This property contains the markup object used for the 7th step, when
4072 it is major. Predefined options are @code{whiteTriangleMarkup} and
4073 @code{blackTriangleMarkup}. See
4074 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4076 @cindex chordNameSeparator
4077 @item chordNameSeparator
4078 Different parts of a chord name are normally separated by a
4079 slash. By setting @code{chordNameSeparator}, you can specify other
4081 @lilypond[quote,fragment,verbatim]
4082 \context ChordNames \chords {
4084 \set chordNameSeparator
4085 = \markup { \typewriter "|" }
4090 @cindex chordRootNamer
4091 @item chordRootNamer
4092 The root of a chord is usually printed as a letter with an optional
4093 alteration. The transformation from pitch to letter is done by this
4094 function. Special note names (for example, the German ``H'' for a
4095 B-chord) can be produced by storing a new function in this property.
4097 The predefined variables @code{\germanChords},
4098 @code{\semiGermanChords} set these variables.
4101 @cindex chordNoteNamer
4102 @item chordNoteNamer
4103 The default is to print single pitch, e.g. the bass note, using the
4104 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4105 to a specialized function to change this behavior. For example, the
4106 base can be printed in lower case.
4111 There are also two other chord name schemes implemented: an alternate
4112 Jazz chord notation, and a systematic scheme called Banter chords. The
4113 alternate jazz notation is also shown on the chart in @ref{Chord name
4114 chart}. Turning on these styles is described in the input file
4115 @inputfileref{input/test,chord-names-jazz.ly}.
4119 @cindex chords, jazz
4124 @cindex @code{\germanChords}
4125 @code{\germanChords},
4126 @cindex @code{\semiGermanChords}
4127 @code{\semiGermanChords}.
4134 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4135 @inputfileref{input/regression,chord-name-exceptions.ly},
4136 @inputfileref{input/test,chord-names-jazz.ly},
4137 @inputfileref{input/test,chord-names-german.ly}.
4139 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4144 Chord names are determined solely from the list of pitches. Chord
4145 inversions are not identified, and neither are added bass notes. This
4146 may result in strange chord names when chords are entered with the
4147 @code{< .. >} syntax.
4152 @node Orchestral music
4153 @section Orchestral music
4155 @cindex Writing parts
4157 Orchestral music involves some special notation, both in the full
4158 score and the individual parts. This section explains how to tackle
4159 some common problems in orchestral music.
4164 * Multiple staff contexts::
4167 * Instrument names::
4169 * Instrument transpositions::
4170 * Multi measure rests::
4171 * Automatic part combining::
4173 * Different editions from one source::
4174 * Quoting other voices::
4177 @node Multiple staff contexts
4178 @subsection Multiple staff contexts
4180 Polyphonic scores consist of many staves. These staves can be
4181 constructed in three different ways
4183 @item The group is started with a brace at the left, and bar lines are
4184 connected. This is done with the @internalsref{GrandStaff} context.
4186 @item The group is started with a bracket, and bar lines are connected. This is done with the
4187 @internalsref{StaffGroup} context
4190 @item The group is started with a vertical line. Bar lines are not
4191 connected. This is the default for the score.
4195 @cindex Staff, multiple
4196 @cindex bracket, vertical
4197 @cindex brace, vertical
4204 @node Rehearsal marks
4205 @subsection Rehearsal marks
4206 @cindex Rehearsal marks
4208 @cindex @code{\mark}
4210 To print a rehearsal mark, use the @code{\mark} command
4211 @lilypond[quote,fragment,verbatim]
4222 (The letter I is skipped in accordance with engraving traditions.)
4224 The mark is incremented automatically if you use @code{\mark
4225 \default}, but you can also use an integer argument to set the mark
4226 manually. The value to use is stored in the property
4227 @code{rehearsalMark}.
4229 The style is defined by the property @code{markFormatter}. It is a
4230 function taking the current mark (an integer) and the current context
4231 as argument. It should return a markup object. In the following
4232 example, @code{markFormatter} is set to a canned procedure. After a
4233 few measures, it is set to function that produces a boxed number.
4235 @lilypond[quote,verbatim,fragment,relative=2]
4236 \set Score.markFormatter = #format-mark-numbers
4239 \set Score.markFormatter
4240 = #(lambda (mark context)
4241 (make-bold-markup (make-box-markup (number->string mark))))
4246 The file @file{scm/translation-functions.scm} contains the definitions
4247 of @code{format-mark-numbers} (the default format) and
4248 @code{format-mark-letters}. They can be used as inspiration for other
4249 formatting functions.
4252 @cindex coda on bar line
4253 @cindex segno on bar line
4254 @cindex fermata on bar line
4255 @cindex bar lines, symbols on
4257 The @code{\mark} command can also be used to put signs like coda,
4258 segno and fermatas on a bar line. Use @code{\markup} to
4259 to access the appropriate symbol
4261 @lilypond[quote,fragment,verbatim,relative=2]
4262 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4266 In the case of a line break, marks must also be printed at the end of
4267 the line, and not at the beginning. Use the following to force that
4270 \override Score.RehearsalMark
4271 #'break-visibility = #begin-of-line-invisible
4277 @cindex bar lines, putting symbols on
4281 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4283 Init files: @file{scm/translation-functions.scm} contains the
4284 definition of @code{format-mark-numbers} and
4285 @code{format-mark-letters}. They can be used as inspiration for other
4286 formatting functions.
4288 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4289 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4293 @subsection Bar numbers
4297 @cindex measure numbers
4298 @cindex currentBarNumber
4300 Bar numbers are printed by default at the start of the line. The
4301 number itself is stored in the
4302 @code{currentBarNumber} property,
4303 which is normally updated automatically for every measure.
4305 Bar numbers can be typeset at regular intervals instead of at the
4306 beginning of each line. This is illustrated in the following example,
4307 whose source is available as
4308 @inputfileref{input/test,bar-number-regular-interval.ly}
4310 @lilypondfile[quote]{bar-number-regular-interval.ly}
4314 Program reference: @internalsref{BarNumber}.
4316 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4317 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4321 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4322 there is one at the top. To solve this, the
4323 @code{padding} property of @internalsref{BarNumber} can be
4324 used to position the number correctly.
4326 @node Instrument names
4327 @subsection Instrument names
4329 In an orchestral score, instrument names are printed left side of the
4332 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4333 and @internalsref{Staff}.@code{instr}. This will print a string before
4334 the start of the staff. For the first start, @code{instrument} is
4335 used, for the next ones @code{instr} is used.
4337 @lilypond[quote,verbatim,raggedright,relative=1]
4338 \set Staff.instrument = "Ploink "
4339 \set Staff.instr = "Plk "
4345 You can also use markup texts to construct more complicated instrument
4348 @lilypond[quote,fragment,verbatim,raggedright]
4350 \set Staff.instrument = \markup {
4351 \column < "Clarinetti" { "in B"
4352 \smaller \flat } > }
4357 For longer instrument names, it may be useful to increase the
4358 @code{indent} setting in the @code{\paper} block.
4362 Program reference: @internalsref{InstrumentName}.
4366 When you put a name on a grand staff or piano staff the width of the
4367 brace is not taken into account. You must add extra spaces to the end of
4368 the name to avoid a collision.
4371 @subsection Transpose
4373 @cindex transposition of pitches
4374 @cindex @code{\transpose}
4376 A music expression can be transposed with @code{\transpose}. The
4379 \transpose @var{from} @var{to} @var{musicexpr}
4382 This means that @var{musicexpr} is transposed by the interval between
4383 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4384 is changed to @code{to}.
4387 For example, consider a piece written in the key of D major. If
4388 this piece is a little too low for its performer, it can be
4389 transposed up to E major with
4391 \transpose d e @dots{}
4394 Consider a part written for violin (a C instrument). If
4395 this part is to be played on the A clarinet, the following
4396 transposition will produce the appropriate part
4399 \transpose a c @dots{}
4402 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4403 inside a @code{\notes} section. @code{\transpose} distinguishes
4404 between enharmonic pitches: both @code{\transpose c cis} or
4405 @code{\transpose c des} will transpose up half a tone. The first
4406 version will print sharps and the second version will print flats
4408 @lilypond[quote,raggedright,verbatim]
4409 mus =\notes { \key d \major cis d fis g }
4410 \score { \notes \context Staff {
4413 \transpose c g' \mus
4414 \transpose c f' \mus
4421 Program reference: @internalsref{TransposedMusic}, and
4422 @internalsref{UntransposableMusic}.
4426 If you want to use both @code{\transpose} and @code{\relative},
4427 you must put @code{\transpose} outside of @code{\relative}, since
4428 @code{\relative} will have no effect music that appears inside a
4431 @node Instrument transpositions
4432 @subsection Instrument transpositions
4434 The key of a transposing instrument can also be specified. This
4435 applies to many wind instruments, for example, clarinets (B-flat, A and
4436 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4439 The transposition is entered after the keyword @code{\transposition}
4442 \transposition bes %% B-flat clarinet
4445 This command sets the property @code{instrumentTransposition}. The value of
4446 this property is used for MIDI output and quotations. It does not
4447 affect how notes are printed in the current staff.
4449 @cindex transposition, MIDI
4450 @cindex transposition, instrument
4453 @node Multi measure rests
4454 @subsection Multi measure rests
4455 @cindex multi measure rests
4456 @cindex Rests, multi measure
4460 Multi measure rests are entered using `@code{R}'. It is specifically
4461 meant for full bar rests and for entering parts: the rest can expand
4462 to fill a score with rests, or it can be printed as a single
4463 multimeasure rest. This expansion is controlled by the property
4464 @code{Score.skipBars}. If this is set to true, empty measures will not
4465 be expanded, and the appropriate number is added automatically
4467 @lilypond[quote,fragment,verbatim]
4468 \time 4/4 r1 | R1 | R1*2
4469 \set Score.skipBars = ##t R1*17 R1*4
4472 The @code{1} in @code{R1} is similar to the duration notation used for
4473 notes. Hence, for time signatures other than 4/4, you must enter other
4474 durations. This can be done with augmentation dots or fractions
4476 @lilypond[quote,fragment,verbatim]
4477 \set Score.skipBars = ##t
4485 An @code{R} spanning a single measure is printed as either a whole rest
4486 or a breve, centered in the measure regardless of the time signature.
4488 @cindex text on multi-measure rest
4489 @cindex script on multi-measure rest
4490 @cindex fermata on multi-measure rest
4492 Texts can be added to multi-measure rests by using the
4493 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4494 replaced. If you need both texts and the number, you must add the
4495 number by hand. A variable (@code{\fermataMarkup}) is provided for
4499 @lilypond[quote,verbatim,fragment]
4501 R2._\markup { "Ad lib" }
4505 If you want to have a text on the left end of a multi-measure rest,
4506 attach the text to a zero-length skip note, i.e.
4514 @cindex whole rests for a full measure
4518 Program reference: @internalsref{MultiMeasureRestEvent},
4519 @internalsref{MultiMeasureTextEvent},
4520 @internalsref{MultiMeasureRestMusicGroup}, and
4521 @internalsref{MultiMeasureRest}.
4523 The layout object @internalsref{MultiMeasureRestNumber} is for the
4524 default number, and @internalsref{MultiMeasureRestText} for user
4529 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4530 over multi-measure rests.
4532 @cindex condensing rests
4534 There is no way to automatically condense multiple rests into a single
4535 multimeasure rest. Multi measure rests do not take part in rest
4538 Be careful when entering multimeasure rests followed by whole
4539 notes. The following will enter two notes lasting four measures each
4543 When @code{skipBars} is set, the result will look OK, but the bar
4544 numbering will be off.
4546 @node Automatic part combining
4547 @subsection Automatic part combining
4548 @cindex automatic part combining
4549 @cindex part combiner
4552 Automatic part combining is used to merge two parts of music onto a
4553 staff. It is aimed at typesetting orchestral scores. When the two
4554 parts are identical for a period of time, only one is shown. In
4555 places where the two parts differ, they are typeset as separate
4556 voices, and stem directions are set automatically. Also, solo and
4557 @emph{a due} parts are identified and can be marked.
4559 The syntax for part combining is
4562 \partcombine @var{musicexpr1} @var{musicexpr2}
4565 The music expressions will be interpreted as @internalsref{Voice}
4566 contexts. If using relative octaves, @code{\relative} should be
4567 specified for both music expressions, i.e.
4570 \partcombine \relative @dots{} @var{musicexpr1}
4571 \relative @dots{} @var{musicexpr2}
4575 A @code{\relative} section that is outside of @code{\partcombine} has
4576 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
4579 The following example demonstrates the basic functionality of the part
4580 combiner: putting parts on one staff, and setting stem directions and
4583 @lilypond[quote,verbatim,raggedright,fragment]
4584 \new Staff \partcombine
4585 \relative g' { g g a( b) c c r r }
4586 \relative g' { g g r4 r e e g g }
4589 The first @code{g} appears only once, although it was
4590 specified twice (once in each part). Stem, slur and tie directions are
4591 set automatically, depending whether there is a solo or unisono. The
4592 first part (with context called @code{one}) always gets up stems, and
4593 `solo', while the second (called @code{two}) always gets down stems and
4596 If you just want the merging parts, and not the textual markings, you
4597 may set the property @code{soloADue} to false
4599 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4601 \set Staff.soloADue = ##f
4603 \relative g' { g a( b) r }
4604 \relative g' { g r4 r f }
4610 Program reference: @internalsref{PartCombineMusic},
4611 @internalsref{SoloOneEvent}, and
4612 @internalsref{SoloTwoEvent}, and
4613 @internalsref{UnisonoEvent}.
4617 In @code{soloADue} mode, when the two voices play the same notes on and
4618 off, the part combiner may typeset @code{a2} more than once in a
4621 @code{\partcombine} cannot be inside @code{\times}.
4623 @code{\partcombine} cannot be inside @code{\relative}.
4625 Internally, the @code{\partcombine} interprets both arguments as
4626 @code{Voice}s named @code{one} and @code{two}, and then decides when
4627 the parts can be combined. Consequently, if the arguments switch to
4628 differently named @internalsref{Voice} contexts, the events in those
4632 @subsection Hiding staves
4634 @cindex Frenched scores
4635 @cindex Hiding staves
4637 In orchestral scores, staff lines that only have rests are usually
4638 removed. This saves some space. This style is called `French Score'.
4639 For @internalsref{Lyrics},
4640 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4641 switched on by default. When these line of these contexts turn out
4642 empty after the line-breaking process, they are removed.
4644 For normal staves, a specialized @internalsref{Staff} context is
4645 available, which does the same: staves containing nothing (or only
4646 multi measure rests) are removed. The context definition is stored in
4647 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4648 in this example disappears in the second line
4651 @lilypond[quote,verbatim]
4653 \notes \relative c' <<
4654 \new Staff { e4 f g a \break c1 }
4655 \new Staff { c4 d e f \break R1 }
4659 \context { \RemoveEmptyStaffContext }
4664 The first page shows all staves in full. If empty staves should be
4665 removed from the first page too, set @code{remove-first} to false in
4666 @internalsref{RemoveEmptyVerticalGroup}.
4668 Another application is making ossia sections, i.e. alternative
4669 melodies on a separate piece of staff, with help of a Frenched
4670 staff. See @inputfileref{input/test,ossia.ly} for an example.
4673 @node Different editions from one source
4674 @subsection Different editions from one source
4676 The @code{\tag} command marks music expressions with a name. These
4677 tagged expressions can be filtered out later. With this mechanism it
4678 is possible to make different versions of the same music source.
4680 In the following example, we see two versions of a piece of music, one
4681 for the full score, and one with cue notes for the instrumental part
4697 The same can be applied to articulations, texts, etc.: they are
4700 -\tag #@var{your-tag}
4702 to an articulation, for example,
4707 This defines a note with a conditional fingering indication.
4709 By applying the @code{remove-tag} function, tagged expressions can be
4710 filtered. For example,
4714 \applymusic #(remove-tag 'score) @var{the music}
4715 \applymusic #(remove-tag 'part) @var{the music}
4720 @lilypondfile[quote]{tag-filter.ly}
4722 The argument of the @code{\tag} command should be a symbol, or a list
4723 of symbols, for example,
4725 \tag #'(original-part transposed-part) @dots{}
4730 Examples: @inputfileref{input/regression,tag-filter.ly}.
4733 @node Quoting other voices
4734 @subsection Quoting other voices
4736 With quotations, fragments of other parts can be inserted into a part
4737 directly. Before a part can be quoted, it must be marked especially as
4738 quotable. This is done with code @code{\addquote} command. The
4739 quotation may then be done with @code{\quote}
4742 \addquote @var{name} @var{music}
4743 \quote @var{name} @var{duration}
4748 Here, @var{name} is an identifying string. The @var{music} is any kind
4749 of music. This is an example of @code{\addquote}
4752 \addquote clarinet \notes\relative c' {
4757 During a part, a piece of music can be quoted with the @code{\quote}
4764 This would cite 3 quarter notes (a dotted half note) of the previously
4765 added clarinet voice.
4767 Quotations take into account the transposition both source and target
4768 instruments, if they are specified using the @code{\transposition} command.
4770 @lilypond[quote,raggedright,verbatim]
4771 \addquote clarinet \notes\relative c' {
4777 e'8 f'8 \quote clarinet 2
4783 Only the contents of the first @internalsref{Voice} occurring in an
4784 @code{\addquote} command will be considered for quotation, so
4785 @var{music} can not contain @code{\new} and @code{\context Voice}
4786 statements that would switch to a different Voice.
4791 In this manual: @ref{Instrument transpositions}.
4793 Examples: @inputfileref{input/regression,quote.ly}
4794 @inputfileref{input/regression,quote-transposition.ly}
4796 Program reference: @internalsref{QuoteMusic}.
4798 @node Ancient notation
4799 @section Ancient notation
4801 @cindex Vaticana, Editio
4802 @cindex Medicaea, Editio
4807 Support for ancient notation includes features for mensural notation
4808 and Gregorian Chant notation. There is also limited support for
4809 figured bass notation.
4811 Many graphical objects provide a @code{style} property, see
4812 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4813 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4814 signatures}. By manipulating such a grob property, the typographical
4815 appearance of the affected graphical objects can be accommodated for a
4816 specific notation flavor without need for introducing any new
4819 Other aspects of ancient notation can not that easily be expressed as
4820 in terms of just changing a style property of a graphical object.
4821 Therefore, some notational concepts are introduced specifically for
4822 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4823 @ref{Ligatures}, and @ref{Figured bass}.
4827 * Ancient note heads::
4828 * Ancient accidentals::
4832 * Ancient time signatures::
4837 * Vaticana style contexts::
4840 If this all is way too much of documentation for you, and you just
4841 want to dive into typesetting without worrying too much about the
4842 details on how to customize a context, you may have a look at the
4843 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4844 set up predefined style-specific voice and staff contexts, and
4845 directly go ahead with the note entry.
4849 Ligatures need special spacing that has not yet been implemented. As
4850 a result, there is too much space between ligatures most of the time,
4851 and line breaking often is unsatisfactory. Also, lyrics do not
4852 correctly align with ligatures.
4854 Accidentals must not be printed within a ligature, but instead need to
4855 be collected and printed in front of it.
4857 Augmentum dots within ligatures are not handled correctly.
4860 @node Ancient note heads
4861 @subsection Ancient note heads
4866 For ancient notation, a note head style other than the @code{default}
4867 style may be chosen. This is accomplished by setting the @code{style}
4868 property of the NoteHead object to the desired value (@code{baroque},
4869 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4870 differs from the @code{default} style only in using a square shape for
4871 @code{\breve} note heads. The @code{neo_mensural} style differs from
4872 the @code{baroque} style in that it uses rhomboidal heads for whole
4873 notes and all smaller durations. Stems are centered on the note
4874 heads. This style is in particular useful when transcribing mensural
4875 music, e.g. for the incipit. The @code{mensural} style finally
4876 produces note heads that mimic the look of note heads in historic
4877 printings of the 16th century.
4879 The following example demonstrates the @code{neo_mensural} style
4881 @lilypond[quote,fragment,raggedright,verbatim]
4882 \override NoteHead #'style = #'neo_mensural
4883 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4886 When typesetting a piece in Gregorian Chant notation, a Gregorian
4887 ligature engraver will automatically select the proper note heads,
4888 such there is no need to explicitly set the note head style. Still,
4889 the note head style can be set e.g. to @code{vaticana_punctum} to
4890 produce punctum neumes. Similarly, a mensural ligature engraver is
4891 used to automatically assemble mensural ligatures. See
4892 @ref{Ligatures} for how ligature engravers work.
4897 @ref{Percussion staves} use note head styles of their own that are
4898 frequently used in contemporary music notation.
4900 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4901 overview over all available note head styles.
4904 @node Ancient accidentals
4905 @subsection Ancient accidentals
4910 Use the @code{style} property of grob @internalsref{Accidental} to
4911 select ancient accidentals. Supported styles are
4912 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4914 @lilypond[quote,raggedright,staffsize=26]
4922 { " " \musicglyph #"accidentals-vaticana-1"
4923 " " \musicglyph #"accidentals-vaticana0" }
4927 { " " \musicglyph #"accidentals-medicaea-1" }
4931 { " " \musicglyph #"accidentals-hufnagel-1" }
4935 { " " \musicglyph #"accidentals-mensural-1"
4936 " " \musicglyph #"accidentals-mensural1" }
4945 \remove "Bar_number_engraver"
4949 \remove "Clef_engraver"
4950 \remove "Key_engraver"
4951 \remove "Time_signature_engraver"
4952 \remove "Staff_symbol_engraver"
4953 minimumVerticalExtent = ##f
4959 As shown, not all accidentals are supported by each style. When
4960 trying to access an unsupported accidental, LilyPond will switch to a
4961 different style, as demonstrated in
4962 @inputfileref{input/test,ancient-accidentals.ly}.
4964 Similarly to local accidentals, the style of the key signature can be
4965 controlled by the @code{style} property of the
4966 @internalsref{KeySignature} grob.
4970 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4971 @ref{Accidentals} give a general introduction into the use of
4972 accidentals. @ref{Key signature} gives a general introduction into
4973 the use of key signatures.
4975 Program reference: @internalsref{KeySignature}.
4977 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4980 @subsection Ancient rests
4985 Use the @code{style} property of grob @internalsref{Rest} to select
4986 ancient accidentals. Supported styles are @code{classical},
4987 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4988 from the @code{default} style only in that the quarter rest looks like
4989 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4990 well for e.g. the incipit of a transcribed mensural piece of music.
4991 The @code{mensural} style finally mimics the appearance of rests as
4992 in historic prints of the 16th century.
4994 The following example demonstrates the @code{neo_mensural} style
4996 @lilypond[quote,fragment,raggedright,verbatim]
4997 \override Rest #'style = #'neo_mensural
4998 r\longa r\breve r1 r2 r4 r8 r16
5001 There are no 32th and 64th rests specifically for the mensural or
5002 neo-mensural style. Instead, the rests from the default style will be
5003 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5006 There are no rests in Gregorian Chant notation; instead, it uses
5011 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5015 @subsection Ancient clefs
5020 LilyPond supports a variety of clefs, many of them ancient.
5022 The following table shows all ancient clefs that are supported via the
5023 @code{\clef} command. Some of the clefs use the same glyph, but
5024 differ only with respect to the line they are printed on. In such
5025 cases, a trailing number in the name is used to enumerate these clefs.
5026 Still, you can manually force a clef glyph to be typeset on an
5027 arbitrary line, as described in @ref{Clef}. The note printed to the
5028 right side of each clef in the example column denotes the @code{c'}
5029 with respect to that clef.
5031 @multitable @columnfractions .3 .3 .3 .1
5035 @b{Description} @tab
5036 @b{Supported Clefs} @tab
5040 @code{clefs-neo_mensural_c} @tab
5041 modern style mensural C clef @tab
5042 @code{neo_mensural_c1}, @code{neo_mensural_c2},
5043 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
5044 @lilypond[quote,relative=1,notime]
5045 \override Staff.TimeSignature #'transparent = ##t
5046 \clef "neo_mensural_c2" c
5050 @code{clefs-petrucci_c1}
5051 @code{clefs-petrucci_c2}
5052 @code{clefs-petrucci_c3}
5053 @code{clefs-petrucci_c4}
5054 @code{clefs-petrucci_c5}
5057 petrucci style mensural C clefs, for use on different staff lines
5058 (the examples shows the 2nd staff line C clef).
5068 @lilypond[quote,relative=1,notime]
5069 \override Staff.TimeSignature #'transparent = ##t
5070 \clef "petrucci_c2" c
5074 @code{clefs-petrucci_f} @tab
5075 petrucci style mensural F clef @tab
5076 @code{petrucci_f} @tab
5077 @lilypond[quote,relative=1,notime]
5078 \override Staff.TimeSignature #'transparent = ##t
5079 \clef "petrucci_f" c
5083 @code{clefs-petrucci_g} @tab
5084 petrucci style mensural G clef @tab
5085 @code{petrucci_g} @tab
5086 @lilypond[quote,relative=1,notime]
5087 \override Staff.TimeSignature #'transparent = ##t
5088 \clef "petrucci_g" c
5092 @code{clefs-mensural_c} @tab
5093 historic style mensural C clef @tab
5094 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5095 @code{mensural_c4} @tab
5096 @lilypond[quote,relative=1,notime]
5097 \override Staff.TimeSignature #'transparent = ##t
5098 \clef "mensural_c2" c
5102 @code{clefs-mensural_f} @tab
5103 historic style mensural F clef @tab
5104 @code{mensural_f} @tab
5105 @lilypond[quote,relative=1,notime]
5106 \override Staff.TimeSignature #'transparent = ##t
5107 \clef "mensural_f" c
5111 @code{clefs-mensural_g} @tab
5112 historic style mensural G clef @tab
5113 @code{mensural_g} @tab
5114 @lilypond[quote,relative=1,notime]
5115 \override Staff.TimeSignature #'transparent = ##t
5116 \clef "mensural_g" c
5120 @code{clefs-vaticana_do} @tab
5121 Editio Vaticana style do clef @tab
5122 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5123 @lilypond[quote,relative=1,notime]
5124 \override Staff.StaffSymbol #'line-count = #4
5125 \override Staff.TimeSignature #'transparent = ##t
5126 \clef "vaticana_do2" c
5130 @code{clefs-vaticana_fa} @tab
5131 Editio Vaticana style fa clef @tab
5132 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5133 @lilypond[quote,relative=1,notime]
5134 \override Staff.StaffSymbol #'line-count = #4
5135 \override Staff.TimeSignature #'transparent = ##t
5136 \clef "vaticana_fa2" c
5140 @code{clefs-medicaea_do} @tab
5141 Editio Medicaea style do clef @tab
5142 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5143 @lilypond[quote,relative=1,notime]
5144 \override Staff.StaffSymbol #'line-count = #4
5145 \override Staff.TimeSignature #'transparent = ##t
5146 \clef "medicaea_do2" c
5150 @code{clefs-medicaea_fa} @tab
5151 Editio Medicaea style fa clef @tab
5152 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5153 @lilypond[quote,relative=1,notime]
5154 \override Staff.StaffSymbol #'line-count = #4
5155 \override Staff.TimeSignature #'transparent = ##t
5156 \clef "medicaea_fa2" c
5160 @code{clefs-hufnagel_do} @tab
5161 historic style hufnagel do clef @tab
5162 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5163 @lilypond[quote,relative=1,notime]
5164 \override Staff.StaffSymbol #'line-count = #4
5165 \override Staff.TimeSignature #'transparent = ##t
5166 \clef "hufnagel_do2" c
5170 @code{clefs-hufnagel_fa} @tab
5171 historic style hufnagel fa clef @tab
5172 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5173 @lilypond[quote,relative=1,notime]
5174 \override Staff.StaffSymbol #'line-count = #4
5175 \override Staff.TimeSignature #'transparent = ##t
5176 \clef "hufnagel_fa2" c
5180 @code{clefs-hufnagel_do_fa} @tab
5181 historic style hufnagel combined do/fa clef @tab
5182 @code{hufnagel_do_fa} @tab
5183 @lilypond[quote,relative=1,notime]
5184 \override Staff.TimeSignature #'transparent = ##t
5185 \clef "hufnagel_do_fa" c
5192 @emph{Modern style} means ``as is typeset in contemporary editions of
5193 transcribed mensural music''.
5195 @emph{Petrucci style} means ``inspired by printings published by the
5196 famous engraver Petrucci (1466-1539)''.
5198 @emph{Historic style} means ``as was typeset or written in historic
5199 editions (other than those of Petrucci)''.
5201 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5203 Petrucci used C clefs with differently balanced left-side vertical
5204 beams, depending on which staff line it is printed.
5208 In this manual: see @ref{Clef}.
5212 The mensural g clef is mapped to the Petrucci g clef, until a new
5213 mensural g clef is implemented.
5218 @subsection Ancient flags
5223 Use the @code{flag-style} property of grob @internalsref{Stem} to
5224 select ancient flags. Besides the @code{default} flag style,
5225 only @code{mensural} style is supported
5227 @lilypond[quote,fragment,raggedright,verbatim]
5228 \override Stem #'flag-style = #'mensural
5229 \override Stem #'thickness = #1.0
5230 \override NoteHead #'style = #'mensural
5232 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
5233 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5236 Note that the innermost flare of each mensural flag always is
5237 vertically aligned with a staff line. If you do not like this
5238 behavior, you can set the @code{adjust-if-on-staffline} property of
5239 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5240 of the end of each flare is different between notes on staff lines and
5241 notes between staff lines
5243 @lilypond[quote,fragment,raggedright]
5244 \override Stem #'flag-style = #'mensural
5245 \override Stem #'thickness = #1.0
5246 \override Stem #'adjust-if-on-staffline = ##f
5247 \override NoteHead #'style = #'mensural
5249 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
5250 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5253 There is no particular flag style for neo-mensural notation. Hence,
5254 when typesetting e.g. the incipit of a transcribed piece of mensural
5255 music, the default flag style should be used. There are no flags in
5256 Gregorian Chant notation.
5259 @node Ancient time signatures
5260 @subsection Ancient time signatures
5262 @cindex time signatures
5265 There is limited support for mensural time signatures. The
5266 glyphs are hard-wired to particular time fractions. In other words,
5267 to get a particular mensural signature glyph with the @code{\time n/m}
5268 command, @code{n} and @code{m} have to be chosen according to the
5274 \set Score.timing = ##f
5275 \set Score.barAlways = ##t
5276 s_\markup { "$\\backslash$time 4/4" }
5277 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5279 s_\markup { "$\\backslash$time 2/2" }
5280 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5282 s_\markup { "$\\backslash$time 6/4" }
5283 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5285 s_\markup { "$\\backslash$time 6/8" }
5286 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5288 s_\markup { "$\\backslash$time 3/2" }
5289 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5291 s_\markup { "$\\backslash$time 3/4" }
5292 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5294 s_\markup { "$\\backslash$time 9/4" }
5295 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5297 s_\markup { "$\\backslash$time 9/8" }
5298 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5300 s_\markup { "$\\backslash$time 4/8" }
5301 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5303 s_\markup { "$\\backslash$time 2/4" }
5304 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5312 \remove Staff_symbol_engraver
5313 \remove Clef_engraver
5314 \remove Time_signature_engraver
5320 Use the @code{style} property of grob @internalsref{TimeSignature} to
5321 select ancient time signatures. Supported styles are
5322 @code{neo_mensural} and @code{mensural}. The above table uses the
5323 @code{neo_mensural} style. This style is appropriate e.g. for the
5324 incipit of transcriptions of mensural pieces. The @code{mensural}
5325 style mimics the look of historical printings of the 16th century.
5327 @inputfileref{input/test,time.ly} gives an overview over all available
5328 ancient and modern styles.
5332 Program reference: @ref{Time signature} gives a general introduction into the use of time
5337 Mensural signature glyphs are mapped to time fractions in a hard-wired
5338 way. This mapping is sensible, but still arbitrary: given a mensural
5339 time signature, the time fraction represents a modern meter that
5340 usually will be a good choice when transcribing a mensural piece of
5341 music. For a particular piece of mensural music, however, the mapping
5342 may be unsatisfactory. In particular, the mapping assumes a fixed
5343 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5344 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5345 accessible through the @code{\time} command.
5347 Mensural time signatures are supported typographically, but not yet
5348 musically. The internal representation of durations is
5349 based on a purely binary system; a ternary division such as 1 brevis =
5350 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5351 prolatione maiori) is not correctly handled: event times in ternary
5352 modes will be badly computed, resulting e.g. in horizontally
5353 misaligned note heads, and bar checks are likely to erroneously fail.
5355 The syntax and semantics of the @code{\time} command for mensural
5356 music is subject to change.
5359 @subsection Custodes
5364 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5365 symbol that appears at the end of a staff. It anticipates the pitch
5366 of the first note(s) of the following line and thus helps the player
5367 or singer to manage line breaks during performance, thus enhancing
5368 readability of a score.
5370 Custodes were frequently used in music notation until the 17th
5371 century. Nowadays, they have survived only in a few particular forms
5372 of musical notation such as contemporary editions of Gregorian chant
5373 like the @emph{editio vaticana}. There are different custos glyphs
5374 used in different flavors of notational style.
5376 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5377 @internalsref{Staff} context when declaring the @code{\paper} block,
5378 as shown in the following example
5384 \consists Custos_engraver
5385 Custos \override #'style = #'mensural
5390 The result looks like this
5392 @lilypond[quote,raggedright]
5396 \override Staff.Custos #'style = #'mensural
5403 \consists Custos_engraver
5409 The custos glyph is selected by the @code{style} property. The styles
5410 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5411 @code{mensural}. They are demonstrated in the following fragment
5415 \new Lyrics \lyrics {
5419 { " " \musicglyph #"custodes-vaticana-u0" }
5423 { " " \musicglyph #"custodes-medicaea-u0" }
5428 { " " \musicglyph #"custodes-hufnagel-u0" }
5433 { " " \musicglyph #"custodes-mensural-u0" }
5445 Program reference: @internalsref{Custos}.
5447 Examples: @inputfileref{input/regression,custos.ly}.
5451 @subsection Divisiones
5457 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5458 `division') is a staff context symbol that is used to structure
5459 Gregorian music into phrases and sections. The musical meaning of
5460 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5461 can be characterized as short, medium and long pause, somewhat like
5462 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5463 a chant, but is also frequently used within a single
5464 antiphonal/responsorial chant to mark the end of each section.
5467 To use divisiones, include the file @code{gregorian-init.ly}. It
5468 contains definitions that you can apply by just inserting
5469 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5470 and @code{\finalis} at proper places in the input. Some editions use
5471 @emph{virgula} or @emph{caesura} instead of divisio minima.
5472 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5475 @lilypondfile[quote,raggedright]{divisiones.ly}
5479 @cindex @code{\virgula}
5481 @cindex @code{\caesura}
5483 @cindex @code{\divisioMinima}
5484 @code{\divisioMinima},
5485 @cindex @code{\divisioMaior}
5486 @code{\divisioMaior},
5487 @cindex @code{\divisioMaxima}
5488 @code{\divisioMaxima},
5489 @cindex @code{\finalis}
5494 In this manual: @ref{Breath marks}.
5496 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5498 Examples: @inputfileref{input/test,divisiones.ly}.
5501 @subsection Ligatures
5505 @c TODO: Should double check if I recalled things correctly when I wrote
5506 @c down the following paragraph by heart.
5508 A ligature is a coherent graphical symbol that represents at least two
5509 distinct notes. Ligatures originally appeared in the manuscripts of
5510 Gregorian chant notation roughly since the 9th century to denote
5511 ascending or descending sequences of notes.
5513 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5514 Some ligature styles may need additional input syntax specific for
5515 this particular type of ligature. By default, the
5516 @internalsref{LigatureBracket} engraver just puts a square bracket
5519 @lilypond[quote,raggedright,verbatim]
5521 \notes \transpose c c' {
5529 To select a specific style of ligatures, a proper ligature engraver
5530 has to be added to the @internalsref{Voice} context, as explained in
5531 the following subsections. Only white mensural ligatures
5532 are supported with certain limitations.
5535 * White mensural ligatures::
5536 * Gregorian square neumes ligatures::
5539 @node White mensural ligatures
5540 @subsubsection White mensural ligatures
5542 @cindex Mensural ligatures
5543 @cindex White mensural ligatures
5545 There is limited support for white mensural ligatures.
5547 To engrave white mensural ligatures, in the paper block the
5548 @internalsref{Mensural_ligature_engraver} has to be put into the
5549 @internalsref{Voice} context, and remove the
5550 @internalsref{Ligature_bracket_engraver}
5556 \remove Ligature_bracket_engraver
5557 \consists Mensural_ligature_engraver
5562 There is no additional input language to describe the shape of a
5563 white mensural ligature. The shape is rather determined solely from
5564 the pitch and duration of the enclosed notes. While this approach may
5565 take a new user a while to get accustomed, it has the great advantage
5566 that the full musical information of the ligature is known internally.
5567 This is not only required for correct MIDI output, but also allows for
5568 automatic transcription of the ligatures.
5573 \set Score.timing = ##f
5574 \set Score.defaultBarType = "empty"
5575 \override NoteHead #'style = #'neo_mensural
5576 \override Staff.TimeSignature #'style = #'neo_mensural
5578 \[ g\longa c\breve a\breve f\breve d'\longa \]
5580 \[ e1 f1 a\breve g\longa \]
5582 @lilypond[quote,raggedright]
5584 \notes \transpose c c' {
5585 \set Score.timing = ##f
5586 \set Score.defaultBarType = "empty"
5587 \override NoteHead #'style = #'neo_mensural
5588 \override Staff.TimeSignature #'style = #'neo_mensural
5590 \[ g\longa c\breve a\breve f\breve d'\longa \]
5592 \[ e1 f1 a\breve g\longa \]
5597 \remove Ligature_bracket_engraver
5598 \consists Mensural_ligature_engraver
5604 Without replacing @internalsref{Ligature_bracket_engraver} with
5605 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5608 @lilypond[quote,raggedright]
5610 \notes \transpose c c' {
5611 \set Score.timing = ##f
5612 \set Score.defaultBarType = "empty"
5613 \override NoteHead #'style = #'neo_mensural
5614 \override Staff.TimeSignature #'style = #'neo_mensural
5616 \[ g\longa c\breve a\breve f\breve d'\longa \]
5618 \[ e1 f1 a\breve g\longa \]
5625 The implementation is experimental; it may output strange warnings or
5626 even crash in some cases or produce weird results on more complex
5629 @node Gregorian square neumes ligatures
5630 @subsubsection Gregorian square neumes ligatures
5632 @cindex Square neumes ligatures
5633 @cindex Gregorian square neumes ligatures
5635 Gregorian square neumes notation (following the style of the Editio
5636 Vaticana) is under heavy development, but not yet really usable for
5637 production purposes. Core ligatures can already be typeset, but
5638 essential issues for serious typesetting are still under development,
5639 such as (among others) horizontal alignment of multiple ligatures,
5640 lyrics alignment and proper accidentals handling. Still, this section
5641 gives a sneak preview of what Gregorian chant may look like once it
5644 The following table contains the extended neumes table of the 2nd
5645 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5646 1983 by the monks of Solesmes.
5648 @multitable @columnfractions .4 .2 .2 .2
5651 @b{Neuma aut@*Neumarum Elementa} @tab
5652 @b{Figurae@*Rectae} @tab
5653 @b{Figurae@*Liquescentes Auctae} @tab
5654 @b{Figurae@*Liquescentes Deminutae}
5656 @c TODO: \paper block is identical in all of the below examples.
5657 @c Therefore, it should somehow be included rather than duplicated all
5660 @c why not make identifiers in ly/engraver-init.ly? --hwn
5662 @c Because it's just used to typeset plain notes without
5663 @c a staff for demonstration purposes rather than something
5664 @c special of Gregorian chant notation. --jr
5669 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5670 \include "gregorian-init.ly"
5672 \notes \transpose c c' {
5675 \noBreak s^\markup {"a"} \noBreak
5677 % Punctum Inclinatum
5679 \noBreak s^\markup {"b"}
5685 \remove "Bar_number_engraver"
5689 \remove "Clef_engraver"
5690 \remove "Key_engraver"
5691 \override StaffSymbol #'transparent = ##t
5692 \remove "Time_signature_engraver"
5693 \remove "Bar_engraver"
5694 minimumVerticalExtent = ##f
5698 \remove Ligature_bracket_engraver
5699 \consists Vaticana_ligature_engraver
5700 \override NoteHead #'style = #'vaticana_punctum
5701 \override Stem #'transparent = ##t
5707 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5708 \include "gregorian-init.ly"
5710 \notes \transpose c c' {
5711 % Punctum Auctum Ascendens
5712 \[ \auctum \ascendens b \]
5713 \noBreak s^\markup {"c"} \noBreak
5715 % Punctum Auctum Descendens
5716 \[ \auctum \descendens b \]
5717 \noBreak s^\markup {"d"} \noBreak
5719 % Punctum Inclinatum Auctum
5720 \[ \inclinatum \auctum b \]
5721 \noBreak s^\markup {"e"}
5727 \remove "Bar_number_engraver"
5731 \remove "Clef_engraver"
5732 \remove "Key_engraver"
5733 \override StaffSymbol #'transparent = ##t
5734 \remove "Time_signature_engraver"
5735 \remove "Bar_engraver"
5736 minimumVerticalExtent = ##f
5740 \remove Ligature_bracket_engraver
5741 \consists Vaticana_ligature_engraver
5742 \override NoteHead #'style = #'vaticana_punctum
5743 \override Stem #'transparent = ##t
5749 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5750 \include "gregorian-init.ly"
5752 \notes \transpose c c' {
5753 % Punctum Inclinatum Parvum
5754 \[ \inclinatum \deminutum b \]
5755 \noBreak s^\markup {"f"}
5761 \remove "Bar_number_engraver"
5765 \remove "Clef_engraver"
5766 \remove "Key_engraver"
5767 \override StaffSymbol #'transparent = ##t
5768 \remove "Time_signature_engraver"
5769 \remove "Bar_engraver"
5770 minimumVerticalExtent = ##f
5774 \remove Ligature_bracket_engraver
5775 \consists Vaticana_ligature_engraver
5776 \override NoteHead #'style = #'vaticana_punctum
5777 \override Stem #'transparent = ##t
5786 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5787 \include "gregorian-init.ly"
5789 \notes \transpose c c' {
5792 \noBreak s^\markup {"g"}
5798 \remove "Bar_number_engraver"
5802 \remove "Clef_engraver"
5803 \remove "Key_engraver"
5804 \override StaffSymbol #'transparent = ##t
5805 \remove "Time_signature_engraver"
5806 \remove "Bar_engraver"
5807 minimumVerticalExtent = ##f
5811 \remove Ligature_bracket_engraver
5812 \consists Vaticana_ligature_engraver
5813 \override NoteHead #'style = #'vaticana_punctum
5814 \override Stem #'transparent = ##t
5823 @code{3. Apostropha vel Stropha}
5825 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5826 \include "gregorian-init.ly"
5828 \notes \transpose c c' {
5831 \noBreak s^\markup {"h"}
5837 \remove "Bar_number_engraver"
5841 \remove "Clef_engraver"
5842 \remove "Key_engraver"
5843 \override StaffSymbol #'transparent = ##t
5844 \remove "Time_signature_engraver"
5845 \remove "Bar_engraver"
5846 minimumVerticalExtent = ##f
5850 \remove Ligature_bracket_engraver
5851 \consists Vaticana_ligature_engraver
5852 \override NoteHead #'style = #'vaticana_punctum
5853 \override Stem #'transparent = ##t
5859 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5860 \include "gregorian-init.ly"
5862 \notes \transpose c c' {
5864 \[ \stropha \auctum b \]
5865 \noBreak s^\markup {"i"}
5871 \remove "Bar_number_engraver"
5875 \remove "Clef_engraver"
5876 \remove "Key_engraver"
5877 \override StaffSymbol #'transparent = ##t
5878 \remove "Time_signature_engraver"
5879 \remove "Bar_engraver"
5880 minimumVerticalExtent = ##f
5884 \remove Ligature_bracket_engraver
5885 \consists Vaticana_ligature_engraver
5886 \override NoteHead #'style = #'vaticana_punctum
5887 \override Stem #'transparent = ##t
5897 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5898 \include "gregorian-init.ly"
5900 \notes \transpose c c' {
5903 \noBreak s^\markup {"j"}
5909 \remove "Bar_number_engraver"
5913 \remove "Clef_engraver"
5914 \remove "Key_engraver"
5915 \override StaffSymbol #'transparent = ##t
5916 \remove "Time_signature_engraver"
5917 \remove "Bar_engraver"
5918 minimumVerticalExtent = ##f
5922 \remove Ligature_bracket_engraver
5923 \consists Vaticana_ligature_engraver
5924 \override NoteHead #'style = #'vaticana_punctum
5925 \override Stem #'transparent = ##t
5934 @code{5. Clivis vel Flexa}
5936 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5937 \include "gregorian-init.ly"
5939 \notes \transpose c c' {
5948 \remove "Bar_number_engraver"
5952 \remove "Clef_engraver"
5953 \remove "Key_engraver"
5954 \override StaffSymbol #'transparent = ##t
5955 \remove "Time_signature_engraver"
5956 \remove "Bar_engraver"
5957 minimumVerticalExtent = ##f
5961 \remove Ligature_bracket_engraver
5962 \consists Vaticana_ligature_engraver
5963 \override NoteHead #'style = #'vaticana_punctum
5964 \override Stem #'transparent = ##t
5970 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5971 \include "gregorian-init.ly"
5973 \notes \transpose c c' {
5974 % Clivis Aucta Descendens
5975 \[ b \flexa \auctum \descendens g \]
5976 \noBreak s^\markup {"l"} \noBreak
5978 % Clivis Aucta Ascendens
5979 \[ b \flexa \auctum \ascendens g \]
5980 \noBreak s^\markup {"m"}
5986 \remove "Bar_number_engraver"
5990 \remove "Clef_engraver"
5991 \remove "Key_engraver"
5992 \override StaffSymbol #'transparent = ##t
5993 \remove "Time_signature_engraver"
5994 \remove "Bar_engraver"
5995 minimumVerticalExtent = ##f
5999 \remove Ligature_bracket_engraver
6000 \consists Vaticana_ligature_engraver
6001 \override NoteHead #'style = #'vaticana_punctum
6002 \override Stem #'transparent = ##t
6008 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6009 \include "gregorian-init.ly"
6011 \notes \transpose c c' {
6013 \[ b \flexa \deminutum g \]
6020 \remove "Bar_number_engraver"
6024 \remove "Clef_engraver"
6025 \remove "Key_engraver"
6026 \override StaffSymbol #'transparent = ##t
6027 \remove "Time_signature_engraver"
6028 \remove "Bar_engraver"
6029 minimumVerticalExtent = ##f
6033 \remove Ligature_bracket_engraver
6034 \consists Vaticana_ligature_engraver
6035 \override NoteHead #'style = #'vaticana_punctum
6036 \override Stem #'transparent = ##t
6043 @code{6. Podatus vel Pes}
6045 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6046 \include "gregorian-init.ly"
6048 \notes \transpose c c' {
6057 \remove "Bar_number_engraver"
6061 \remove "Clef_engraver"
6062 \remove "Key_engraver"
6063 \override StaffSymbol #'transparent = ##t
6064 \remove "Time_signature_engraver"
6065 \remove "Bar_engraver"
6066 minimumVerticalExtent = ##f
6070 \remove Ligature_bracket_engraver
6071 \consists Vaticana_ligature_engraver
6072 \override NoteHead #'style = #'vaticana_punctum
6073 \override Stem #'transparent = ##t
6079 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6080 \include "gregorian-init.ly"
6082 \notes \transpose c c' {
6083 % Pes Auctus Descendens
6084 \[ g \pes \auctum \descendens b \]
6085 \noBreak s^\markup {"p"} \noBreak
6087 % Pes Auctus Ascendens
6088 \[ g \pes \auctum \ascendens b \]
6089 \noBreak s^\markup {"q"}
6095 \remove "Bar_number_engraver"
6099 \remove "Clef_engraver"
6100 \remove "Key_engraver"
6101 \override StaffSymbol #'transparent = ##t
6102 \remove "Time_signature_engraver"
6103 \remove "Bar_engraver"
6104 minimumVerticalExtent = ##f
6108 \remove Ligature_bracket_engraver
6109 \consists Vaticana_ligature_engraver
6110 \override NoteHead #'style = #'vaticana_punctum
6111 \override Stem #'transparent = ##t
6117 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6118 \include "gregorian-init.ly"
6120 \notes \transpose c c' {
6122 \[ g \pes \deminutum b \]
6129 \remove "Bar_number_engraver"
6133 \remove "Clef_engraver"
6134 \remove "Key_engraver"
6135 \override StaffSymbol #'transparent = ##t
6136 \remove "Time_signature_engraver"
6137 \remove "Bar_engraver"
6138 minimumVerticalExtent = ##f
6142 \remove Ligature_bracket_engraver
6143 \consists Vaticana_ligature_engraver
6144 \override NoteHead #'style = #'vaticana_punctum
6145 \override Stem #'transparent = ##t
6152 @code{7. Pes Quassus}
6154 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6155 \include "gregorian-init.ly"
6157 \notes \transpose c c' {
6159 \[ \oriscus g \pes \virga b \]
6166 \remove "Bar_number_engraver"
6170 \remove "Clef_engraver"
6171 \remove "Key_engraver"
6172 \override StaffSymbol #'transparent = ##t
6173 \remove "Time_signature_engraver"
6174 \remove "Bar_engraver"
6175 minimumVerticalExtent = ##f
6179 \remove Ligature_bracket_engraver
6180 \consists Vaticana_ligature_engraver
6181 \override NoteHead #'style = #'vaticana_punctum
6182 \override Stem #'transparent = ##t
6188 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6189 \include "gregorian-init.ly"
6191 \notes \transpose c c' {
6192 % Pes Quassus Auctus Descendens
6193 \[ \oriscus g \pes \auctum \descendens b \]
6200 \remove "Bar_number_engraver"
6204 \remove "Clef_engraver"
6205 \remove "Key_engraver"
6206 \override StaffSymbol #'transparent = ##t
6207 \remove "Time_signature_engraver"
6208 \remove "Bar_engraver"
6209 minimumVerticalExtent = ##f
6213 \remove Ligature_bracket_engraver
6214 \consists Vaticana_ligature_engraver
6215 \override NoteHead #'style = #'vaticana_punctum
6216 \override Stem #'transparent = ##t
6224 @code{8. Quilisma Pes}
6226 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6227 \include "gregorian-init.ly"
6229 \notes \transpose c c' {
6231 \[ \quilisma g \pes b \]
6238 \remove "Bar_number_engraver"
6242 \remove "Clef_engraver"
6243 \remove "Key_engraver"
6244 \override StaffSymbol #'transparent = ##t
6245 \remove "Time_signature_engraver"
6246 \remove "Bar_engraver"
6247 minimumVerticalExtent = ##f
6251 \remove Ligature_bracket_engraver
6252 \consists Vaticana_ligature_engraver
6253 \override NoteHead #'style = #'vaticana_punctum
6254 \override Stem #'transparent = ##t
6260 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6261 \include "gregorian-init.ly"
6263 \notes \transpose c c' {
6264 % Quilisma Pes Auctus Descendens
6265 \[ \quilisma g \pes \auctum \descendens b \]
6272 \remove "Bar_number_engraver"
6276 \remove "Clef_engraver"
6277 \remove "Key_engraver"
6278 \override StaffSymbol #'transparent = ##t
6279 \remove "Time_signature_engraver"
6280 \remove "Bar_engraver"
6281 minimumVerticalExtent = ##f
6285 \remove Ligature_bracket_engraver
6286 \consists Vaticana_ligature_engraver
6287 \override NoteHead #'style = #'vaticana_punctum
6288 \override Stem #'transparent = ##t
6296 @code{9. Podatus Initio Debilis}
6298 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6299 \include "gregorian-init.ly"
6301 \notes \transpose c c' {
6302 % Pes Initio Debilis
6303 \[ \deminutum g \pes b \]
6310 \remove "Bar_number_engraver"
6314 \remove "Clef_engraver"
6315 \remove "Key_engraver"
6316 \override StaffSymbol #'transparent = ##t
6317 \remove "Time_signature_engraver"
6318 \remove "Bar_engraver"
6319 minimumVerticalExtent = ##f
6323 \remove Ligature_bracket_engraver
6324 \consists Vaticana_ligature_engraver
6325 \override NoteHead #'style = #'vaticana_punctum
6326 \override Stem #'transparent = ##t
6332 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6333 \include "gregorian-init.ly"
6335 \notes \transpose c c' {
6336 % Pes Auctus Descendens Initio Debilis
6337 \[ \deminutum g \pes \auctum \descendens b \]
6344 \remove "Bar_number_engraver"
6348 \remove "Clef_engraver"
6349 \remove "Key_engraver"
6350 \override StaffSymbol #'transparent = ##t
6351 \remove "Time_signature_engraver"
6352 \remove "Bar_engraver"
6353 minimumVerticalExtent = ##f
6357 \remove Ligature_bracket_engraver
6358 \consists Vaticana_ligature_engraver
6359 \override NoteHead #'style = #'vaticana_punctum
6360 \override Stem #'transparent = ##t
6370 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6371 \include "gregorian-init.ly"
6373 \notes \transpose c c' {
6375 \[ a \pes b \flexa g \]
6382 \remove "Bar_number_engraver"
6386 \remove "Clef_engraver"
6387 \remove "Key_engraver"
6388 \override StaffSymbol #'transparent = ##t
6389 \remove "Time_signature_engraver"
6390 \remove "Bar_engraver"
6391 minimumVerticalExtent = ##f
6395 \remove Ligature_bracket_engraver
6396 \consists Vaticana_ligature_engraver
6397 \override NoteHead #'style = #'vaticana_punctum
6398 \override Stem #'transparent = ##t
6404 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6405 \include "gregorian-init.ly"
6407 \notes \transpose c c' {
6408 % Torculus Auctus Descendens
6409 \[ a \pes b \flexa \auctum \descendens g \]
6416 \remove "Bar_number_engraver"
6420 \remove "Clef_engraver"
6421 \remove "Key_engraver"
6422 \override StaffSymbol #'transparent = ##t
6423 \remove "Time_signature_engraver"
6424 \remove "Bar_engraver"
6425 minimumVerticalExtent = ##f
6429 \remove Ligature_bracket_engraver
6430 \consists Vaticana_ligature_engraver
6431 \override NoteHead #'style = #'vaticana_punctum
6432 \override Stem #'transparent = ##t
6438 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6439 \include "gregorian-init.ly"
6441 \notes \transpose c c' {
6442 % Torculus Deminutus
6443 \[ a \pes b \flexa \deminutum g \]
6450 \remove "Bar_number_engraver"
6454 \remove "Clef_engraver"
6455 \remove "Key_engraver"
6456 \override StaffSymbol #'transparent = ##t
6457 \remove "Time_signature_engraver"
6458 \remove "Bar_engraver"
6459 minimumVerticalExtent = ##f
6463 \remove Ligature_bracket_engraver
6464 \consists Vaticana_ligature_engraver
6465 \override NoteHead #'style = #'vaticana_punctum
6466 \override Stem #'transparent = ##t
6473 @code{11. Torculus Initio Debilis}
6475 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6476 \include "gregorian-init.ly"
6478 \notes \transpose c c' {
6479 % Torculus Initio Debilis
6480 \[ \deminutum a \pes b \flexa g \]
6487 \remove "Bar_number_engraver"
6491 \remove "Clef_engraver"
6492 \remove "Key_engraver"
6493 \override StaffSymbol #'transparent = ##t
6494 \remove "Time_signature_engraver"
6495 \remove "Bar_engraver"
6496 minimumVerticalExtent = ##f
6500 \remove Ligature_bracket_engraver
6501 \consists Vaticana_ligature_engraver
6502 \override NoteHead #'style = #'vaticana_punctum
6503 \override Stem #'transparent = ##t
6509 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6510 \include "gregorian-init.ly"
6512 \notes \transpose c c' {
6513 % Torculus Auctus Descendens Initio Debilis
6514 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6521 \remove "Bar_number_engraver"
6525 \remove "Clef_engraver"
6526 \remove "Key_engraver"
6527 \override StaffSymbol #'transparent = ##t
6528 \remove "Time_signature_engraver"
6529 \remove "Bar_engraver"
6530 minimumVerticalExtent = ##f
6534 \remove Ligature_bracket_engraver
6535 \consists Vaticana_ligature_engraver
6536 \override NoteHead #'style = #'vaticana_punctum
6537 \override Stem #'transparent = ##t
6543 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6544 \include "gregorian-init.ly"
6546 \notes \transpose c c' {
6547 % Torculus Deminutus Initio Debilis
6548 \[ \deminutum a \pes b \flexa \deminutum g \]
6555 \remove "Bar_number_engraver"
6559 \remove "Clef_engraver"
6560 \remove "Key_engraver"
6561 \override StaffSymbol #'transparent = ##t
6562 \remove "Time_signature_engraver"
6563 \remove "Bar_engraver"
6564 minimumVerticalExtent = ##f
6568 \remove Ligature_bracket_engraver
6569 \consists Vaticana_ligature_engraver
6570 \override NoteHead #'style = #'vaticana_punctum
6571 \override Stem #'transparent = ##t
6578 @code{12. Porrectus}
6580 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6581 \include "gregorian-init.ly"
6583 \notes \transpose c c' {
6585 \[ a \flexa g \pes b \]
6592 \remove "Bar_number_engraver"
6596 \remove "Clef_engraver"
6597 \remove "Key_engraver"
6598 \override StaffSymbol #'transparent = ##t
6599 \remove "Time_signature_engraver"
6600 \remove "Bar_engraver"
6601 minimumVerticalExtent = ##f
6605 \remove Ligature_bracket_engraver
6606 \consists Vaticana_ligature_engraver
6607 \override NoteHead #'style = #'vaticana_punctum
6608 \override Stem #'transparent = ##t
6614 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6615 \include "gregorian-init.ly"
6617 \notes \transpose c c' {
6618 % Porrectus Auctus Descendens
6619 \[ a \flexa g \pes \auctum \descendens b \]
6626 \remove "Bar_number_engraver"
6630 \remove "Clef_engraver"
6631 \remove "Key_engraver"
6632 \override StaffSymbol #'transparent = ##t
6633 \remove "Time_signature_engraver"
6634 \remove "Bar_engraver"
6635 minimumVerticalExtent = ##f
6639 \remove Ligature_bracket_engraver
6640 \consists Vaticana_ligature_engraver
6641 \override NoteHead #'style = #'vaticana_punctum
6642 \override Stem #'transparent = ##t
6648 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6649 \include "gregorian-init.ly"
6651 \notes \transpose c c' {
6652 % Porrectus Deminutus
6653 \[ a \flexa g \pes \deminutum b \]
6660 \remove "Bar_number_engraver"
6664 \remove "Clef_engraver"
6665 \remove "Key_engraver"
6666 \override StaffSymbol #'transparent = ##t
6667 \remove "Time_signature_engraver"
6668 \remove "Bar_engraver"
6669 minimumVerticalExtent = ##f
6673 \remove Ligature_bracket_engraver
6674 \consists Vaticana_ligature_engraver
6675 \override NoteHead #'style = #'vaticana_punctum
6676 \override Stem #'transparent = ##t
6685 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6686 \include "gregorian-init.ly"
6688 \notes \transpose c c' {
6690 \[ \virga b \inclinatum a \inclinatum g \]
6697 \remove "Bar_number_engraver"
6701 \remove "Clef_engraver"
6702 \remove "Key_engraver"
6703 \override StaffSymbol #'transparent = ##t
6704 \remove "Time_signature_engraver"
6705 \remove "Bar_engraver"
6706 minimumVerticalExtent = ##f
6710 \remove Ligature_bracket_engraver
6711 \consists Vaticana_ligature_engraver
6712 \override NoteHead #'style = #'vaticana_punctum
6713 \override Stem #'transparent = ##t
6719 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6720 \include "gregorian-init.ly"
6722 \notes \transpose c c' {
6724 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6731 \remove "Bar_number_engraver"
6735 \remove "Clef_engraver"
6736 \remove "Key_engraver"
6737 \override StaffSymbol #'transparent = ##t
6738 \remove "Time_signature_engraver"
6739 \remove "Bar_engraver"
6740 minimumVerticalExtent = ##f
6744 \remove Ligature_bracket_engraver
6745 \consists Vaticana_ligature_engraver
6746 \override NoteHead #'style = #'vaticana_punctum
6747 \override Stem #'transparent = ##t
6753 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6754 \include "gregorian-init.ly"
6756 \notes \transpose c c' {
6757 % Climacus Deminutus
6758 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6765 \remove "Bar_number_engraver"
6769 \remove "Clef_engraver"
6770 \remove "Key_engraver"
6771 \override StaffSymbol #'transparent = ##t
6772 \remove "Time_signature_engraver"
6773 \remove "Bar_engraver"
6774 minimumVerticalExtent = ##f
6778 \remove Ligature_bracket_engraver
6779 \consists Vaticana_ligature_engraver
6780 \override NoteHead #'style = #'vaticana_punctum
6781 \override Stem #'transparent = ##t
6788 @code{14. Scandicus}
6790 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6791 \include "gregorian-init.ly"
6793 \notes \transpose c c' {
6795 \[ g \pes a \virga b \]
6802 \remove "Bar_number_engraver"
6806 \remove "Clef_engraver"
6807 \remove "Key_engraver"
6808 \override StaffSymbol #'transparent = ##t
6809 \remove "Time_signature_engraver"
6810 \remove "Bar_engraver"
6811 minimumVerticalExtent = ##f
6815 \remove Ligature_bracket_engraver
6816 \consists Vaticana_ligature_engraver
6817 \override NoteHead #'style = #'vaticana_punctum
6818 \override Stem #'transparent = ##t
6824 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6825 \include "gregorian-init.ly"
6827 \notes \transpose c c' {
6828 % Scandicus Auctus Descendens
6829 \[ g \pes a \pes \auctum \descendens b \]
6836 \remove "Bar_number_engraver"
6840 \remove "Clef_engraver"
6841 \remove "Key_engraver"
6842 \override StaffSymbol #'transparent = ##t
6843 \remove "Time_signature_engraver"
6844 \remove "Bar_engraver"
6845 minimumVerticalExtent = ##f
6849 \remove Ligature_bracket_engraver
6850 \consists Vaticana_ligature_engraver
6851 \override NoteHead #'style = #'vaticana_punctum
6852 \override Stem #'transparent = ##t
6858 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6859 \include "gregorian-init.ly"
6861 \notes \transpose c c' {
6862 % Scandicus Deminutus
6863 \[ g \pes a \pes \deminutum b \]
6870 \remove "Bar_number_engraver"
6874 \remove "Clef_engraver"
6875 \remove "Key_engraver"
6876 \override StaffSymbol #'transparent = ##t
6877 \remove "Time_signature_engraver"
6878 \remove "Bar_engraver"
6879 minimumVerticalExtent = ##f
6883 \remove Ligature_bracket_engraver
6884 \consists Vaticana_ligature_engraver
6885 \override NoteHead #'style = #'vaticana_punctum
6886 \override Stem #'transparent = ##t
6895 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6896 \include "gregorian-init.ly"
6898 \notes \transpose c c' {
6900 \[ g \oriscus a \pes \virga b \]
6907 \remove "Bar_number_engraver"
6911 \remove "Clef_engraver"
6912 \remove "Key_engraver"
6913 \override StaffSymbol #'transparent = ##t
6914 \remove "Time_signature_engraver"
6915 \remove "Bar_engraver"
6916 minimumVerticalExtent = ##f
6920 \remove Ligature_bracket_engraver
6921 \consists Vaticana_ligature_engraver
6922 \override NoteHead #'style = #'vaticana_punctum
6923 \override Stem #'transparent = ##t
6929 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6930 \include "gregorian-init.ly"
6932 \notes \transpose c c' {
6933 % Salicus Auctus Descendens
6934 \[ g \oriscus a \pes \auctum \descendens b \]
6941 \remove "Bar_number_engraver"
6945 \remove "Clef_engraver"
6946 \remove "Key_engraver"
6947 \override StaffSymbol #'transparent = ##t
6948 \remove "Time_signature_engraver"
6949 \remove "Bar_engraver"
6950 minimumVerticalExtent = ##f
6954 \remove Ligature_bracket_engraver
6955 \consists Vaticana_ligature_engraver
6956 \override NoteHead #'style = #'vaticana_punctum
6957 \override Stem #'transparent = ##t
6967 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6968 \include "gregorian-init.ly"
6970 \notes \transpose c c' {
6972 \[ \stropha b \stropha b \stropha a \]
6979 \remove "Bar_number_engraver"
6983 \remove "Clef_engraver"
6984 \remove "Key_engraver"
6985 \override StaffSymbol #'transparent = ##t
6986 \remove "Time_signature_engraver"
6987 \remove "Bar_engraver"
6988 minimumVerticalExtent = ##f
6992 \remove Ligature_bracket_engraver
6993 \consists Vaticana_ligature_engraver
6994 \override NoteHead #'style = #'vaticana_punctum
6995 \override Stem #'transparent = ##t
7006 Unlike most other neumes notation systems, the input language for
7007 neumes does not necessarily reflect directly the typographical
7008 appearance, but is designed to solely focuse on musical meaning. For
7009 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
7010 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
7011 a Porrectus with a curved flexa shape and only a single Punctum head.
7012 There is no command to explicitly typeset the curved flexa shape; the
7013 decision of when to typeset a curved flexa shape is purely taken from
7014 the musical input. The idea of this approach is to separate the
7015 musical aspects of the input from the notation style of the output.
7016 This way, the same input can be reused to typeset the same music in a
7017 different style of Gregorian chant notation.
7019 The following table shows the code fragments that produce the
7020 ligatures in the above neumes table. The letter in the first column
7021 in each line of the below table indicates to which ligature in the
7022 above table it refers. The second column gives the name of the
7023 ligature. The third column shows the code fragment that produces this
7024 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7026 @multitable @columnfractions .1 .4 .5
7040 Punctum Inclinatum @tab
7041 @code{\[ \inclinatum b \]}
7045 Punctum Auctum Ascendens @tab
7046 @code{\[ \auctum \ascendens b \]}
7050 Punctum Auctum Descendens @tab
7051 @code{\[ \auctum \descendens b \]}
7055 Punctum Inclinatum Auctum @tab
7056 @code{\[ \inclinatum \auctum b \]}
7060 Punctum Inclinatum Parvum @tab
7061 @code{\[ \inclinatum \deminutum b \]}
7066 @code{\[ \virga b \]}
7071 @code{\[ \stropha b \]}
7076 @code{\[ \stropha \auctum b \]}
7081 @code{\[ \oriscus b \]}
7085 Clivis vel Flexa @tab
7086 @code{\[ b \flexa g \]}
7090 Clivis Aucta Descendens @tab
7091 @code{\[ b \flexa \auctum \descendens g \]}
7095 Clivis Aucta Ascendens @tab
7096 @code{\[ b \flexa \auctum \ascendens g \]}
7101 @code{\[ b \flexa \deminutum g \]}
7105 Podatus vel Pes @tab
7106 @code{\[ g \pes b \]}
7110 Pes Auctus Descendens @tab
7111 @code{\[ g \pes \auctum \descendens b \]}
7115 Pes Auctus Ascendens @tab
7116 @code{\[ g \pes \auctum \ascendens b \]}
7121 @code{\[ g \pes \deminutum b \]}
7126 @code{\[ \oriscus g \pes \virga b \]}
7130 Pes Quassus Auctus Descendens @tab
7131 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7136 @code{\[ \quilisma g \pes b \]}
7140 Quilisma Pes Auctus Descendens @tab
7141 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7145 Pes Initio Debilis @tab
7146 @code{\[ \deminutum g \pes b \]}
7150 Pes Auctus Descendens Initio Debilis @tab
7151 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7156 @code{\[ a \pes b \flexa g \]}
7160 Torculus Auctus Descendens @tab
7161 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7165 Torculus Deminutus @tab
7166 @code{\[ a \pes b \flexa \deminutum g \]}
7170 Torculus Initio Debilis @tab
7171 @code{\[ \deminutum a \pes b \flexa g \]}
7175 Torculus Auctus Descendens Initio Debilis @tab
7176 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7180 Torculus Deminutus Initio Debilis @tab
7181 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7186 @code{\[ a \flexa g \pes b \]}
7190 Porrectus Auctus Descendens @tab
7191 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7195 Porrectus Deminutus @tab
7196 @code{\[ a \flexa g \pes \deminutum b \]}
7201 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7205 Climacus Auctus @tab
7206 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7210 Climacus Deminutus @tab
7211 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7216 @code{\[ g \pes a \virga b \]}
7220 Scandicus Auctus Descendens @tab
7221 @code{\[ g \pes a \pes \auctum \descendens b \]}
7225 Scandicus Deminutus @tab
7226 @code{\[ g \pes a \pes \deminutum b \]}
7231 @code{\[ g \oriscus a \pes \virga b \]}
7235 Salicus Auctus Descendens @tab
7236 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7241 @code{\[ \stropha b \stropha b \stropha a \]}
7247 The following head prefixes are supported
7249 @cindex @code{\virga}
7251 @cindex @code{\stropha}
7253 @cindex @code{\inclinatum}
7255 @cindex @code{\auctum}
7257 @cindex @code{\descendens}
7259 @cindex @code{\ascendens}
7261 @cindex @code{\oriscus}
7263 @cindex @code{\quilisma}
7265 @cindex @code{\deminutum}
7268 Head prefixes can be accumulated, though restrictions apply. For
7269 example, either @code{\descendens} or @code{\ascendens} can be applied
7270 to a head, but not both to the same head.
7273 @cindex @code{\flexa}
7274 Two adjacent heads can be tied together with the @code{\pes} and
7275 @code{\flexa} infix commands for a rising and falling line of melody,
7280 @node Vaticana style contexts
7281 @subsection Vaticana style contexts
7283 @cindex VaticanaVoiceContext
7284 @cindex VaticanaStaffContext
7286 The predefined @code{VaticanaVoiceContext} and
7287 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7288 Gregorian Chant in the style of the Editio Vaticana. These contexts
7289 initialize all relevant context properties and grob properties to
7290 proper values. With these contexts, you can immediately go ahead
7291 entering the chant, as the following short excerpt demonstrates
7293 @lilypond[quote,raggedright,verbatim,noindent]
7294 \include "gregorian-init.ly"
7297 \context VaticanaVoice = "cantus" {
7298 \override Score.BarNumber #'transparent = ##t
7300 \[ c'\melisma c' \flexa a \]
7301 \[ a \flexa \deminutum g\melismaEnd \]
7303 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7304 c' \divisioMinima \break
7305 \[ c'\melisma c' \flexa a \]
7306 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7309 \lyricsto "cantus" \new Lyrics \lyrics {
7310 San- ctus, San- ctus, San- ctus
7317 @subsection Figured bass
7319 @cindex Basso continuo
7321 @c TODO: musicological blurb about FB
7324 LilyPond has limited support for figured bass
7326 @lilypond[quote,verbatim,fragment]
7328 \context Voice \notes { \clef bass dis4 c d ais }
7329 \context FiguredBass \figures {
7330 < 6 >4 < 7 >8 < 6+ [_!] >
7336 The support for figured bass consists of two parts: there is an input
7337 mode, introduced by @code{\figures}, where you can enter bass figures
7338 as numbers, and there is a context called @internalsref{FiguredBass} that
7339 takes care of making @internalsref{BassFigure} objects.
7341 In figures input mode, a group of bass figures is delimited by
7342 @code{<} and @code{>}. The duration is entered after the @code{>>}
7346 @lilypond[quote,fragment]
7347 \context FiguredBass
7351 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7357 @lilypond[quote,fragment]
7358 \context FiguredBass
7359 \figures { <4- 6+ 7!> }
7362 Spaces or dashes may be inserted by using @code{_}. Brackets are
7363 introduced with @code{[} and @code{]}
7368 @lilypond[quote,fragment]
7369 \context FiguredBass
7370 \figures { < [4 6] 8 [_! 12]> }
7373 Although the support for figured bass may superficially resemble chord
7374 support, it works much simpler. The @code{\figures} mode simply
7375 stores the numbers , and @internalsref{FiguredBass} context prints
7376 them as entered. There is no conversion to pitches, and no
7377 realizations of the bass are played in the MIDI file.
7379 Internally, the code produces markup texts. You can use any of the
7380 markup text properties to override formatting. For example, the
7381 vertical spacing of the figures may be set with @code{baseline-skip}.
7385 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7386 and @internalsref{FiguredBass} context.
7390 Slash notation for alterations is not supported.
7392 @node Contemporary notation
7393 @section Contemporary notation
7395 In the 20th century, composers have greatly expanded the musical
7396 vocabulary. With this expansion, many innovations in musical notation
7397 have been tried. The book by Stone (1980) gives a comprehensive
7398 overview (see @ref{Literature list}). In general, the use of new,
7399 innovative notation makes a piece harder to understand and perform and
7400 its use should therefore be avoided if possible. For this reason,
7401 support for contemporary notation in LilyPond is limited.
7410 @subsection Clusters
7414 A cluster indicates a continuous range of pitches to be played. They
7415 can be denoted as the envelope of a set of notes. They are entered by
7416 applying the function @code{notes-to-clusters} to a sequence of
7419 @lilypond[quote,relative=2,verbatim]
7420 \applymusic #notes-to-clusters { <c e > <b f'> }
7423 The following example (from
7424 @inputfileref{input/regression,cluster.ly}) shows what the result
7427 @lilypondfile[quote]{cluster.ly}
7429 Ordinary notes and clusters can be put together in the same staff,
7430 even simultaneously. In such a case no attempt is made to
7431 automatically avoid collisions between ordinary notes and clusters.
7435 Program reference: @internalsref{ClusterSpanner},
7436 @internalsref{ClusterSpannerBeacon},
7437 @internalsref{Cluster_spanner_engraver}, and
7438 @internalsref{ClusterNoteEvent}.
7440 Examples: @inputfileref{input/regression,cluster.ly}.
7444 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7445 accurately. Use @code{<g a>8 <e a>8} instead.
7450 @subsection Fermatas
7456 Contemporary music notation frequently uses special fermata symbols to
7457 indicate fermatas of differing lengths. The following fermatas are
7460 @lilypond[quote,raggedright]
7483 \context Lyrics \lyrics {
7484 \override LyricText #'font-family = #'typewriter
7485 "shortfermata" "fermata" "longfermata" "verylongfermata"
7491 See @ref{Articulations} for general instructions how to apply scripts
7492 such as fermatas to a @code{\notes@{@}} block.
7495 @node Special notation
7496 @section Special notation
7500 * Easy Notation note heads::
7504 @subsection Balloon help
7506 Elements of notation can be marked and named with the help of a square
7507 balloon. The primary purpose of this feature is to explain notation.
7509 The following example demonstrates its use.
7511 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7514 #(add-balloon-text 'NoteHead "heads, or tails?"
7520 The function @code{add-balloon-text} takes the name of a grob, the
7521 label to print and where to put the label relative to the object. In
7522 the above example, the text ``heads or tails?'' ends 3 spaces below
7526 @cindex notation, explaining
7530 Program reference: @internalsref{text-balloon-interface}.
7532 Examples: @inputfileref{input/regression,balloon.ly}.
7534 @node Easy Notation note heads
7535 @subsection Easy Notation note heads
7537 @cindex easy notation
7540 The `easy play' note head includes a name inside the head. It is
7541 used in music for beginners
7543 @lilypond[quote,raggedright,verbatim,staffsize=26]
7548 The command @code{\setEasyHeads} overrides settings for the
7549 @internalsref{NoteHead} object. To make the letters readable, it has
7550 to be printed in a large font size. To print with a larger font, see
7551 @ref{Setting global staff size}.
7556 If you view the result with Xdvi, staff lines may show through the
7557 letters. Printing the PostScript file obtained does produce the
7562 @cindex \setEasyHeads
7563 @code{\setEasyHeads}
7569 Entered music can also be converted to MIDI output. The performance
7570 is intended for proof-hearing the music for errors.
7572 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7573 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7574 marks translate to a fixed fraction of the available MIDI volume
7575 range, crescendi and decrescendi make the volume vary linearly between
7576 their two extremities. The fractions can be adjusted by
7577 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7578 For each type of MIDI instrument, a volume range can be defined. This
7579 gives a basic equalizer control, which can enhance the quality of
7580 the MIDI output remarkably. The equalizer can be controlled by
7581 setting @code{instrumentEqualizer}.
7585 Many musically interesting effects, such as swing, articulation,
7586 slurring, etc., are not translated to MIDI.
7588 The MIDI output allocates a channel for each Staff, and one for global
7589 settings. Hence, the MIDI file should not have more than 15 staves
7590 (or 14 if you do not use drums). Other staves will remain silent.
7592 Not all MIDI players correctly handle tempo change in the MIDI
7593 output. Players that are known to work include
7594 @uref{timidity,http://timidity.sourceforge.net/}
7599 * MIDI instrument names::
7604 @subsection MIDI block
7608 The MIDI block is analogous to the paper block, but it is somewhat
7609 simpler. The @code{\midi} block can contain
7613 @item a @code{\tempo} definition, and
7614 @item context definitions.
7617 A number followed by a period is interpreted as a real number, so
7618 for setting the tempo for dotted notes, an extra space should be
7619 inserted, for example
7622 \midi @{ \tempo 4 . = 120 @}
7626 @cindex context definition
7628 Context definitions follow precisely the same syntax as within the
7629 \paper block. Translation modules for sound are called performers.
7630 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7633 @node MIDI instrument names
7634 @subsection MIDI instrument names
7636 @cindex instrument names
7637 @cindex @code{Staff.midiInstrument}
7639 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7640 property. The instrument name should be chosen from the list in
7641 @ref{MIDI instruments}.
7645 If the selected string does not exactly match, the default is used,
7646 which is the Grand Piano.