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
236 @lilypond[quote,raggedright,verbatim]
242 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}
255 @lilypond[quote,raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command
262 @lilypond[quote,raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[quote,raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[quote,fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
349 In the following example, the first three notes take up exactly two
350 beats, but no triplet bracket is printed.
351 @lilypond[quote,fragment,relative=3,verbatim]
353 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 This manual: @ref{Tuplets}
374 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
379 Whenever a note is found, a @internalsref{Stem} object is created
380 automatically. For whole notes and rests, they are also created but
385 @cindex @code{\stemUp}
387 @cindex @code{\stemDown}
389 @cindex @code{\stemBoth}
400 A tie connects two adjacent note heads of the same pitch. The tie in
401 effect extends the length of a note. Ties should not be confused with
402 slurs, which indicate articulation, or phrasing slurs, which indicate
403 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
405 @lilypond[quote,fragment,verbatim]
406 e' ~ e' <c' e' g'> ~ <c' e' g'>
409 When a tie is applied to a chord, all note heads whose pitches match
410 are connected. When no note heads match, no ties will be created.
412 In its meaning a tie is just a way of extending a note duration, similar
413 to the augmentation dot; in the following example there are two ways of
414 notating exactly the same concept
416 @lilypond[quote,fragment,raggedright]
417 \time 3/4 c'2. c'2 ~ c'4
419 If you need to tie a lot of notes over bars, it may be easier to use automatic
420 note splitting (see @ref{Automatic note splitting}).
425 @cindex @code{\tieUp}
427 @cindex @code{\tieDown}
429 @cindex @code{\tieBoth}
431 @cindex @code{\tieDotted}
433 @cindex @code{\tieSolid}
438 In this manual: @ref{Automatic note splitting}.
440 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
442 For tying only a subset of the note heads of a pair of chords, see
443 @inputfileref{input/regression,tie-chord-partial.ly}.
448 Switching staves when a tie is active will not produce a slanted tie.
450 Formatting of ties is a difficult subject. The results are often not
460 @cindex @code{\times}
462 Tuplets are made out of a music expression by multiplying all durations
465 @cindex @code{\times}
467 \times @var{fraction} @var{musicexpr}
471 The duration of @var{musicexpr} will be multiplied by the fraction.
472 The fraction's denominator will be printed over the notes, optionally
473 with a bracket. The most common tuplet is the triplet in which 3
474 notes have the length of 2, so the notes are 2/3 of their written
477 @lilypond[quote,fragment,verbatim]
478 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
481 The property @code{tupletSpannerDuration} specifies how long each
482 bracket should last. With this, you can make lots of tuplets while
483 typing @code{\times} only once, saving lots of typing. In the next
484 example, there are two triplets shown, while @code{\times} was only
487 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
488 \set tupletSpannerDuration = #(ly:make-moment 1 4)
489 \times 2/3 { c'8 c c c c c }
492 The format of the number is determined by the property
493 @code{tupletNumberFormatFunction}. The default prints only the
494 denominator, but if it is set to the Scheme function
495 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
499 @cindex @code{tupletNumberFormatFunction}
500 @cindex tuplet formatting
505 @cindex @code{\tupletUp}
507 @cindex @code{\tupletDown}
509 @cindex @code{\tupletBoth}
514 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
516 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
520 Nested tuplets are not formatted automatically. In this case, outer
521 tuplet brackets should be moved manually, which is demonstrated in
522 @inputfileref{input/regression,tuplet-nest.ly}.
526 @node Easier music entry
527 @section Easier music entry
530 This section deals with tricks and features of the input language that
531 were added solely to help entering music, finding and correcting
532 mistakes. There are also external tools that make debugging easier.
533 See @ref{Point and click} for more information.
535 It is also possible to enter and edit music using other programs. For
536 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
537 website for more information.
544 * Skipping corrected music::
545 * Automatic note splitting::
551 @node Relative octaves
552 @subsection Relative octaves
554 @cindex relative octave specification
556 Octaves are specified by adding @code{'} and @code{,} to pitch names.
557 When you copy existing music, it is easy to accidentally put a pitch
558 in the wrong octave and hard to find such an error. The relative
559 octave mode prevents these errors: a single error puts the rest of the
560 piece off by one octave
562 @cindex @code{\relative}
564 \relative @var{startpitch} @var{musicexpr}
567 The octave of notes that appear in @var{musicexpr} are calculated as
568 follows: If no octave changing marks are used, the basic interval
569 between this and the last note is always taken to be a fourth or
570 less. This distance is determined without regarding alterations; a
571 @code{fisis} following a @code{ceses} will be put above the
574 The octave changing marks @code{'} and @code{,} can be added to raise
575 or lower the pitch by an extra octave. Upon entering relative mode,
576 an absolute starting pitch must be specified that will act as the
577 predecessor of the first note of @var{musicexpr}.
579 Here is the relative mode shown in action
580 @lilypond[quote,fragment,raggedright,verbatim]
586 Octave changing marks are used for intervals greater than a fourth
587 @lilypond[quote,fragment,verbatim]
593 If the preceding item is a chord, the first note of the chord is used
594 to determine the first note of the next chord
596 @lilypond[quote,fragment,verbatim]
603 @cindex @code{\notes}
605 The pitch after the @code{\relative} contains a note name. To parse
606 the note name as a pitch, it must surrounded by @code{\notes}
608 The relative conversion will not affect @code{\transpose},
609 @code{\chords} or @code{\relative} sections in its argument. If you
610 want to use relative within transposed music, you must place an
611 additional @code{\relative} inside the @code{\transpose}.
614 @subsection Octave check
617 Octave checks make octave errors easier to correct: a note may be
618 followed by @code{=}@var{quotes} which indicates what its absolute
619 octave should be. In the following example,
621 \relative c'' @{ c='' b=' d,='' @}
625 @c take care with @code, adds confusing quotes.
626 the d will generate a warning, because a d'' is expected, but a d' is
627 found. In the output, the octave is corrected for this and the
632 There is also a syntax that is separate from the notes.
637 This checks that @var{pitch} (without octave) yields @var{pitch} (with
638 octave) in \relative mode. If not, a warning is printed, and the
639 octave is corrected, for example, the first check is passed
640 successfully. The second check fails with an error message. The
641 octave is adjusted so the following notes are in the correct octave
652 The octave of a note following an octave check is determined with
653 respect to the note preceding it. In the next fragment, the last note
654 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
655 be deleted without changing the meaning of the piece.
657 @lilypond[quote,verbatim,fragment]
666 @subsection Bar check
670 @cindex @code{barCheckSynchronize}
673 Bar checks help detect errors in the durations. A bar check is
674 entered using the bar symbol, `@code{|}'. Whenever it is encountered
675 during interpretation, it should fall on a measure boundary. If it
676 does not, a warning is printed. In the next example, the second bar
677 check will signal an error
679 \time 3/4 c2 e4 | g2 |
682 Bar checks can also be used in lyrics, for example
687 Twin -- kle | Twin -- kle
692 @cindex skipTypesetting
694 Failed bar checks are caused by entering incorrect
695 durations. Incorrect durations often completely garble up the score,
696 especially if it is polyphonic, so you should start correcting the
697 score by scanning for failed bar checks and incorrect durations. To
698 speed up this process, you can use @code{skipTypesetting}, described
701 @node Skipping corrected music
702 @subsection Skipping corrected music
704 The property @code{Score.skipTypesetting} can be used to switch on and
705 off typesetting completely during the interpretation phase. When
706 typesetting is switched off, the music is processed much more quickly.
707 This can be used to skip over the parts of a score that have already
708 been checked for errors
710 @lilypond[quote,fragment,raggedright,verbatim]
712 \set Score.skipTypesetting = ##t
714 \set Score.skipTypesetting = ##f
718 @node Automatic note splitting
719 @subsection Automatic note splitting
721 Long notes can be converted automatically to tied notes. This is done
722 by replacing the @internalsref{Note_heads_engraver} by the
723 @internalsref{Completion_heads_engraver}.
724 In the following examples, notes crossing the bar line are split and tied.
727 @lilypond[quote,fragment,noindent,verbatim,relative=2,raggedright]
729 \remove "Note_heads_engraver"
730 \consists "Completion_heads_engraver"
732 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
736 This engraver splits all running notes at the bar line, and inserts
737 ties. One of its uses is to debug complex scores: if the measures are
738 not entirely filled, then the ties exactly show how much each measure
743 Not all durations (especially those containing tuplets) can be
744 represented exactly; the engraver will not insert tuplets.
748 Examples: @inputfileref{input/regression,completion-heads.ly}.
750 Program reference: @internalsref{Completion_heads_engraver}.
754 @section Staff notation
756 This section describes music notation that occurs on staff level,
757 such as keys, clefs and time signatures.
759 @cindex Staff notation
773 @subsection Staff symbol
775 @cindex adjusting staff symbol
777 Notes, dynamic signs, etc. are grouped
778 with a set of horizontal lines, into a staff (plural `staves'). In our
779 system, these lines are drawn using a separate layout object called
783 @cindex staff lines, setting number of
784 @cindex staff lines, setting thickness of
785 @cindex thickness of staff lines, setting
786 @cindex number of staff lines, setting
790 Program reference: @internalsref{StaffSymbol}.
792 Examples: @inputfileref{input/test,staff-lines.ly},
793 @inputfileref{input/test,staff-size.ly}.
797 If a staff is ended halfway a piece, the staff symbol may not end
798 exactly on the bar line.
802 @subsection Key signature
803 @cindex Key signature
807 The key signature indicates the scale in which a piece is played. It
808 is denoted by a set of alterations (flats or sharps) at the start of
812 Setting or changing the key signature is done with the @code{\key}
815 @code{\key} @var{pitch} @var{type}
818 @cindex @code{\minor}
819 @cindex @code{\major}
820 @cindex @code{\minor}
821 @cindex @code{\ionian}
822 @cindex @code{\locrian}
823 @cindex @code{\aeolian}
824 @cindex @code{\mixolydian}
825 @cindex @code{\lydian}
826 @cindex @code{\phrygian}
827 @cindex @code{\dorian}
829 Here, @var{type} should be @code{\major} or @code{\minor} to get
830 @var{pitch}-major or @var{pitch}-minor, respectively.
831 The standard mode names @code{\ionian},
832 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
833 @code{\phrygian}, and @code{\dorian} are also defined.
835 This command sets the context property
836 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
837 can be specified by setting this property directly.
839 Accidentals and key signatures often confuse new users, because
840 unaltered notes get natural signs depending on the key signature. For
841 more information, see @ref{More about pitches}.
845 The ordering of a key cancellation is wrong when it is combined with
846 repeat bar lines. The cancellation is also printed after a line break.
850 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
852 @cindex @code{keySignature}
859 The clef indicates which lines of the staff correspond to which
863 The clef can be set or changed with the @code{\clef} command
864 @lilypond[quote,fragment,verbatim]
865 \key f\major c''2 \clef alto g'2
868 Supported clef-names include
869 @c Moved standard clefs to the top /MB
873 @item treble, violin, G, G2
886 G clef on 1st line, so-called French violin clef
891 @cindex mezzosoprano clef
894 @cindex baritone clef
897 @cindex varbaritone clef
908 By adding @code{_8} or @code{^8} to the clef name, the clef is
909 transposed one octave down or up, respectively, and @code{_15} and
910 @code{^15} transposes by two octaves. The argument @var{clefname}
911 must be enclosed in quotes when it contains underscores or digits. For
915 @cindex choral tenor clef
916 @lilypond[quote,verbatim,fragment,relative=1]
920 This command is equivalent to setting @code{clefGlyph},
921 @code{clefPosition} (which controls the Y position of the clef),
922 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
923 when any of these properties are changed.
927 Program reference: the object for this symbol is @internalsref{Clef}.
931 @node Ottava brackets
932 @subsection Ottava brackets
934 ``Ottava'' brackets introduce an extra transposition of an octave for
935 the staff. They are created by invoking the function
936 @code{set-octavation}
942 @lilypond[quote,verbatim,fragment]
952 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
953 (for 15ma) as arguments. Internally the function sets the properties
954 @code{ottavation} (e.g. to @code{"8va"}) and
955 @code{centralCPosition}. For overriding the text of the bracket, set
956 @code{ottavation} after invoking @code{set-octavation}, i.e.,
960 \set Staff.ottavation = #"8"
965 Program reference: @internalsref{OttavaBracket}.
967 Examples: @inputfileref{input/regression,ottava.ly},
968 @inputfileref{input/regression,ottava-broken.ly}.
972 @code{set-octavation} will get confused when clef changes happen
973 during an octavation bracket.
976 @subsection Time signature
977 @cindex Time signature
981 Time signature indicates the metrum of a piece: a regular pattern of
982 strong and weak beats. It is denoted by a fraction at the start of the
986 The time signature is set or changed by the @code{\time}
988 @lilypond[quote,fragment,verbatim]
989 \time 2/4 c'2 \time 3/4 c'2.
992 The symbol that is printed can be customized with the @code{style}
993 property. Setting it to @code{#'()} uses fraction style for 4/4 and
994 2/2 time. There are many more options for its layout. See
995 @inputfileref{input/test,time.ly} for more examples.
998 This command sets the property @code{timeSignatureFraction},
999 @code{beatLength} and @code{measureLength} in the @code{Timing}
1000 context, which is normally aliased to @internalsref{Score}. The
1001 property @code{measureLength} determines where bar lines should be
1002 inserted, and how automatic beams should be generated. Changing the
1003 value of @code{timeSignatureFraction} also causes the symbol to be
1006 More options are available through the Scheme function
1007 @code{set-time-signature}. In combination with the
1008 @internalsref{Measure_grouping_engraver}, it will create
1009 @internalsref{MeasureGrouping} signs. Such signs ease reading
1010 rhythmically complex modern music. In the following example, the 9/8
1011 measure is subdivided in 2, 2, 2 and 3. This is passed to
1012 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1014 @lilypond[quote,raggedright,verbatim]
1016 \notes \relative c'' {
1017 #(set-time-signature 9 8 '(2 2 2 3))
1018 g8[ g] d[ d] g[ g] a8[( bes g]) |
1019 #(set-time-signature 5 8 '(3 2))
1025 \consists "Measure_grouping_engraver"
1033 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1038 Automatic beaming does not use the measure grouping specified with
1039 @code{set-time-signature}.
1041 @node Partial measures
1042 @subsection Partial measures
1045 @cindex partial measure
1046 @cindex measure, partial
1047 @cindex shorten measures
1048 @cindex @code{\partial}
1050 Partial measures, for example in upsteps, are entered using the
1051 @code{\partial} command
1052 @lilypond[quote,fragment,verbatim,relative=2]
1053 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1056 The syntax for this command is
1058 \partial @var{duration}
1060 This is internally translated into
1062 \set Timing.measurePosition = -@var{length of duration}
1065 The property @code{measurePosition} contains a rational number
1066 indicating how much of the measure has passed at this point.
1068 @node Unmetered music
1069 @subsection Unmetered music
1071 Bar lines and bar numbers are calculated automatically. For unmetered
1072 music (e.g. cadenzas), this is not desirable. By setting
1073 @code{Score.timing} to false, this automatic timing can be switched
1074 off. Empty bar lines,
1081 indicate where line breaks can occur.
1087 @cindex @code{\cadenzaOn}
1089 @cindex @code{\cadenzaOff}
1093 @subsection Bar lines
1097 @cindex measure lines
1101 Bar lines delimit measures, but are also used to indicate repeats.
1102 Normally, they are inserted automatically. Line breaks may only
1103 happen on bar lines.
1105 Special types of bar lines can be forced with the @code{\bar} command
1107 @lilypond[quote,relative=2,fragment,verbatim]
1111 The following bar types are available
1112 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1125 For allowing line breaks, there is a special command,
1129 This will insert an invisible bar line, and allow line breaks at this
1132 In scores with many staves, a @code{\bar} command in one staff is
1133 automatically applied to all staves. The resulting bar lines are
1134 connected between different staves of a @internalsref{StaffGroup}
1136 @lilypond[quote,fragment,verbatim]
1138 \context StaffGroup <<
1144 \new Staff { \clef bass c4 g e g }
1146 \new Staff { \clef bass c2 c2 }
1150 A bar line is created whenever the @code{whichBar} property is set.
1151 At the start of a measure it is set to the contents of
1152 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1153 to override default measure bars.
1155 The command @code{\bar }@var{bartype} is a short cut for doing
1156 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1157 is set to a string, a bar line of that type is created.
1160 @cindex repeatCommands
1161 @cindex defaultBarType
1163 You are encouraged to use @code{\repeat} for repetitions. See
1170 In this manual: @ref{Repeats}.
1173 Program reference: the bar line objects that are created at
1174 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1175 lines that span staves are @internalsref{SpanBar} objects.
1177 @cindex bar lines at start of system
1178 @cindex start of system
1180 The bar lines at the start of each system are
1181 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1182 @internalsref{SystemStartBracket}. Only one of these types is created
1183 in every context, and that type is determined by the property
1184 @code{systemStartDelimiter}.
1186 Examples: @inputfileref{input/test,bar-lines.ly},
1192 The easiest way to enter fragments with more than one voice on a staff
1193 is to split chords using the separator @code{\\}. You can use it for
1194 small, short-lived voices or for single chords
1196 @lilypond[quote,verbatim,fragment]
1197 \context Staff \relative c'' {
1198 c4 << { f d e } \\ { b c2 } >>
1199 c4 << g' \\ b, \\ f' \\ d >>
1203 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1204 voices are sometimes called "layers" other notation packages}
1206 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1207 each of these contexts, vertical direction of slurs, stems, etc. is set
1210 @cindex @code{\voiceOne}
1211 @cindex @code{\voiceFour}
1213 This can also be done by instantiating @internalsref{Voice} contexts
1214 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1215 a stem directions and horizontal shift for each part
1218 @lilypond[quote,raggedright,verbatim]
1221 \new Voice { \voiceOne cis2 b }
1222 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1223 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1227 The command @code{\oneVoice} will revert back to the normal setting.
1228 @cindex @code{\oneVoice}
1231 Normally, note heads with a different number of dots are not merged, but
1232 when the object property @code{merge-differently-dotted} is set in
1233 the @internalsref{NoteCollision} object, they are merged
1234 @lilypond[quote,verbatim,fragment,raggedright]
1235 \relative c'' \context Voice << {
1237 \override Staff.NoteCollision
1238 #'merge-differently-dotted = ##t
1240 } \\ { g8.[ f16] g8.[ f16] } >>
1243 Similarly, you can merge half note heads with eighth notes, by setting
1244 @code{merge-differently-headed}
1245 @lilypond[quote,fragment,relative=3,verbatim]
1248 \override Staff.NoteCollision
1249 #'merge-differently-headed = ##t
1250 c8 c4. } \\ { c2 c2 } >>
1253 LilyPond also vertically shifts rests that are opposite of a stem
1256 @lilypond[quote,raggedright,fragment,verbatim]
1257 \context Voice << c''4 \\ r4 >>
1265 @cindex @code{\oneVoice}
1267 @cindex @code{\voiceOne}
1269 @cindex @code{\voiceTwo}
1271 @cindex @code{\voiceThree}
1273 @cindex @code{\voiceFour}
1277 The following commands specify in what chords of the current voice
1278 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1279 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1282 @cindex @code{\shiftOn}
1284 @cindex @code{\shiftOnn}
1286 @cindex @code{\shiftOnnn}
1288 @cindex @code{\shiftOff}
1295 Program reference: the objects responsible for resolving collisions are
1296 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1298 Examples: See also example files
1299 @inputfileref{input/regression,collision-dots.ly},
1300 @inputfileref{input/regression,collision-head-chords.ly},
1301 @inputfileref{input/regression,collision-heads.ly},
1302 @inputfileref{input/regression,collision-mesh.ly}, and
1303 @inputfileref{input/regression,collisions.ly}.
1308 Resolving collisions is a intricate subject, and only a few situations
1309 are handled. When LilyPond cannot cope, the @code{force-hshift}
1310 property of the @internalsref{NoteColumn} object and pitched rests can
1311 be used to override typesetting decisions.
1313 When using @code{merge-differently-headed} with an upstem eighth or a
1314 shorter note, and a downstem half note, the eighth note gets the wrong
1317 There is no support for clusters where the same note occurs with
1318 different accidentals in the same chord. In this case, it is
1319 recommended to use enharmonic transcription, or to use special cluster
1320 notation (see @ref{Clusters}).
1325 Beams are used to group short notes into chunks that are aligned with
1326 the metrum. They are inserted automatically
1328 @lilypond[quote,fragment,verbatim,relative=3]
1329 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1332 When these automatic decisions are not good enough, beaming can be
1333 entered explicitly. It is also possible to define beaming patterns
1334 that differ from the defaults.
1336 Individual notes may be marked with @code{\noBeam}, to prevent them
1339 @lilypond[quote,fragment,verbatim,relative=3]
1340 \time 2/4 c8 c\noBeam c c
1346 Program reference: @internalsref{Beam}.
1349 @cindex Automatic beams
1352 * Setting automatic beam behavior::
1356 @subsection Manual beams
1357 @cindex beams, manual
1361 In some cases it may be necessary to override the automatic beaming
1362 algorithm. For example, the autobeamer will not put beams over rests
1363 or bar lines. Such beams are specified by manually: the begin and end
1364 point are marked with @code{[} and @code{]}
1366 @lilypond[quote,fragment,relative=1,verbatim]
1368 r4 r8[ g' a r8] r8 g[ | a] r8
1372 @cindex @code{stemLeftBeamCount}
1374 Normally, beaming patterns within a beam are determined automatically.
1375 If necessary, the properties @code{stemLeftBeamCount} and
1376 @code{stemRightBeamCount} can be used to override the defaults. If
1377 either property is set, its value will be used only once, and then it
1380 @lilypond[quote,fragment,relative=1,verbatim]
1383 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1386 @cindex @code{stemRightBeamCount}
1389 The property @code{subdivideBeams} can be set in order to subdivide
1390 all 16th or shorter beams at beat positions, as defined by the
1391 @code{beatLength} property.
1394 @lilypond[quote,relative=2,verbatim,noindent]
1396 \set subdivideBeams = ##t
1398 \set Score.beatLength = #(ly:make-moment 1 8)
1401 @cindex subdivideBeams
1403 Kneed beams are inserted automatically, when a large gap is detected
1404 between the note heads. This behavior can be tuned through the object
1405 property @code{auto-knee-gap}.
1407 Normally, line breaks are forbidden when beams cross bar lines. This
1408 behavior can be changed by setting @code{allowBeamBreak}.
1410 @cindex @code{allowBeamBreak}
1411 @cindex beams and line breaks
1413 @cindex beams, kneed
1415 @cindex auto-knee-gap
1421 @cindex Frenched staves
1423 Automatically kneed cross-staff beams cannot be used together with
1429 @node Setting automatic beam behavior
1430 @subsection Setting automatic beam behavior
1432 @cindex @code{autoBeamSettings}
1433 @cindex @code{(end * * * *)}
1434 @cindex @code{(begin * * * *)}
1435 @cindex automatic beams, tuning
1436 @cindex tuning automatic beaming
1438 @c [TODO: use \applycontext]
1440 In normal time signatures, automatic beams can start on any note but can
1441 only end in a few positions within the measure: beams can end on a beat,
1442 or at durations specified by the properties in
1443 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1444 are defined in @file{scm/auto-beam.scm}.
1446 The value of @code{autoBeamSettings} is changed with two functions,
1448 #(override-auto-beam-setting
1449 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1451 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1453 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1454 @var{context} is an optional context (default: @code{'Voice}). It
1455 determines whether the rule applies to begin or end-points. The
1456 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1457 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1458 to a time signature (wildcards `@code{* *}' may be entered to
1459 designate all time signatures), @var{a}/@var{b} is a duration. By
1460 default, this command changes settings for the current voice. It is
1461 also possible to adjust settings at higher contexts, by adding a
1462 @var{context} argument.
1464 For example, if automatic beams should end on every quarter note, use
1467 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1469 Since the duration of a quarter note is 1/4 of a whole note, it is
1470 entered as @code{(ly:make-moment 1 4)}.
1472 The same syntax can be used to specify beam starting points. In this
1473 example, automatic beams can only end on a dotted quarter note
1475 #(override-auto-beam-setting '(end * * * *) 3 8)
1477 In 4/4 time signature, this means that automatic beams could end only on
1478 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1479 3/8, has passed within the measure).
1481 Rules can also be restricted to specific time signatures. A rule that
1482 should only be applied in @var{N}/@var{M} time signature is formed by
1483 replacing the second asterisks by @var{N} and @var{M}. For example, a
1484 rule for 6/8 time exclusively looks like
1486 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1489 If a rule should be to applied only to certain types of beams, use the
1490 first pair of asterisks. Beams are classified according to the
1491 shortest note they contain. For a beam ending rule that only applies
1492 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1495 @cindex automatic beam generation
1497 @cindex @code{autoBeaming}
1500 If beams are used to indicate melismata in songs, then automatic
1501 beaming should be switched off. This is done by setting
1502 @code{autoBeaming} to @code{#f}.
1506 @cindex @code{\autoBeamOff}
1507 @code{\autoBeamOff},
1508 @cindex @code{\autoBeamOn}
1514 If a score ends while an automatic beam has not been ended and is
1515 still accepting notes, this last beam will not be typeset at all. The
1516 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1517 >>}. If a polyphonic voice ends while an automatic beam is still
1518 accepting notes, it is not typeset.
1520 The rules for ending a beam depend on the shortest note in a beam.
1521 So, while it is possible to have different ending rules for eight
1522 beams and sixteenth beams, a beam that contains both eight and
1523 sixteenth notes will use the rules for the sixteenth beam.
1525 In the example below, the autobeamer makes eight beams and sixteenth
1526 end at 3 eights; the third beam can only be corrected by specifying
1529 @lilypond[quote,raggedright,fragment,relative=1]
1530 #(override-auto-beam-setting '(end * * * *) 3 8)
1531 % rather show case where it goes wrong
1532 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1533 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1535 It is not possible to specify beaming parameters that act differently in
1536 different parts of a measure. This means that it is not possible to use
1537 automatic beaming in irregular meters such as @code{5/8}.
1540 @section Accidentals
1543 This section describes how to change the way that accidentals are
1544 inserted automatically before the running notes.
1546 Common rules for typesetting accidentals have been canned in a
1547 function. This function is called as follows
1549 @cindex @code{set-accidental-style}
1551 #(set-accidental-style 'modern 'Voice)
1554 The function takes two arguments: a symbol that denotes the style (in
1555 the example, @code{modern}), and another symbol that denotes the
1556 context name (in this example, @code{Voice}). If no context name is
1557 supplied, @code{Staff} is the default.
1559 The following styles are supported
1562 This is the default typesetting behavior. It should correspond
1563 to 18th century common practice: Accidentals are
1564 remembered to the end of the measure in which they occur and
1565 only on their own octave.
1569 The normal behavior is to remember the accidentals on
1570 Staff-level. This variable, however, typesets accidentals
1571 individually for each voice. Apart from that, the rule is similar to
1574 This leads to some weird and often unwanted results
1575 because accidentals from one voice do not get canceled in other
1577 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1579 #(set-accidental-style 'voice)
1585 Hence you should only use @code{voice} if the voices
1586 are to be read solely by individual musicians. If the staff is to be
1587 used by one musician (e.g. a conductor) then you use
1588 @code{modern} or @code{modern-cautionary}
1592 @cindex @code{modern} style accidentals
1593 This rule corresponds to the common practice in the 20th
1595 This rule prints the same accidentals as @code{default}, but temporary
1596 accidentals also are canceled in other octaves. Furthermore,
1597 in the same octave, they also get canceled in the following
1600 @lilypond[quote,raggedright,fragment,verbatim]
1601 #(set-accidental-style 'modern)
1602 cis' c'' cis'2 | c'' c'
1605 @item @code{modern-cautionary}
1606 @cindex @code{modern-cautionary}
1607 This rule is similar to @code{modern}, but the
1608 ``extra'' accidentals (the ones not typeset by
1609 @code{default}) are typeset as cautionary accidentals.
1610 They are printed in reduced size or with parentheses
1611 @lilypond[quote,raggedright,fragment,verbatim]
1612 #(set-accidental-style 'modern-cautionary)
1613 cis' c'' cis'2 | c'' c'
1616 @cindex @code{modern-voice}
1618 This rule is used for multivoice accidentals to be read both by musicians
1619 playing one voice and musicians playing all voices. Accidentals are
1620 typeset for each voice, but they @emph{are} canceled across voices in
1621 the same @internalsref{Staff}.
1623 @cindex @code{modern-voice-cautionary}
1624 @item modern-voice-cautionary
1625 This rule is the same as @code{modern-voice}, but with the extra
1626 accidentals (the ones not typeset by @code{voice}) typeset
1627 as cautionaries. Even though all accidentals typeset by
1628 @code{default} @emph{are} typeset by this variable then
1629 some of them are typeset as cautionaries.
1632 @cindex @code{piano} accidentals
1633 This rule reflects 20th century practice for piano notation. Very similar to
1634 @code{modern} but accidentals also get canceled
1635 across the staves in the same @internalsref{GrandStaff} or
1636 @internalsref{PianoStaff}.
1638 @item piano-cautionary
1639 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1640 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1641 typeset as cautionaries.
1644 @cindex @code{no-reset} accidental style
1646 This is the same as @code{default} but with accidentals lasting
1647 ``forever'' and not only until the next measure
1648 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1649 #(set-accidental-style 'no-reset)
1654 This is sort of the opposite of @code{no-reset}: Accidentals
1655 are not remembered at all---and hence all accidentals are
1656 typeset relative to the key signature, regardless of what was
1659 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1660 #(set-accidental-style 'forget)
1661 \key d\major c4 c cis cis d d dis dis
1668 Program reference: @internalsref{Accidental_engraver},
1669 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1674 Simultaneous notes are considered to be entered in sequential
1675 mode. This means that in a chord the accidentals are typeset as if the
1676 notes in the chord happened once at a time - in the order in which
1677 they appear in the input file.
1679 This is only a problem when accidentals in a chord depend on each
1680 other. This problem can be solved by manually inserting @code{!} and
1681 @code{?} for the problematic notes.
1683 In the default scheme, accidentals only depend on other
1684 accidentals with the same pitch on the same staff, so no conflicts are
1687 @node Expressive marks
1688 @section Expressive marks
1691 @c todo: should change ordering
1692 @c where to put text spanners, metronome marks,
1701 * Analysis brackets::
1703 * Fingering instructions::
1714 A slur indicates that notes are to be played bound or @emph{legato}.
1717 They are entered using parentheses
1718 @lilypond[quote,relative=2,fragment,verbatim]
1719 f( g)( a) a8 b( a4 g2 f4)
1724 @c TODO: should explain that ^( and _( set directions
1725 @c should set attachments with ^ and _ ?
1727 Slurs avoid crossing stems, and are generally attached to note heads.
1728 However, in some situations with beams, slurs may be attached to stem
1729 ends. If you want to override this layout you can do this through the
1730 object property @code{attachment} of @internalsref{Slur}. Its value
1731 is a pair of symbols, specifying the attachment type of the left and
1734 @lilypond[quote,fragment,relative=1,verbatim]
1736 \override Stem #'length = #5.5
1738 \override Slur #'attachment = #'(stem . stem)
1742 If a slur would strike through a stem or beam, the slur will be moved
1743 away upward or downward. If this happens, attaching the slur to the
1744 stems might look better
1746 @lilypond[quote,fragment,relative=1,verbatim]
1749 \override Slur #'attachment = #'(stem . stem)
1756 @cindex @code{\slurUp}
1758 @cindex @code{\slurDown}
1760 @cindex @code{\slurBoth}
1762 @cindex @code{\slurDotted}
1764 @cindex @code{\slurSolid}
1769 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1774 Producing nice slurs is a difficult problem, and LilyPond
1775 uses a simple, empiric method to produce slurs. In some cases, its
1779 @cindex Adjusting slurs
1781 @node Phrasing slurs
1782 @subsection Phrasing slurs
1784 @cindex phrasing slurs
1785 @cindex phrasing marks
1787 A phrasing slur (or phrasing mark) connects chords and is used to
1788 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1791 @lilypond[quote,fragment,verbatim,relative=1]
1792 \time 6/4 c'\( d( e) f( e) d\)
1795 Typographically, the phrasing slur behaves almost exactly like a
1796 normal slur. However, they are treated as different objects. A
1797 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1798 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1799 @code{\phrasingSlurBoth}.
1801 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1802 will only affect normal slurs and not phrasing slurs.
1806 @cindex @code{\phrasingSlurUp}
1807 @code{\phrasingSlurUp},
1808 @cindex @code{\phrasingSlurDown}
1809 @code{\phrasingSlurDown},
1810 @cindex @code{\phrasingSlurBoth}
1811 @code{\phrasingSlurBoth}.
1815 Program reference: see also @internalsref{PhrasingSlur}, and
1816 @internalsref{PhrasingSlurEvent}.
1820 Phrasing slurs have the same limitations in their formatting as normal
1821 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1824 @subsection Breath marks
1826 Breath marks are entered using @code{\breathe}
1829 @lilypond[quote,fragment,relative=1,verbatim]
1833 The glyph of the breath mark can be tuned by overriding the
1834 @code{text} property of the @code{BreathingSign} layout object with
1835 any markup text. For example,
1836 @lilypond[quote,fragment,verbatim,relative=1]
1838 \override BreathingSign #'text
1839 = #(make-musicglyph-markup "scripts-rvarcomma")
1846 Program reference: @internalsref{BreathingSign},
1847 @internalsref{BreathingSignEvent}.
1849 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1852 @node Metronome marks
1853 @subsection Metronome marks
1856 @cindex beats per minute
1857 @cindex metronome marking
1859 Metronome settings can be entered as follows
1861 \tempo @var{duration} = @var{per-minute}
1864 In the MIDI output, they are interpreted as a tempo change, and in the
1865 paper output, a metronome marking is printed
1866 @cindex @code{\tempo}
1867 @lilypond[quote,fragment,verbatim]
1873 Program reference: @internalsref{MetronomeChangeEvent}.
1878 @subsection Text spanners
1879 @cindex Text spanners
1881 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1882 are written as texts, and extended over many measures with dotted
1883 lines. You can create such texts using text spanners: attach
1884 @code{\startTextSpan} and @code{\stopTextSpan} to the
1885 start and ending note of the spanner.
1887 The string to be printed, as well as the style, is set through object
1890 @lilypond[quote,fragment,relative=1,verbatim]
1893 \override TextSpanner #'direction = #-1
1894 \override TextSpanner #'edge-text = #'("rall " . "")
1895 c2\startTextSpan b c\stopTextSpan a
1902 Internals @internalsref{TextSpanEvent},
1903 @internalsref{TextSpanner}.
1905 Examples: @inputfileref{input/regression,text-spanner.ly}.
1908 @node Analysis brackets
1909 @subsection Analysis brackets
1911 @cindex phrasing brackets
1912 @cindex musicological analysis
1913 @cindex note grouping bracket
1915 Brackets are used in musical analysis to indicate structure in musical
1916 pieces. LilyPond supports a simple form of nested horizontal brackets.
1917 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1918 @internalsref{Staff} context. A bracket is started with
1919 @code{\startGroup} and closed with @code{\stopGroup}
1921 @lilypond[quote,raggedright,verbatim]
1923 \notes \relative c'' {
1924 c4\startGroup\startGroup
1927 c4\stopGroup\stopGroup
1931 \StaffContext \consists "Horizontal_bracket_engraver"
1937 Program reference: @internalsref{HorizontalBracket},
1938 @internalsref{NoteGroupingEvent}.
1940 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1944 @subsection Articulations
1945 @cindex Articulations
1947 @cindex articulations
1951 A variety of symbols can appear above and below notes to indicate
1952 different characteristics of the performance. They are added to a note
1953 by adding a dash and the character signifying the
1954 articulation. They are demonstrated here
1956 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1958 The meanings of these shorthands can be changed. See
1959 @file{ly/script-init.ly} for examples.
1962 The script is automatically placed, but if you need to force
1963 directions, you can use @code{_} to force them down, or @code{^} to
1965 @lilypond[quote,fragment,verbatim]
1969 Other symbols can be added using the syntax
1970 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1971 can be forced up or down using @code{^} and @code{_},
1974 @lilypond[quote,verbatim,fragment,relative=3]
1975 c\fermata c^\fermata c_\fermata
1982 @cindex staccatissimo
1991 @cindex organ pedal marks
2000 @cindex prallmordent
2004 @cindex thumb marking
2009 @lilypondfile[quote,raggedright]{script-chart.ly}
2013 @cindex @code{\scriptUp}
2015 @cindex @code{\scriptDown}
2017 @cindex @code{\scriptBoth}
2022 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2026 These note ornaments appear in the printed output but have no
2027 effect on the MIDI rendering of the music.
2030 @node Fingering instructions
2031 @subsection Fingering instructions
2035 Fingering instructions can be entered using
2037 @var{note}-@var{digit}
2039 For finger changes, use markup texts
2041 @lilypond[quote,verbatim,raggedright,fragment]
2042 c'4-1 c'4-2 c'4-3 c'4-4
2043 c'^\markup { \finger "2-3" }
2046 @cindex finger change
2051 You can use the thumb-script to indicate that a note should be
2052 played with the thumb (e.g. in cello music)
2054 @lilypond[quote,verbatim,raggedright,fragment]
2055 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2058 Fingerings for chords can also be added to individual notes
2059 of the chord by adding them after the pitches
2060 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2061 < c-1 e-2 g-3 b-5 >4
2065 In this case, setting @code{fingeringOrientations} will put fingerings next
2068 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2069 \set fingeringOrientations = #'(left down)
2070 <c-1 es-2 g-4 bes-5 > 4
2071 \set fingeringOrientations = #'(up right down)
2072 <c-1 es-2 g-4 bes-5 > 4
2073 \set fingeringOrientations = #'(right)
2077 The last note demonstrates how fingering instructions can be put close
2078 to note heads in monophonic music, using this feature.
2082 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2084 Examples: @inputfileref{input/regression,finger-chords.ly}.
2087 @subsection Text scripts
2088 @cindex Text scripts
2090 @cindex text items, non-empty
2091 @cindex non-empty texts
2093 It is possible to place arbitrary strings of text or markup text (see
2094 @ref{Text markup}) above or below notes by using a string
2095 @code{c^"text"}. By default, these indications do not influence the
2096 note spacing, but by using the command @code{\fatText}, the widths
2097 will be taken into account
2099 @lilypond[quote,fragment,raggedright,verbatim]
2101 c4^"longtext" \fatText c4_"longlongtext" c4
2105 It is possible to use @TeX{} commands in the strings, but this should
2106 be avoided because the exact dimensions of the string can then no
2111 @cindex @code{\fatText}
2113 @cindex @code{\emptyText}
2118 In this manual: @ref{Text markup}.
2120 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2126 @subsection Grace notes
2129 @c should have blurb about accaciatura / appogiatura
2131 @cindex @code{\grace}
2135 Grace notes are ornaments that are written out. The most common ones
2136 are acciaccatura, which should be played as very short. It is denoted
2137 by a slurred small note with a slashed stem. The appoggiatura is a
2138 grace note that takes a fixed fraction of the main note, is and
2139 denoted as a slurred note in small print without a slash.
2140 They are entered with the commands @code{\acciaccatura} and
2141 @code{\appoggiatura}, as demonstrated in the following example
2144 @cindex appoggiatura
2145 @cindex acciaccatura
2147 @lilypond[quote,relative=3,verbatim,fragment]
2148 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2149 \acciaccatura { g16[ f] } e4
2152 Both are special forms of the @code{\grace} command. By prefixing this
2153 keyword to a music expression, a new one is formed, which will be
2154 printed in a smaller font and takes up no logical time in a measure.
2155 @lilypond[quote,relative=3,verbatim,fragment]
2157 \grace { c16[ d16] } c2 c4
2161 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2162 @code{\grace} command does not start a slur.
2164 Internally, timing for grace notes is done using a second, `grace'
2165 time. Every point in time consists of two rational numbers: one
2166 denotes the logical time, one denotes the grace timing. The above
2167 example is shown here with timing tuples
2169 @lilypond[quote,raggedright]
2172 c4 \grace c16 c4 \grace {
2175 \new Lyrics \lyrics {
2178 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2179 \markup { (\fraction 1 4 , 0 ) } 4
2181 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2182 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2184 \markup { ( \fraction 2 4 , 0 ) }
2190 The placement of grace notes is synchronized between different staves.
2191 In the following example, there are two sixteenth graces notes for
2192 every eighth grace note
2194 @lilypond[quote,relative=3,verbatim,fragment]
2195 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2196 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2201 If you want to end a note with a grace, the standard trick is to put
2202 the grace notes after a ``space note''
2204 @lilypond[quote,fragment,verbatim,relative=3]
2207 { s2 \grace { c16[ d] } } >>
2213 By adjusting the duration of the skip note (here it is a half-note),
2214 the space between the main-note and the grace is adjusted.
2217 A @code{\grace} section will introduce special typesetting settings,
2218 for example, to produce smaller type, and set directions. Hence, when
2219 introducing layout tweaks, they should be inside the grace section,
2221 @lilypond[quote,fragment,verbatim,relative=2]
2224 \override Stem #'direction = #-1
2226 \revert Stem #'direction
2233 The overrides should also be reverted inside the grace section.
2235 If the layout of grace sections must be changed throughout the music,
2236 then this can be accomplished through the function
2237 @code{add-grace-property}. The following example undefines the Stem
2238 direction for this grace, so stems do not always point up.
2242 #(add-grace-property "Voice" Stem direction '())
2248 Another option is to change the variables @code{startGraceMusic},
2249 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2250 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2251 @code{stopAppoggiaturaMusic}. More information is in the file
2252 @file{ly/grace-init.ly}.
2257 Program reference: @internalsref{GraceMusic}.
2261 A score that starts with an @code{\grace} section needs an explicit
2262 @code{\context Voice} declaration, otherwise the main note and grace
2263 note end up on different staves.
2265 Grace note synchronization can also lead to surprises. Staff notation,
2266 such as key signatures, bar lines, etc. are also synchronized. Take
2267 care when you mix staves with grace notes and staves without, for example,
2269 @lilypond[quote,relative=3,verbatim,fragment]
2270 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2271 \new Staff { c4 \bar "|:" d4 } >>
2275 This can be remedied by inserting grace skips, for the above example
2278 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2281 Grace sections should only be used within sequential music
2282 expressions. Nesting or juxtaposing grace sections is not supported,
2283 and might produce crashes or other errors.
2287 @subsection Glissando
2290 @cindex @code{\glissando}
2292 A glissando is a smooth change in pitch. It is denoted by a line or a
2293 wavy line between two notes.
2296 A glissando line can be requested by attaching a @code{\glissando} to
2299 @lilypond[quote,fragment,relative=1,verbatim]
2305 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2307 Example files: @file{input/regression,glissando.ly}
2313 Printing text over the line (such as @emph{gliss.}) is not supported.
2317 @subsection Dynamics
2330 @cindex @code{\ffff}
2340 Absolute dynamic marks are specified using a command after a note
2341 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2342 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2343 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2344 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2346 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2347 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2357 A crescendo mark is started with @code{\<} and terminated with
2358 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2359 with @code{\!}. Because these marks are bound to notes, if you must
2360 use spacer notes if multiple marks during one note are needed
2362 @lilypond[quote,fragment,verbatim]
2363 c''\< c''\! d''\> e''\!
2364 << f''1 { s4 s4\< s4\! \> s4\! } >>
2366 This may give rise to very short hairpins. Use @code{minimum-length}
2367 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2371 \override Staff.Hairpin #'minimum-length = #5
2374 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2375 is an example how to do it
2377 @lilypond[quote,fragment,relative=3,verbatim]
2387 You can also supply your own texts
2388 @lilypond[quote,fragment,relative=1,verbatim]
2390 \set crescendoText = \markup { \italic "cresc. poco" }
2391 \set crescendoSpanner = #'dashed-line
2401 @cindex @code{\dynamicUp}
2403 @cindex @code{\dynamicDown}
2404 @code{\dynamicDown},
2405 @cindex @code{\dynamicBoth}
2406 @code{\dynamicBoth}.
2408 @cindex direction, of dynamics
2412 Program reference: @internalsref{CrescendoEvent},
2413 @internalsref{DecrescendoEvent}, and
2414 @internalsref{AbsoluteDynamicEvent}.
2416 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2417 objects. Vertical positioning of these symbols is handled by the
2418 @internalsref{DynamicLineSpanner} object.
2426 @cindex @code{\repeat}
2429 Repetition is a central concept in music, and multiple notations exist
2430 for repetitions. In LilyPond, most of these notations can be captured
2431 in a uniform syntax. One of the advantages is that they can be
2432 rendered in MIDI accurately.
2434 The following types of repetition are supported
2438 Repeated music is fully written (played) out. Useful for MIDI
2439 output, and entering repetitive music.
2442 This is the normal notation: Repeats are not written out, but
2443 alternative endings (volte) are printed, left to right.
2447 Alternative endings are written stacked. This has limited use but may be
2448 used to typeset two lines of lyrics in songs with repeats, see
2449 @inputfileref{input,star-spangled-banner.ly}.
2457 Make beat or measure repeats. These look like percent signs.
2463 * Repeats and MIDI::
2464 * Manual repeat commands::
2466 * Tremolo subdivisions::
2471 @subsection Repeat syntax
2474 LilyPond has one syntactic construct for specifying different types of
2475 repeats. The syntax is
2478 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2481 If you have alternative endings, you may add
2482 @cindex @code{\alternative}
2484 \alternative @code{@{} @var{alternative1}
2486 @var{alternative3} @dots{} @code{@}}
2488 where each @var{alternative} is a music expression. If you do not
2489 give enough alternatives for all of the repeats, the first alternative
2490 is assumed to be played more than once.
2492 Normal notation repeats are used like this
2493 @lilypond[quote,fragment,verbatim,relative=2]
2495 \repeat volta 2 { c4 d e f }
2496 \repeat volta 2 { f e d c }
2499 With alternative endings
2500 @lilypond[quote,fragment,verbatim,relative=2]
2502 \repeat volta 2 {c4 d e f}
2503 \alternative { {d2 d} {f f,} }
2507 @lilypond[quote,fragment,verbatim,relative=2]
2510 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2511 \alternative { { g4 g g } { a | a a a a | b2. } }
2517 A nested repeat like
2526 is ambiguous, since it is is not clear to which @code{\repeat} the
2527 @code{\alternative} belongs. This ambiguity is resolved by always
2528 having the @code{\alternative} belong to the inner @code{\repeat}.
2529 For clarity, it is advisable to use braces in such situations.
2532 @node Repeats and MIDI
2533 @subsection Repeats and MIDI
2535 @cindex expanding repeats
2537 For instructions on how to expand repeats for MIDI output, see the
2538 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2543 Timing information is not remembered at the start of an alternative,
2544 so after a repeat timing information must be reset by hand, for
2545 example by setting @code{Score.measurePosition} or entering
2546 @code{\partial}. Similarly, slurs or ties are also not repeated.
2549 @node Manual repeat commands
2550 @subsection Manual repeat commands
2552 @cindex @code{repeatCommands}
2554 The property @code{repeatCommands} can be used to control the layout of
2555 repeats. Its value is a Scheme list of repeat commands, where each repeat
2559 @item the symbol @code{start-repeat},
2560 which prints a @code{|:} bar line,
2561 @item the symbol @code{end-repeat},
2562 which prints a @code{:|} bar line,
2563 @item the list @code{(volta @var{text})},
2564 which prints a volta bracket saying @var{text}: The text can be specified as
2565 a text string or as a markup text, see @ref{Text markup}. Do not
2566 forget to change the font, as the default number font does not contain
2567 alphabetic characters. Or,
2568 @item the list @code{(volta #f)}, which
2569 stops a running volta bracket
2572 @lilypond[quote,verbatim,fragment,relative=3]
2574 \set Score.repeatCommands = #'((volta "93") end-repeat)
2576 \set Score.repeatCommands = #'((volta #f))
2583 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2584 @internalsref{VoltaRepeatedMusic},
2585 @internalsref{UnfoldedRepeatedMusic}, and
2586 @internalsref{FoldedRepeatedMusic}.
2588 @node Tremolo repeats
2589 @subsection Tremolo repeats
2590 @cindex tremolo beams
2592 To place tremolo marks between notes, use @code{\repeat} with tremolo
2594 @lilypond[quote,verbatim,raggedright]
2596 \context Voice \notes\relative c' {
2597 \repeat "tremolo" 8 { c16 d16 }
2598 \repeat "tremolo" 4 { c16 d16 }
2599 \repeat "tremolo" 2 { c16 d16 }
2604 Tremolo marks can also be put on a single note. In this case, the
2605 note should not be surrounded by braces.
2606 @lilypond[quote,verbatim,raggedright]
2607 \repeat "tremolo" 4 c'16
2610 A similar mechanism is the tremolo subdivision, described in
2611 @ref{Tremolo subdivisions}.
2615 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2617 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2618 tremolos are @internalsref{StemTremolo} objects. The music expression is
2619 @internalsref{TremoloEvent}.
2621 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2622 @inputfileref{input/regression,stem-tremolo.ly}.
2624 @node Tremolo subdivisions
2625 @subsection Tremolo subdivisions
2626 @cindex tremolo marks
2627 @cindex @code{tremoloFlags}
2629 Tremolo marks can be printed on a single note by adding
2630 `@code{:}[@var{length}]' after the note. The length must be at least
2631 8. A @var{length} value of 8 gives one line across the note stem. If
2632 the length is omitted, the last value (stored in @code{tremoloFlags})
2635 @lilypond[quote,verbatim,fragment]
2636 c'2:8 c':32 | c': c': |
2639 @c [TODO : stok is te kort bij 32en]
2643 Tremolos entered in this way do not carry over into the MIDI output.
2647 In this manual: @ref{Tremolo repeats}.
2649 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2651 @node Measure repeats
2652 @subsection Measure repeats
2654 @cindex percent repeats
2655 @cindex measure repeats
2657 In the @code{percent} style, a note pattern can be repeated. It is
2658 printed once, and then the pattern is replaced with a special sign.
2659 Patterns of a one and two measures are replaced by percent-like signs,
2660 patterns that divide the measure length are replaced by slashes
2662 @lilypond[quote,verbatim,raggedright]
2663 \context Voice { \repeat "percent" 4 { c'4 }
2664 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2670 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2671 @internalsref{PercentRepeatedMusic}, and
2672 @internalsref{DoublePercentRepeat}.
2676 @node Rhythmic music
2677 @section Rhythmic music
2681 * Showing melody rhythms::
2682 * Entering percussion::
2683 * Percussion staves::
2687 @node Showing melody rhythms
2688 @subsection Showing melody rhythms
2690 Sometimes you might want to show only the rhythm of a melody. This
2691 can be done with the rhythmic staff. All pitches of notes on such a
2692 staff are squashed, and the staff itself has a single line
2694 @lilypond[quote,fragment,relative=1,verbatim]
2695 \context RhythmicStaff {
2697 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2703 Program reference: @internalsref{RhythmicStaff}.
2705 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2708 @node Entering percussion
2709 @subsection Entering percussion
2715 Percussion notes may be entered in @code{\drums} mode, which is
2716 similar to @code{notes}. Each piece of percussion has a full name and
2717 an abbreviated name, and both be used in input files
2720 hihat hh bassdrum bd
2722 @lilypond[quote,raggedright]
2723 \new DrumStaff \drums { hihat hh bassdrum bd
2727 The complete list of drum names is in the init file
2728 @file{ly/drumpitch-init.ly}.
2729 @c TODO: properly document this.
2733 Program reference: @internalsref{DrumNoteEvent}.
2735 @node Percussion staves
2736 @subsection Percussion staves
2740 A percussion part for more than one instrument typically uses a
2741 multiline staff where each position in the staff refers to one piece
2745 To typeset the music, the notes must be interpreted in a
2746 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2749 @lilypond[quote,raggedright,verbatim]
2750 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2751 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2754 \new DrumVoice { \voiceOne \up }
2755 \new DrumVoice { \voiceTwo \down }
2760 The above example shows verbose polyphonic notation. The short
2761 polyphonic notation, described in @ref{Polyphony}, can also be used if
2762 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2764 @lilypond[quote,fragment,verbatim]
2765 \drums \new DrumStaff <<
2766 \context DrumVoice = "1" { s1 *2 }
2767 \context DrumVoice = "2" { s1 *2 }
2771 { \repeat unfold 16 hh16 }
2780 There are also other layout possibilities. To use these, set the
2781 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2782 The following variables have been predefined
2786 is the default. It typesets a typical drum kit on a five-line staff
2788 @lilypond[quote,noindent]
2789 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2790 bd sn ss tomh tommh tomml toml tomfh tomfl }
2791 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2792 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2794 << \new DrumStaff\with {
2795 \remove Bar_engraver
2796 \remove Time_signature_engraver
2797 \override Stem #'transparent = ##t
2798 \override Stem #'Y-extent-callback = ##f
2799 minimumVerticalExtent = #'(-4.0 . 5.0)
2801 \context Lyrics \nam
2804 %% need to do this, because of indented @itemize
2806 \context { \ScoreContext
2807 \override LyricText #'font-family = #'typewriter
2808 \override BarNumber #'transparent =##T
2812 The drum scheme supports six different toms. When there fewer toms, simply
2813 select the toms that produce the desired result, i.e. to get toms on
2814 the three middle lines you use @code{tommh}, @code{tomml} and
2817 @item timbales-style
2818 to typeset timbales on a two line staff
2820 @lilypond[quote,raggedright]
2821 nam = \lyrics { timh ssh timl ssl cb }
2822 mus = \drums { timh ssh timl ssl cb s16 }
2825 \context DrumStaff \with {
2826 \remove Bar_engraver
2827 \remove Time_signature_engraver
2828 \override Stem #'transparent = ##t
2829 \override Stem #'Y-extent-callback = ##f
2830 \override StaffSymbol #'line-count = #2
2831 \override StaffSymbol #'staff-space = #2
2832 minimumVerticalExtent = #'(-3.0 . 4.0)
2833 drumStyleTable = #timbales-style
2836 \override LyricText #'font-family = #'typewriter
2843 to typeset congas on a two line staff
2845 @lilypond[quote,raggedright]
2846 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2847 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2850 \context DrumStaff\with {
2851 \remove Bar_engraver
2852 \remove Time_signature_engraver
2853 drumStyleTable = #congas-style
2854 \override StaffSymbol #'line-count = #2
2856 %% this sucks; it will lengthen stems.
2857 \override StaffSymbol #'staff-space = #2
2858 \override Stem #'transparent = ##t
2859 \override Stem #'Y-extent-callback = ##f
2862 \override LyricText #'font-family = #'typewriter
2868 to typeset bongos on a two line staff
2870 @lilypond[quote,raggedright]
2871 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2872 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2875 \context DrumStaff\with {
2876 \remove Bar_engraver
2877 \remove Time_signature_engraver
2878 \override StaffSymbol #'line-count = #2
2879 drumStyleTable = #bongos-style
2881 %% this sucks; it will lengthen stems.
2882 \override StaffSymbol #'staff-space = #2
2883 \override Stem #'transparent = ##t
2884 \override Stem #'Y-extent-callback = ##f
2887 \override LyricText #'font-family = #'typewriter
2893 @item percussion-style
2894 to typeset all kinds of simple percussion on one line staves
2895 @lilypond[quote,raggedright]
2896 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2897 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2900 \context DrumStaff\with{
2901 \remove Bar_engraver
2902 drumStyleTable = #percussion-style
2903 \override StaffSymbol #'line-count = #1
2904 \remove Time_signature_engraver
2905 \override Stem #'transparent = ##t
2906 \override Stem #'Y-extent-callback = ##f
2910 \override LyricText #'font-family = #'typewriter
2917 If you do not like any of the predefined lists you can define your own
2918 list at the top of your file
2920 @lilypond[quote,raggedright,verbatim]
2922 (bassdrum default #f -1)
2923 (snare default #f 0)
2925 (pedalhihat xcircle "stopped" 2)
2926 (lowtom diamond #f 3)))
2927 up = \drums { hh8 hh hh hh hhp4 hhp }
2928 down = \drums { bd4 sn bd toml8 toml }
2931 \set DrumStaff.drumStyleTable
2932 = #(alist->hash-table mydrums)
2933 \new DrumVoice { \voiceOne \up }
2934 \new DrumVoice { \voiceTwo \down }
2942 Init files: @file{ly/drumpitch-init.ly}.
2944 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2948 Because general MIDI does not contain rim shots, the sidestick is used
2949 for this purpose instead.
2952 @section Piano music
2954 Piano staves are two normal staves coupled with a brace. The staves
2955 are largely independent, but sometimes voices can cross between the
2956 two staves. The same notation is also used for harps and other key
2957 instruments. The @internalsref{PianoStaff} is especially built to
2958 handle this cross-staffing behavior. In this section we discuss the
2959 @internalsref{PianoStaff} and some other pianistic peculiarities.
2963 * Automatic staff changes::
2964 * Manual staff switches::
2967 * Staff switch lines::
2972 There is no support for putting chords across staves. You can get
2973 this result by increasing the length of the stem in the lower stave so
2974 it reaches the stem in the upper stave, or vice versa. An example is
2975 included with the distribution as
2976 @inputfileref{input/test,stem-cross-staff.ly}.
2978 Dynamics are not centered, but kludges do exist. See
2979 @inputfileref{input/template,piano-dynamics.ly}.
2981 @cindex cross staff stem
2982 @cindex stem, cross staff
2983 @cindex distance between staves in piano music
2985 The distance between the two staves is normally fixed across the
2986 entire score. It is possible to tune this per system, but it does
2987 require arcane command incantations. See
2988 @inputfileref{input/test,piano-staff-distance.ly}.
2991 @node Automatic staff changes
2992 @subsection Automatic staff changes
2993 @cindex Automatic staff changes
2995 Voices can switch automatically between the top and the bottom
2996 staff. The syntax for this is
2998 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3000 The two staves of the piano staff must be named @code{up} and
3003 The autochanger switches on basis of pitch (middle C is the turning
3004 point), and it looks ahead skipping over rests to switch in
3005 advance. Here is a practical example
3007 @lilypond[quote,verbatim,raggedright]
3008 \score { \notes \context PianoStaff <<
3009 \context Staff = "up" {
3010 \autochange \new Voice \relative c' {
3011 g4 a b c d r4 a g } }
3012 \context Staff = "down" {
3019 In this example, spacer rests are used to prevent the bottom staff from
3020 terminating too soon.
3025 In this manual: @ref{Manual staff switches}.
3027 Program reference: @internalsref{AutoChangeMusic}.
3033 The staff switches often do not end up in optimal places. For high
3034 quality output, staff switches should be specified manually.
3038 @node Manual staff switches
3039 @subsection Manual staff switches
3041 @cindex manual staff switches
3042 @cindex staff switch, manual
3044 Voices can be switched between staves manually, using the following command
3046 \change Staff = @var{staffname} @var{music}
3050 The string @var{staffname} is the name of the staff. It switches the
3051 current voice from its current staff to the Staff called
3052 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3061 Pianos have pedals that alter the way sound are produced. Generally, a
3062 piano has three pedals, sustain, una corda, and sostenuto.
3065 Piano pedal instruction can be expressed by attaching
3066 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3067 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3070 @lilypond[quote,fragment,verbatim]
3071 c'4\sustainDown c'4\sustainUp
3074 What is printed can be modified by setting @code{pedal@var{X}Strings},
3075 where @var{X} is one of the pedal types: @code{Sustain},
3076 @code{Sostenuto} or @code{UnaCorda}. Refer to
3077 @internalsref{SustainPedal} in the program reference for more
3080 Pedals can also be indicated by a sequence of brackets, by setting the
3081 @code{pedalSustainStyle} property to @code{bracket} objects
3083 @lilypond[quote,fragment,verbatim,relative=3]
3084 \set Staff.pedalSustainStyle = #'bracket
3086 b\sustainUp\sustainDown
3087 b g \sustainUp a \sustainDown \bar "|."
3090 A third style of pedal notation is a mixture of text and brackets,
3091 obtained by setting the @code{pedalSustainStyle} style property to
3094 @lilypond[quote,fragment,verbatim,relative=3]
3095 \set Staff.pedalSustainStyle = #'mixed
3097 b\sustainUp\sustainDown
3098 b g \sustainUp a \sustainDown \bar "|."
3101 The default `*Ped.' style for sustain and damper pedals corresponds to
3102 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3105 @lilypond[quote,fragment,verbatim,relative=3]
3106 c\sostenutoDown d e c, f g a\sostenutoUp
3109 For fine-tuning of the appearance of a pedal bracket, the properties
3110 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3111 @code{PianoPedalBracket} objects (see
3112 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3113 bracket may be extended to the end of the note head
3115 @lilypond[quote,fragment,verbatim]
3116 \override Staff.PianoPedalBracket
3117 #'shorten-pair = #'(0 . -1.0)
3118 c\sostenutoDown d e c, f g a\sostenutoUp
3122 @subsection Arpeggio
3125 @cindex broken arpeggio
3126 @cindex @code{\arpeggio}
3128 You can specify an arpeggio sign on a chord by attaching an
3129 @code{\arpeggio} to a chord
3132 @lilypond[quote,fragment,relative=1,verbatim]
3136 When an arpeggio crosses staves, you attach an arpeggio to the chords
3137 in both staves, and set
3138 @internalsref{PianoStaff}.@code{connectArpeggios}
3140 @lilypond[quote,fragment,relative=1,verbatim]
3141 \context PianoStaff <<
3142 \set PianoStaff.connectArpeggios = ##t
3143 \new Staff { <c' e g c>\arpeggio }
3144 \new Staff { \clef bass <c,, e g>\arpeggio }
3148 The direction of the arpeggio is sometimes denoted by adding an
3149 arrowhead to the wiggly line
3151 @lilypond[quote,fragment,relative=1,verbatim]
3160 A square bracket on the left indicates that the player should not
3161 arpeggiate the chord
3163 @lilypond[quote,fragment,relative=1,verbatim]
3170 @cindex @code{\arpeggio}
3172 @cindex @code{\arpeggioUp}
3174 @cindex @code{\arpeggioDown}
3176 @cindex @code{\arpeggioBoth}
3177 @code{\arpeggioBoth},
3178 @cindex @code{\arpeggioBracket}
3179 @code{\arpeggioBracket}.
3183 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3184 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3185 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3189 It is not possible to mix connected arpeggios and unconnected
3190 arpeggios in one @internalsref{PianoStaff} at the same time.
3192 @node Staff switch lines
3193 @subsection Staff switch lines
3196 @cindex follow voice
3197 @cindex staff switching
3200 @cindex @code{followVoice}
3202 Whenever a voice switches to another staff a line connecting the notes
3203 can be printed automatically. This is enabled if the property
3204 @code{PianoStaff.followVoice} is set to true
3206 @lilypond[quote,fragment,relative=1,verbatim]
3207 \context PianoStaff <<
3208 \set PianoStaff.followVoice = ##t
3209 \context Staff \context Voice {
3214 \context Staff=two { \clef bass \skip 1*2 }
3220 The associated object is @internalsref{VoiceFollower}.
3224 @cindex @code{\showStaffSwitch}
3225 @code{\showStaffSwitch},
3226 @cindex @code{\hideStaffSwitch}
3227 @code{\hideStaffSwitch}.
3231 @section Vocal music
3233 This section discusses how to enter and print lyrics.
3237 * The Lyrics context::
3242 @node Entering lyrics
3243 @subsection Entering lyrics
3247 @cindex @code{\lyrics}
3250 Lyrics are entered in a special input mode. This mode is is introduced
3251 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3252 punctuation and accents without any hassle. Syllables are entered like
3253 notes, but with pitches replaced by text. For example,
3255 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3258 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3259 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3260 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3261 any 8-bit character with ASCII code over 127, or a two-character
3262 combination of a backslash followed by one of @code{`}, @code{'},
3263 @code{"}, or @code{^}.
3265 Subsequent characters of a word can be any character that is not a digit
3266 and not white space. One important consequence of this is that a word
3267 can end with @code{@}}. The following example is usually a bug. The
3268 syllable includes a @code{@}}, and hence the opening brace is not balanced
3270 \lyrics @{ twinkle@}
3273 @cindex @code{\property}, in @code{\lyrics}
3274 Similarly, a period following a alphabetic sequence, is included in
3275 the resulting string. As a consequence, spaces must be inserted around
3278 \override Score . LyricText #'font-shape = #'italic
3282 @cindex spaces, in lyrics
3283 @cindex quotes, in lyrics
3285 Any @code{_} character which appears in an unquoted word is converted
3286 to a space. This provides a mechanism for introducing spaces into words
3287 without using quotes. Quoted words can also be used in Lyrics mode to
3288 specify words that cannot be written with the above rules
3291 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3293 However, at least for english texts, you should use
3295 \lyrics @{ He said: ``Let my peo ple go'' @}
3297 to get the correct shape of the starting and ending quote.
3301 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3302 The hyphen will have variable length depending on the space between
3303 the syllables and it will be centered between the syllables.
3308 When a lyric is sung over many notes (this is called a melisma), this is
3309 indicated with a horizontal line centered between a syllable and the
3310 next one. Such a line is called an extender line, and it is entered as
3315 Program reference: events @internalsref{LyricEvent},
3316 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3317 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3318 @internalsref{LyricText}.
3320 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3324 The definition of lyrics mode is too complex.
3328 @node The Lyrics context
3329 @subsection The Lyrics context
3331 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3333 \context Lyrics \lyrics @dots{}
3336 @cindex automatic syllable durations
3337 @cindex @code{\lyricsto}
3338 @cindex lyrics and melodies
3340 This will place the lyrics according to the durations that were
3341 entered. The lyrics can also be aligned under a given melody
3342 automatically. In this case, it is no longer necessary to enter the
3343 correct duration for each syllable. This is achieved by combining the
3344 melody and the lyrics with the @code{\lyricsto} expression
3346 \lyricsto @var{name} \new Lyrics @dots{}
3349 This aligns the lyrics to the
3351 notes of the @internalsref{Voice} context called @var{name}, which has
3352 to exist. Therefore, normally the @code{Voice} is specified first, and
3353 then the lyrics are specified with @code{\lyricsto}.
3355 For different or more complex orderings, the best way is to setup the
3356 hierarchy of staves and lyrics first, e.g.
3358 \context ChoirStaff \notes <<
3359 \context Lyrics = sopranoLyrics @{ s1 @}
3360 \context Voice = soprano @{ @emph{music} @}
3361 \context Lyrics = tenorLyrics @{ s1 @}
3362 \context Voice = tenor @{ @emph{music} @}
3365 and then combine the appropriate melodies and lyric lines
3367 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3372 The final input would resemble
3375 << \context ChoirStaff \notes << @emph{setup the music} >>
3376 \lyricsto "soprano" @emph{etc}
3377 \lyricsto "alto" @emph{etc}
3383 The @code{\lyricsto} command detects melismata: it only puts one
3384 syllable under a tied or slurred group of notes. If you want to force
3385 an unslurred group of notes to be a melisma, insert @code{\melisma}
3386 after the first note of the group, and @code{\melismaEnd} after the
3389 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3391 \context Voice = "lala" {
3399 \lyricsto "lala" \new Lyrics \lyrics {
3405 In addition, notes are considered a melisma if they are manually
3406 beamed, and automatic beaming (see @ref{Setting automatic beam
3407 behavior}) is switched off. The criteria for deciding melismata can
3408 be tuned with the property @code{melismaBusyProperties}. See
3409 @internalsref{Melisma_translator} in the program reference for more
3412 When multiple stanzas are put on the same melody, it can happen that
3413 two stanzas have melismata in different locations. This can be
3414 remedied by switching off melismata for one
3415 @internalsref{Lyrics}. This is achieved by setting
3416 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3417 in @inputfileref{input/regression,lyric-combine-new.ly}.
3420 @cindex choral score
3422 A complete example of a SATB score setup is in the file
3423 @inputfileref{input/template,satb.ly}.
3428 @code{\melisma}, @code{\melismaEnd}
3429 @cindex @code{\melismaEnd}
3430 @cindex @code{\melisma}
3434 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3435 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3437 Examples: @inputfileref{input/template,satb.ly},
3438 @inputfileref{input/regression,lyric-combine-new.ly}.
3442 Melismata are not detected automatically, and extender lines must be
3446 For proper processing of extender lines, the
3447 @internalsref{Lyrics} and @internalsref{Voice} should be
3448 linked. This can be achieved either by using @code{\lyricsto} or by
3449 setting corresponding names for both contexts. The latter is explained
3450 in @ref{More stanzas}.
3453 @subsection More stanzas
3455 @cindex phrasing, in lyrics
3458 The lyrics should be aligned with the note heads of the melody. To
3459 achieve this, each line of lyrics should be marked to correspond with
3460 the melodic line. This is done automatically when @code{\lyricsto},
3461 but it can also be done manually.
3463 To this end, give the @internalsref{Voice} context an identity
3465 \context Voice = duet @{
3470 Then set the @internalsref{Lyrics} contexts to names starting with
3471 that identity followed by a dash. In the preceding example, the
3472 @internalsref{Voice} identity is @code{duet}, so the identities of the
3473 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3475 \context Lyrics = "duet-1" @{
3476 Hi, my name is Bert. @}
3477 \context Lyrics = "duet-2" @{
3478 Ooooo, ch\'e -- ri, je t'aime. @}
3481 The complete example is shown here
3482 @lilypond[quote,raggedright,verbatim]
3485 \notes \relative c'' \context Voice = duet {
3489 \lyricsto "duet" \new Lyrics {
3490 \set vocalName = "Bert"
3491 Hi, my name is Bert. }
3492 \lyricsto "duet" \new Lyrics {
3493 \set vocalName = "Ernie"
3494 Ooooo, ch\'e -- ri, je t'aime. }
3500 @cindex stanza number
3501 @cindex singer's names
3502 @cindex name of singer
3504 Stanza numbers can be added by setting @code{stanza}, e.g.
3506 @lilypond[quote,verbatim,relative=3]
3508 \context Voice = duet {
3509 \time 3/4 g2 e4 a2 f4 g2. }
3510 \lyrics \lyricsto "duet" \new Lyrics {
3512 Hi, my name is Bert. }
3516 This example also demonstrates how names of the singers can be added
3517 using @code{vocalName} analogous to instrument annotations for staves.
3518 A short version may be entered as @code{vocNam}.
3520 To make empty spaces in lyrics, use @code{\skip}.
3525 Program reference: Layout objects @internalsref{LyricText} and
3526 @internalsref{VocalName}. Music expressions
3527 @internalsref{LyricEvent}.
3533 Input for lyrics introduces a syntactical ambiguity
3540 is interpreted as assigning a string identifier @code{\foo} such that
3541 it contains @code{"bar"}. However, it could also be interpreted as
3542 making or a music identifier @code{\foo} containing the syllable
3543 `bar'. The force the latter interpretation, use
3553 The term @emph{ambitus} denotes a range of pitches for a given voice
3554 in a part of music. It also may denote the pitch range that a musical
3555 instrument is capable of playing. Ambituses are printed on vocal
3556 parts, so singers can easily determine if it meets his or her
3559 It denoted at the beginning of a piece near the initial clef. The
3560 range is graphically specified by two note heads, that represent the
3561 minimum and maximum pitch. To print such ambituses, add the
3562 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3569 \consists Ambitus_engraver
3574 This results in the following output
3576 @lilypond[quote,raggedright]
3579 \notes \relative c' <<
3590 \consists Ambitus_engraver
3596 If you have multiple voices in a single staff, and you want a single
3597 ambitus per staff rather than per each voice, add the
3598 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3599 rather than to the @internalsref{Voice} context.
3601 It is possible to tune individual ambituses for multiple voices on a
3602 single staff, for example by erasing or shifting them horizontally. An
3603 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3607 Program reference: @internalsref{Ambitus}.
3609 Examples: @inputfileref{input/regression,ambitus.ly},
3610 @inputfileref{input/test,ambitus-mixed.ly}.
3614 There is no collision handling in the case of multiple per-voice
3620 Tablature notation is used for notating music for plucked string
3621 instruments. It notates pitches not by using note heads, but by
3622 indicating on which string and fret a note must be played. LilyPond
3623 offers limited support for tablature.
3626 * Tablatures basic::
3627 * Non-guitar tablatures::
3630 @node Tablatures basic
3631 @subsection Tablatures basic
3632 @cindex Tablatures basic
3634 The string number associated to a note is given as a backslash
3635 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3636 string. By default, string 1 is the highest one, and the tuning
3637 defaults to the standard guitar tuning (with 6 strings). The notes
3638 are printed as tablature, by using @internalsref{TabStaff} and
3639 @internalsref{TabVoice} contexts
3641 @lilypond[quote,fragment,verbatim]
3642 \notes \context TabStaff {
3650 When no string is specified, the first string that does not give a
3651 fret number less than @code{minimumFret} is selected. The default
3652 value for @code{minimumFret} is 0
3657 \set TabStaff.minimumFret = #8
3660 @lilypond[quote,noindent,raggedright]
3664 \set TabStaff.minimumFret = #8
3668 \context StaffGroup <<
3669 \context Staff { \clef "G_8" \frag }
3670 \context TabStaff { \frag }
3677 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3678 @internalsref{StringNumberEvent}.
3682 Chords are not handled in a special way, and hence the automatic
3683 string selector may easily select the same string to two notes in a
3687 @node Non-guitar tablatures
3688 @subsection Non-guitar tablatures
3689 @cindex Non-guitar tablatures
3691 You can change the number of strings, by setting the number of lines
3692 in the @internalsref{TabStaff}.
3694 You can change the tuning of the strings. A string tuning is given as
3695 a Scheme list with one integer number for each string, the number
3696 being the pitch (measured in semitones relative to middle C) of an
3697 open string. The numbers specified for @code{stringTuning} are the
3698 numbers of semitones to subtract or add, starting the specified pitch
3699 by default middle C, in string order. Thus, the notes are e, a, d, and
3702 @lilypond[quote,fragment,verbatim]
3703 \context TabStaff <<
3704 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3707 a,4 c' a e' e c' a e'
3714 No guitar special effects have been implemented.
3718 Program reference: @internalsref{Tab_note_heads_engraver}.
3722 @section Chord names
3725 LilyPond has support for both printing chord names. Chords may be
3726 entered in musical chord notation, i.e. @code{< .. >}, but they can
3727 also be entered by name. Internally, the chords are represented as a
3728 set of pitches, so they can be transposed
3731 @lilypond[quote,verbatim,raggedright]
3732 twoWays = \notes \transpose c c' {
3742 << \context ChordNames \twoWays
3743 \context Voice \twoWays >> }
3746 This example also shows that the chord printing routines do not try to
3747 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3753 * Printing chord names::
3758 @subsection Chords mode
3761 Chord mode is a mode where you can input sets of pitches using common
3762 names. It is introduced by the keyword @code{\chords}.
3763 In chords mode, a chord is entered by the root, which is entered
3765 @lilypond[quote,fragment,verbatim,relative=2]
3766 \chords { es4. d8 c2 }
3771 Other chords may be entered by suffixing a colon, and introducing a
3772 modifier, and optionally, a number
3774 @lilypond[quote,fragment,verbatim]
3775 \chords { e1:m e1:7 e1:m7 }
3777 The first number following the root is taken to be the `type' of the
3778 chord, thirds are added to the root until it reaches the specified
3780 @lilypond[quote,fragment,verbatim]
3781 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3784 @cindex root of chord
3785 @cindex additions, in chords
3786 @cindex removals, in chords
3788 More complex chords may also be constructed adding separate steps
3789 to a chord. Additions are added after the number following
3790 the colon, and are separated by dots
3792 @lilypond[quote,verbatim,fragment]
3793 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3795 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3797 @lilypond[quote,verbatim,fragment]
3798 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3800 Removals are specified similarly, and are introduced by a caret. They
3801 must come after the additions
3802 @lilypond[quote,verbatim,fragment]
3803 \chords { c^3 c:7^5 c:9^3.5 }
3806 Modifiers can be used to change pitches. The following modifiers are
3810 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3812 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3815 is the augmented chord. This modifier raises the 5th step.
3817 is the major 7th chord. This modifier raises the 7th step if present.
3819 is the suspended 4th or 2nd. This modifier removes the 3rd
3820 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3823 Modifiers can be mixed with additions
3824 @lilypond[quote,verbatim,fragment]
3825 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3828 @cindex modifiers, in chords.
3835 Since an unaltered 11 does not sound good when combined with an
3836 unaltered 13, the 11 is removed in this case (unless it is added
3839 @lilypond[quote,fragment,verbatim]
3840 \chords { c:13 c:13.11 c:m13 }
3845 An inversion (putting one pitch of the chord on the bottom), as well
3846 as bass notes, can be specified by appending
3847 @code{/}@var{pitch} to the chord
3848 @lilypond[quote,fragment,verbatim]
3849 \chords { c1 c/g c/f }
3853 A bass note can be added instead of transposed out of the chord,
3854 by using @code{/+}@var{pitch}.
3856 @lilypond[quote,fragment,verbatim]
3857 \chords { c1 c/+g c/+f }
3860 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3861 of the commands continue to work, for example, @code{r} and
3862 @code{\skip} can be used to insert rests and spaces, and property
3863 commands may be used to change various settings.
3869 Each step can only be present in a chord once. The following
3870 simply produces the augmented chord, since @code{5+} is interpreted
3873 @lilypond[quote,verbatim,fragment]
3874 \chords { c:5.5-.5+ }
3878 @node Printing chord names
3879 @subsection Printing chord names
3881 @cindex printing chord names
3885 For displaying printed chord names, use the @internalsref{ChordNames} context.
3886 The chords may be entered either using the notation
3887 described above, or directly using @code{<} and @code{>}
3889 @lilypond[quote,verbatim,raggedright]
3891 \chords {a1 b c} <d' f' a'> <e' g' b'>
3895 \context ChordNames \scheme
3896 \context Staff \scheme
3901 You can make the chord changes stand out by setting
3902 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3903 display chord names when there is a change in the chords scheme and at
3904 the start of a new line
3906 @lilypond[quote,verbatim,linewidth=9\cm]
3908 c1:m c:m \break c:m c:m d
3912 \context ChordNames {
3913 \set chordChanges = ##t
3915 \context Staff \transpose c c' \scheme
3920 The default chord name layout is a system for Jazz music, proposed by
3921 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3922 following properties
3925 @cindex chordNameExceptions
3926 @item chordNameExceptions
3927 This is a list that contains the chords that have special formatting.
3929 @inputfileref{input/regression,chord-name-exceptions.ly}.
3930 @cindex exceptions, chord names.
3933 @cindex majorSevenSymbol
3934 @item majorSevenSymbol
3935 This property contains the markup object used for the 7th step, when
3936 it is major. Predefined options are @code{whiteTriangleMarkup} and
3937 @code{blackTriangleMarkup}. See
3938 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3940 @cindex chordNameSeparator
3941 @item chordNameSeparator
3942 Different parts of a chord name are normally separated by a
3943 slash. By setting @code{chordNameSeparator}, you can specify other
3945 @lilypond[quote,fragment,verbatim]
3946 \context ChordNames \chords {
3948 \set chordNameSeparator
3949 = \markup { \typewriter "|" }
3954 @cindex chordRootNamer
3955 @item chordRootNamer
3956 The root of a chord is usually printed as a letter with an optional
3957 alteration. The transformation from pitch to letter is done by this
3958 function. Special note names (for example, the German ``H'' for a
3959 B-chord) can be produced by storing a new function in this property.
3961 The predefined variables @code{\germanChords},
3962 @code{\semiGermanChords} set these variables.
3965 @cindex chordNoteNamer
3966 @item chordNoteNamer
3967 The default is to print single pitch, e.g. the bass note, using the
3968 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3969 to a specialized function to change this behavior. For example, the
3970 base can be printed in lower case.
3975 There are also two other chord name schemes implemented: an alternate
3976 Jazz chord notation, and a systematic scheme called Banter chords. The
3977 alternate jazz notation is also shown on the chart in @ref{Chord name
3978 chart}. Turning on these styles is described in the input file
3979 @inputfileref{input/test,chord-names-jazz.ly}.
3983 @cindex chords, jazz
3988 @cindex @code{\germanChords}
3989 @code{\germanChords},
3990 @cindex @code{\semiGermanChords}
3991 @code{\semiGermanChords}.
3998 Examples: @inputfileref{input/regression,chord-name-major7.ly},
3999 @inputfileref{input/regression,chord-name-exceptions.ly},
4000 @inputfileref{input/test,chord-names-jazz.ly},
4001 @inputfileref{input/test,chord-names-german.ly}.
4003 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4008 Chord names are determined solely from the list of pitches. Chord
4009 inversions are not identified, and neither are added bass notes. This
4010 may result in strange chord names when chords are entered with the
4011 @code{< .. >} syntax.
4016 @node Orchestral music
4017 @section Orchestral music
4019 @cindex Writing parts
4021 Orchestral music involves some special notation, both in the full
4022 score and the individual parts. This section explains how to tackle
4023 some common problems in orchestral music.
4028 * Multiple staff contexts::
4031 * Instrument names::
4033 * Instrument transpositions::
4034 * Multi measure rests::
4035 * Automatic part combining::
4037 * Different editions from one source::
4038 * Quoting other voices::
4041 @node Multiple staff contexts
4042 @subsection Multiple staff contexts
4044 Polyphonic scores consist of many staves. These staves can be
4045 constructed in three different ways
4047 @item The group is started with a brace at the left, and bar lines are
4048 connected. This is done with the @internalsref{GrandStaff} context.
4050 @item The group is started with a bracket, and bar lines are connected. This is done with the
4051 @internalsref{StaffGroup} context
4054 @item The group is started with a vertical line. Bar lines are not
4055 connected. This is the default for the score.
4059 @cindex Staff, multiple
4060 @cindex bracket, vertical
4061 @cindex brace, vertical
4068 @node Rehearsal marks
4069 @subsection Rehearsal marks
4070 @cindex Rehearsal marks
4072 @cindex @code{\mark}
4074 To print a rehearsal mark, use the @code{\mark} command
4075 @lilypond[quote,fragment,verbatim]
4086 (The letter I is skipped in accordance with engraving traditions.)
4088 The mark is incremented automatically if you use @code{\mark
4089 \default}, but you can also use an integer argument to set the mark
4090 manually. The value to use is stored in the property
4091 @code{rehearsalMark}.
4093 The style is defined by the property @code{markFormatter}. It is a
4094 function taking the current mark (an integer) and the current context
4095 as argument. It should return a markup object. In the following
4096 example, @code{markFormatter} is set to a canned procedure. After a
4097 few measures, it is set to function that produces a boxed number.
4099 @lilypond[quote,verbatim,fragment,relative=2]
4100 \set Score.markFormatter = #format-mark-numbers
4103 \set Score.markFormatter
4104 = #(lambda (mark context)
4105 (make-bold-markup (make-box-markup (number->string mark))))
4110 The file @file{scm/translation-functions.scm} contains the definitions
4111 of @code{format-mark-numbers} (the default format) and
4112 @code{format-mark-letters}. They can be used as inspiration for other
4113 formatting functions.
4116 @cindex coda on bar line
4117 @cindex segno on bar line
4118 @cindex fermata on bar line
4119 @cindex bar lines, symbols on
4121 The @code{\mark} command can also be used to put signs like coda,
4122 segno and fermatas on a bar line. Use @code{\markup} to
4123 to access the appropriate symbol
4125 @lilypond[quote,fragment,verbatim,relative=2]
4126 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4130 In the case of a line break, marks must also be printed at the end of
4131 the line, and not at the beginning. Use the following to force that
4134 \override Score.RehearsalMark
4135 #'break-visibility = #begin-of-line-invisible
4141 @cindex bar lines, putting symbols on
4145 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4147 Init files: @file{scm/translation-functions.scm} contains the
4148 definition of @code{format-mark-numbers} and
4149 @code{format-mark-letters}. They can be used as inspiration for other
4150 formatting functions.
4152 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4153 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4157 @subsection Bar numbers
4161 @cindex measure numbers
4162 @cindex currentBarNumber
4164 Bar numbers are printed by default at the start of the line. The
4165 number itself is stored in the
4166 @code{currentBarNumber} property,
4167 which is normally updated automatically for every measure.
4169 Bar numbers can be typeset at regular intervals instead of at the
4170 beginning of each line. This is illustrated in the following example,
4171 whose source is available as
4172 @inputfileref{input/test,bar-number-regular-interval.ly}
4174 @lilypondfile[quote]{bar-number-regular-interval.ly}
4178 Program reference: @internalsref{BarNumber}.
4180 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4181 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4185 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4186 there is one at the top. To solve this, the
4187 @code{padding} property of @internalsref{BarNumber} can be
4188 used to position the number correctly.
4190 @node Instrument names
4191 @subsection Instrument names
4193 In an orchestral score, instrument names are printed left side of the
4196 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4197 and @internalsref{Staff}.@code{instr}. This will print a string before
4198 the start of the staff. For the first start, @code{instrument} is
4199 used, for the next ones @code{instr} is used.
4201 @lilypond[quote,verbatim,raggedright,relative=3]
4202 \set Staff.instrument = "Ploink "
4203 \set Staff.instr = "Plk "
4209 You can also use markup texts to construct more complicated instrument
4212 @lilypond[quote,fragment,verbatim,raggedright]
4214 \set Staff.instrument = \markup {
4215 \column < "Clarinetti" { "in B"
4216 \smaller \flat } > }
4223 Program reference: @internalsref{InstrumentName}.
4227 When you put a name on a grand staff or piano staff the width of the
4228 brace is not taken into account. You must add extra spaces to the end of
4229 the name to avoid a collision.
4232 @subsection Transpose
4234 @cindex transposition of pitches
4235 @cindex @code{\transpose}
4237 A music expression can be transposed with @code{\transpose}. The syntax
4240 \transpose @var{from} @var{to} @var{musicexpr}
4243 This means that @var{musicexpr} is transposed by the interval between
4244 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4245 is changed to @code{to}.
4248 For example, consider a piece written in the key of D major. If
4249 this piece is a little too low for its performer, it can be
4250 transposed up to E major with
4252 \transpose d e @dots{}
4255 Consider a part written for violin (a C instrument). If
4256 this part is to be played on the A clarinet, the following
4257 transposition will produce the appropriate part
4260 \transpose a c @dots{}
4263 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4264 inside a @code{\notes} section. @code{\transpose} distinguishes
4265 between enharmonic pitches: both @code{\transpose c cis} or
4266 @code{\transpose c des} will transpose up half a tone. The first
4267 version will print sharps and the second version will print flats
4269 @lilypond[quote,raggedright,verbatim]
4270 mus =\notes { \key d \major cis d fis g }
4271 \score { \notes \context Staff {
4274 \transpose c g' \mus
4275 \transpose c f' \mus
4282 Program reference: @internalsref{TransposedMusic}, and
4283 @internalsref{UntransposableMusic}.
4287 If you want to use both @code{\transpose} and @code{\relative},
4288 you must put @code{\transpose} outside of @code{\relative}, since
4289 @code{\relative} will have no effect music that appears inside a
4292 @node Instrument transpositions
4293 @subsection Instrument transpositions
4295 The key of a transposing instrument can also be specified. This
4296 applies to many wind instruments, for example, clarinets (B-flat, A and
4297 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4300 The transposition is entered after the keyword @code{\transposition}
4303 \transposition bes %% B-flat clarinet
4306 This command sets the property @code{instrumentTuning}. The value of
4307 this property is used for MIDI output and quotations. It does not
4308 affect how notes are printed in the current staff.
4310 @cindex transposition, MIDI
4311 @cindex transposition, instrument
4314 @node Multi measure rests
4315 @subsection Multi measure rests
4316 @cindex multi measure rests
4317 @cindex Rests, multi measure
4321 Multi measure rests are entered using `@code{R}'. It is specifically
4322 meant for full bar rests and for entering parts: the rest can expand
4323 to fill a score with rests, or it can be printed as a single
4324 multimeasure rest. This expansion is controlled by the property
4325 @code{Score.skipBars}. If this is set to true, empty measures will not
4326 be expanded, and the appropriate number is added automatically
4328 @lilypond[quote,fragment,verbatim]
4329 \time 4/4 r1 | R1 | R1*2
4330 \set Score.skipBars = ##t R1*17 R1*4
4333 The @code{1} in @code{R1} is similar to the duration notation used for
4334 notes. Hence, for time signatures other than 4/4, you must enter other
4335 durations. This can be done with augmentation dots or fractions
4337 @lilypond[quote,fragment,verbatim]
4338 \set Score.skipBars = ##t
4346 An @code{R} spanning a single measure is printed as either a whole rest
4347 or a breve, centered in the measure regardless of the time signature.
4349 @cindex text on multi-measure rest
4350 @cindex script on multi-measure rest
4351 @cindex fermata on multi-measure rest
4353 Texts can be added to multi-measure rests by using the
4354 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4355 replaced. If you need both texts and the number, you must add the
4356 number by hand. A variable (@code{\fermataMarkup}) is provided for
4360 @lilypond[quote,verbatim,fragment]
4362 R2._\markup { "Ad lib" }
4366 If you want to have a text on the left end of a multi-measure rest,
4367 attach the text to a zero-length skip note, i.e.
4375 @cindex whole rests for a full measure
4379 Program reference: @internalsref{MultiMeasureRestEvent},
4380 @internalsref{MultiMeasureTextEvent},
4381 @internalsref{MultiMeasureRestMusicGroup}, and
4382 @internalsref{MultiMeasureRest}.
4384 The layout object @internalsref{MultiMeasureRestNumber} is for the
4385 default number, and @internalsref{MultiMeasureRestText} for user
4390 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4391 over multi-measure rests.
4393 @cindex condensing rests
4395 There is no way to automatically condense multiple rests into a single
4396 multimeasure rest. Multi measure rests do not take part in rest
4399 Be careful when entering multimeasure rests followed by whole
4400 notes. The following will enter two notes lasting four measures each
4404 When @code{skipBars} is set, the result will look OK, but the bar
4405 numbering will be off.
4407 @node Automatic part combining
4408 @subsection Automatic part combining
4409 @cindex automatic part combining
4410 @cindex part combiner
4413 Automatic part combining is used to merge two parts of music onto a
4414 staff. It is aimed at typesetting orchestral scores. When the two
4415 parts are identical for a period of time, only one is shown. In
4416 places where the two parts differ, they are typeset as separate
4417 voices, and stem directions are set automatically. Also, solo and
4418 @emph{a due} parts are identified and can be marked.
4421 The syntax for part combining is
4424 \partcombine @var{musicexpr1} @var{musicexpr2}
4427 The music expressions will be interpreted as @internalsref{Voice} contexts.
4429 The following example demonstrates the basic functionality of the part
4430 combiner: putting parts on one staff, and setting stem directions and
4433 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4434 \new Staff \partcombine
4435 { g g a( b) c c r r }
4436 { g g r4 r e e g g }
4439 The first @code{g} appears only once, although it was
4440 specified twice (once in each part). Stem, slur and tie directions are
4441 set automatically, depending whether there is a solo or unisono. The
4442 first part (with context called @code{one}) always gets up stems, and
4443 `solo', while the second (called @code{two}) always gets down stems and
4446 If you just want the merging parts, and not the textual markings, you
4447 may set the property @var{soloADue} to false
4449 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4451 \set Staff.soloADue = ##f
4460 Program reference: @internalsref{PartCombineMusic},
4461 @internalsref{SoloOneEvent}, and
4462 @internalsref{SoloTwoEvent}, and
4463 @internalsref{UnisonoEvent}.
4467 In @code{soloADue} mode, when the two voices play the same notes on and
4468 off, the part combiner may typeset @code{a2} more than once in a
4471 @code{\partcombine} can not be inside @code{\times}.
4473 Internally, the @code{\partcombine} interprets both arguments as
4474 @code{Voice}s named @code{one} and @code{two}, and then decides when
4475 the parts can be combined. Consequently, if the arguments switch to
4476 differently named @internalsref{Voice} contexts, the events in those
4480 @subsection Hiding staves
4482 @cindex Frenched scores
4483 @cindex Hiding staves
4485 In orchestral scores, staff lines that only have rests are usually
4486 removed. This saves some space. This style is called `French Score'.
4487 For @internalsref{Lyrics},
4488 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4489 switched on by default. When these line of these contexts turn out
4490 empty after the line-breaking process, they are removed.
4492 For normal staves, a specialized @internalsref{Staff} context is
4493 available, which does the same: staves containing nothing (or only
4494 multi measure rests) are removed. The context definition is stored in
4495 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4496 in this example disappears in the second line
4499 @lilypond[quote,verbatim]
4501 \notes \relative c' <<
4502 \new Staff { e4 f g a \break c1 }
4503 \new Staff { c4 d e f \break R1 }
4507 \context { \RemoveEmptyStaffContext }
4512 The first page shows all staves in full. If empty staves should be
4513 removed from the first page too, set @code{remove-first} to false in
4514 @internalsref{RemoveEmptyVerticalGroup}.
4516 Another application is making ossia sections, i.e. alternative
4517 melodies on a separate piece of staff, with help of a Frenched
4518 staff. See @inputfileref{input/test,ossia.ly} for an example.
4521 @node Different editions from one source
4522 @subsection Different editions from one source
4524 The @code{\tag} command marks music expressions with a name. These
4525 tagged expressions can be filtered out later. With this mechanism it
4526 is possible to make different versions of the same music source.
4528 In the following example, we see two versions of a piece of music, one
4529 for the full score, and one with cue notes for the instrumental part
4545 The same can be applied to articulations, texts, etc.: they are
4548 -\tag #@var{your-tag}
4550 to an articulation, for example,
4555 This defines a note with a conditional fingering indication.
4557 By applying the @code{remove-tag} function, tagged expressions can be
4558 filtered. For example,
4562 \apply #(remove-tag 'score) @var{the music}
4563 \apply #(remove-tag 'part) @var{the music}
4568 @lilypondfile[quote]{tag-filter.ly}
4570 The argument of the @code{\tag} command should be a symbol, or a list
4571 of symbols, for example,
4573 \tag #'(original-part transposed-part) @dots{}
4578 Examples: @inputfileref{input/regression,tag-filter.ly}.
4581 @node Quoting other voices
4582 @subsection Quoting other voices
4584 With quotations, fragments of other parts can be inserted into a part
4585 directly. Before a part can be quoted, it must be marked especially as
4586 quotable. This is done with code @code{\addquote} command. The
4587 quotation may then be done with @code{\quote}
4590 \addquote @var{name} @var{music}
4591 \quote @var{name} @var{duration}
4596 Here, @var{name} is an identifying string. The @var{music} is any kind
4597 of music. This is an example of @code{\addquote}
4600 \addquote clarinet \notes\relative c' {
4605 During a part, a piece of music can be quoted with the @code{\quote}
4612 This would cite 3 quarter notes (a dotted half note) of the previously
4613 added clarinet voice.
4615 Quotations take into account the transposition both source and target
4616 instruments, if they are specified using the @code{\transposition} command.
4618 @lilypond[quote,raggedright,verbatim]
4619 \addquote clarinet \notes\relative c' {
4625 e'8 f'8 \quote clarinet 2
4631 Only the contents of the first @internalsref{Voice} occurring in an
4632 @code{\addquote} command will be considered for quotation, so
4633 @var{music} can not contain @code{\new} and @code{\context Voice}
4634 statements that would switch to a different Voice.
4639 In this manual: @ref{Instrument transpositions}.
4641 Examples: @inputfileref{input/regression,quote.ly}
4642 @inputfileref{input/regression,quote-transposition.ly}
4644 Program reference: @internalsref{QuoteMusic}.
4646 @node Ancient notation
4647 @section Ancient notation
4649 @cindex Vaticana, Editio
4650 @cindex Medicaea, Editio
4655 Support for ancient notation includes features for mensural notation
4656 and Gregorian Chant notation. There is also limited support for
4657 figured bass notation.
4659 Many graphical objects provide a @code{style} property, see
4660 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4661 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4662 signatures}. By manipulating such a grob property, the typographical
4663 appearance of the affected graphical objects can be accommodated for a
4664 specific notation flavor without need for introducing any new
4667 Other aspects of ancient notation can not that easily be expressed as
4668 in terms of just changing a style property of a graphical object.
4669 Therefore, some notational concepts are introduced specifically for
4670 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4671 @ref{Ligatures}, and @ref{Figured bass}.
4675 * Ancient note heads::
4676 * Ancient accidentals::
4680 * Ancient time signatures::
4685 * Vaticana style contexts::
4688 If this all is way too much of documentation for you, and you just
4689 want to dive into typesetting without worrying too much about the
4690 details on how to customize a context, you may have a look at the
4691 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4692 set up predefined style-specific voice and staff contexts, and
4693 directly go ahead with the note entry.
4697 Ligatures need special spacing that has not yet been implemented. As
4698 a result, there is too much space between ligatures most of the time,
4699 and line breaking often is unsatisfactory. Also, lyrics do not
4700 correctly align with ligatures.
4702 Accidentals must not be printed within a ligature, but instead need to
4703 be collected and printed in front of it.
4705 Augmentum dots within ligatures are not handled correctly.
4708 @node Ancient note heads
4709 @subsection Ancient note heads
4714 For ancient notation, a note head style other than the @code{default}
4715 style may be chosen. This is accomplished by setting the @code{style}
4716 property of the NoteHead object to the desired value (@code{baroque},
4717 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4718 differs from the @code{default} style only in using a square shape for
4719 @code{\breve} note heads. The @code{neo_mensural} style differs from
4720 the @code{baroque} style in that it uses rhomboidal heads for whole
4721 notes and all smaller durations. Stems are centered on the note
4722 heads. This style is in particular useful when transcribing mensural
4723 music, e.g. for the incipit. The @code{mensural} style finally
4724 produces note heads that mimic the look of note heads in historic
4725 printings of the 16th century.
4727 The following example demonstrates the @code{neo_mensural} style
4729 @lilypond[quote,fragment,raggedright,verbatim]
4730 \override NoteHead #'style = #'neo_mensural
4731 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4734 When typesetting a piece in Gregorian Chant notation, a Gregorian
4735 ligature engraver will automatically select the proper note heads,
4736 such there is no need to explicitly set the note head style. Still,
4737 the note head style can be set e.g. to @code{vaticana_punctum} to
4738 produce punctum neumes. Similarly, a mensural ligature engraver is
4739 used to automatically assemble mensural ligatures. See
4740 @ref{Ligatures} for how ligature engravers work.
4745 @ref{Percussion staves} use note head styles of their own that are
4746 frequently used in contemporary music notation.
4748 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4749 overview over all available note head styles.
4752 @node Ancient accidentals
4753 @subsection Ancient accidentals
4758 Use the @code{style} property of grob @internalsref{Accidental} to
4759 select ancient accidentals. Supported styles are
4760 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4762 @lilypond[quote,raggedright,staffsize=26]
4770 { " " \musicglyph #"accidentals-vaticana-1"
4771 " " \musicglyph #"accidentals-vaticana0" }
4775 { " " \musicglyph #"accidentals-medicaea-1" }
4779 { " " \musicglyph #"accidentals-hufnagel-1" }
4783 { " " \musicglyph #"accidentals-mensural-1"
4784 " " \musicglyph #"accidentals-mensural1" }
4793 \remove "Bar_number_engraver"
4797 \remove "Clef_engraver"
4798 \remove "Key_engraver"
4799 \remove "Time_signature_engraver"
4800 \remove "Staff_symbol_engraver"
4801 minimumVerticalExtent = ##f
4807 As shown, not all accidentals are supported by each style. When
4808 trying to access an unsupported accidental, LilyPond will switch to a
4809 different style, as demonstrated in
4810 @inputfileref{input/test,ancient-accidentals.ly}.
4812 Similarly to local accidentals, the style of the key signature can be
4813 controlled by the @code{style} property of the
4814 @internalsref{KeySignature} grob.
4818 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4819 @ref{Accidentals} give a general introduction into the use of
4820 accidentals. @ref{Key signature} gives a general introduction into
4821 the use of key signatures.
4823 Program reference: @internalsref{KeySignature}.
4825 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4828 @subsection Ancient rests
4833 Use the @code{style} property of grob @internalsref{Rest} to select
4834 ancient accidentals. Supported styles are @code{classical},
4835 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4836 from the @code{default} style only in that the quarter rest looks like
4837 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4838 well for e.g. the incipit of a transcribed mensural piece of music.
4839 The @code{mensural} style finally mimics the appearance of rests as
4840 in historic prints of the 16th century.
4842 The following example demonstrates the @code{neo_mensural} style
4844 @lilypond[quote,fragment,raggedright,verbatim]
4845 \override Rest #'style = #'neo_mensural
4846 r\longa r\breve r1 r2 r4 r8 r16
4849 There are no 32th and 64th rests specifically for the mensural or
4850 neo-mensural style. Instead, the rests from the default style will be
4851 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4854 There are no rests in Gregorian Chant notation; instead, it uses
4859 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4863 @subsection Ancient clefs
4868 LilyPond supports a variety of clefs, many of them ancient.
4870 The following table shows all ancient clefs that are supported via the
4871 @code{\clef} command. Some of the clefs use the same glyph, but
4872 differ only with respect to the line they are printed on. In such
4873 cases, a trailing number in the name is used to enumerate these clefs.
4874 Still, you can manually force a clef glyph to be typeset on an
4875 arbitrary line, as described in @ref{Clef}. The note printed to the
4876 right side of each clef in the example column denotes the @code{c'}
4877 with respect to that clef.
4879 @multitable @columnfractions .3 .3 .3 .1
4883 @b{Description} @tab
4884 @b{Supported Clefs} @tab
4888 @code{clefs-neo_mensural_c} @tab
4889 modern style mensural C clef @tab
4890 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4891 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4892 @lilypond[quote,relative=1,notime]
4893 \override Staff.TimeSignature #'transparent = ##t
4894 \clef "neo_mensural_c2" c
4898 @code{clefs-petrucci_c1}
4899 @code{clefs-petrucci_c2}
4900 @code{clefs-petrucci_c3}
4901 @code{clefs-petrucci_c4}
4902 @code{clefs-petrucci_c5}
4905 petrucci style mensural C clefs, for use on different staff lines
4906 (the examples shows the 2nd staff line C clef).
4916 @lilypond[quote,relative=1,notime]
4917 \override Staff.TimeSignature #'transparent = ##t
4918 \clef "petrucci_c2" c
4922 @code{clefs-petrucci_f} @tab
4923 petrucci style mensural F clef @tab
4924 @code{petrucci_f} @tab
4925 @lilypond[quote,relative=1,notime]
4926 \override Staff.TimeSignature #'transparent = ##t
4927 \clef "petrucci_f" c
4931 @code{clefs-petrucci_g} @tab
4932 petrucci style mensural G clef @tab
4933 @code{petrucci_g} @tab
4934 @lilypond[quote,relative=1,notime]
4935 \override Staff.TimeSignature #'transparent = ##t
4936 \clef "petrucci_g" c
4940 @code{clefs-mensural_c} @tab
4941 historic style mensural C clef @tab
4942 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4943 @code{mensural_c4} @tab
4944 @lilypond[quote,relative=1,notime]
4945 \override Staff.TimeSignature #'transparent = ##t
4946 \clef "mensural_c2" c
4950 @code{clefs-mensural_f} @tab
4951 historic style mensural F clef @tab
4952 @code{mensural_f} @tab
4953 @lilypond[quote,relative=1,notime]
4954 \override Staff.TimeSignature #'transparent = ##t
4955 \clef "mensural_f" c
4959 @code{clefs-mensural_g} @tab
4960 historic style mensural G clef @tab
4961 @code{mensural_g} @tab
4962 @lilypond[quote,relative=1,notime]
4963 \override Staff.TimeSignature #'transparent = ##t
4964 \clef "mensural_g" c
4968 @code{clefs-vaticana_do} @tab
4969 Editio Vaticana style do clef @tab
4970 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4971 @lilypond[quote,relative=1,notime]
4972 \override Staff.StaffSymbol #'line-count = #4
4973 \override Staff.TimeSignature #'transparent = ##t
4974 \clef "vaticana_do2" c
4978 @code{clefs-vaticana_fa} @tab
4979 Editio Vaticana style fa clef @tab
4980 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4981 @lilypond[quote,relative=1,notime]
4982 \override Staff.StaffSymbol #'line-count = #4
4983 \override Staff.TimeSignature #'transparent = ##t
4984 \clef "vaticana_fa2" c
4988 @code{clefs-medicaea_do} @tab
4989 Editio Medicaea style do clef @tab
4990 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4991 @lilypond[quote,relative=1,notime]
4992 \override Staff.StaffSymbol #'line-count = #4
4993 \override Staff.TimeSignature #'transparent = ##t
4994 \clef "medicaea_do2" c
4998 @code{clefs-medicaea_fa} @tab
4999 Editio Medicaea style fa clef @tab
5000 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5001 @lilypond[quote,relative=1,notime]
5002 \override Staff.StaffSymbol #'line-count = #4
5003 \override Staff.TimeSignature #'transparent = ##t
5004 \clef "medicaea_fa2" c
5008 @code{clefs-hufnagel_do} @tab
5009 historic style hufnagel do clef @tab
5010 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5011 @lilypond[quote,relative=1,notime]
5012 \override Staff.StaffSymbol #'line-count = #4
5013 \override Staff.TimeSignature #'transparent = ##t
5014 \clef "hufnagel_do2" c
5018 @code{clefs-hufnagel_fa} @tab
5019 historic style hufnagel fa clef @tab
5020 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5021 @lilypond[quote,relative=1,notime]
5022 \override Staff.StaffSymbol #'line-count = #4
5023 \override Staff.TimeSignature #'transparent = ##t
5024 \clef "hufnagel_fa2" c
5028 @code{clefs-hufnagel_do_fa} @tab
5029 historic style hufnagel combined do/fa clef @tab
5030 @code{hufnagel_do_fa} @tab
5031 @lilypond[quote,relative=1,notime]
5032 \override Staff.TimeSignature #'transparent = ##t
5033 \clef "hufnagel_do_fa" c
5040 @emph{Modern style} means ``as is typeset in contemporary editions of
5041 transcribed mensural music''.
5043 @emph{Petrucci style} means ``inspired by printings published by the
5044 famous engraver Petrucci (1466-1539)''.
5046 @emph{Historic style} means ``as was typeset or written in historic
5047 editions (other than those of Petrucci)''.
5049 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5051 Petrucci used C clefs with differently balanced left-side vertical
5052 beams, depending on which staff line it is printed.
5056 In this manual: see @ref{Clef}.
5060 The mensural g clef is mapped to the Petrucci g clef, until a new
5061 mensural g clef is implemented.
5066 @subsection Ancient flags
5071 Use the @code{flag-style} property of grob @internalsref{Stem} to
5072 select ancient flags. Besides the @code{default} flag style,
5073 only @code{mensural} style is supported
5075 @lilypond[quote,fragment,raggedright,verbatim]
5076 \override Stem #'flag-style = #'mensural
5077 \override Stem #'thickness = #1.0
5078 \override NoteHead #'style = #'mensural
5080 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
5081 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5084 Note that the innermost flare of each mensural flag always is
5085 vertically aligned with a staff line. If you do not like this
5086 behavior, you can set the @code{adjust-if-on-staffline} property of
5087 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5088 of the end of each flare is different between notes on staff lines and
5089 notes between staff lines
5091 @lilypond[quote,fragment,raggedright]
5092 \override Stem #'flag-style = #'mensural
5093 \override Stem #'thickness = #1.0
5094 \override Stem #'adjust-if-on-staffline = ##f
5095 \override NoteHead #'style = #'mensural
5097 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
5098 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5101 There is no particular flag style for neo-mensural notation. Hence,
5102 when typesetting e.g. the incipit of a transcribed piece of mensural
5103 music, the default flag style should be used. There are no flags in
5104 Gregorian Chant notation.
5107 @node Ancient time signatures
5108 @subsection Ancient time signatures
5110 @cindex time signatures
5113 There is limited support for mensural time signatures. The
5114 glyphs are hard-wired to particular time fractions. In other words,
5115 to get a particular mensural signature glyph with the @code{\time n/m}
5116 command, @code{n} and @code{m} have to be chosen according to the
5122 \set Score.timing = ##f
5123 \set Score.barAlways = ##t
5124 s_\markup { "$\\backslash$time 4/4" }
5125 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5127 s_\markup { "$\\backslash$time 2/2" }
5128 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5130 s_\markup { "$\\backslash$time 6/4" }
5131 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5133 s_\markup { "$\\backslash$time 6/8" }
5134 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5136 s_\markup { "$\\backslash$time 3/2" }
5137 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5139 s_\markup { "$\\backslash$time 3/4" }
5140 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5142 s_\markup { "$\\backslash$time 9/4" }
5143 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5145 s_\markup { "$\\backslash$time 9/8" }
5146 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5148 s_\markup { "$\\backslash$time 4/8" }
5149 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5151 s_\markup { "$\\backslash$time 2/4" }
5152 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5160 \remove Staff_symbol_engraver
5161 \remove Clef_engraver
5162 \remove Time_signature_engraver
5168 Use the @code{style} property of grob @internalsref{TimeSignature} to
5169 select ancient time signatures. Supported styles are
5170 @code{neo_mensural} and @code{mensural}. The above table uses the
5171 @code{neo_mensural} style. This style is appropriate e.g. for the
5172 incipit of transcriptions of mensural pieces. The @code{mensural}
5173 style mimics the look of historical printings of the 16th century.
5175 @inputfileref{input/test,time.ly} gives an overview over all available
5176 ancient and modern styles.
5180 Program reference: @ref{Time signature} gives a general introduction into the use of time
5185 Mensural signature glyphs are mapped to time fractions in a hard-wired
5186 way. This mapping is sensible, but still arbitrary: given a mensural
5187 time signature, the time fraction represents a modern meter that
5188 usually will be a good choice when transcribing a mensural piece of
5189 music. For a particular piece of mensural music, however, the mapping
5190 may be unsatisfactory. In particular, the mapping assumes a fixed
5191 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5192 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5193 accessible through the @code{\time} command.
5195 Mensural time signatures are supported typographically, but not yet
5196 musically. The internal representation of durations is
5197 based on a purely binary system; a ternary division such as 1 brevis =
5198 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5199 prolatione maiori) is not correctly handled: event times in ternary
5200 modes will be badly computed, resulting e.g. in horizontally
5201 misaligned note heads, and bar checks are likely to erroneously fail.
5203 The syntax and semantics of the @code{\time} command for mensural
5204 music is subject to change.
5207 @subsection Custodes
5212 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5213 symbol that appears at the end of a staff. It anticipates the pitch
5214 of the first note(s) of the following line and thus helps the player
5215 or singer to manage line breaks during performance, thus enhancing
5216 readability of a score.
5218 Custodes were frequently used in music notation until the 17th
5219 century. Nowadays, they have survived only in a few particular forms
5220 of musical notation such as contemporary editions of Gregorian chant
5221 like the @emph{editio vaticana}. There are different custos glyphs
5222 used in different flavors of notational style.
5224 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5225 @internalsref{Staff} context when declaring the @code{\paper} block,
5226 as shown in the following example
5232 \consists Custos_engraver
5233 Custos \override #'style = #'mensural
5238 The result looks like this
5240 @lilypond[quote,raggedright]
5244 \override Staff.Custos #'style = #'mensural
5251 \consists Custos_engraver
5257 The custos glyph is selected by the @code{style} property. The styles
5258 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5259 @code{mensural}. They are demonstrated in the following fragment
5263 \new Lyrics \lyrics {
5267 { " " \musicglyph #"custodes-vaticana-u0" }
5271 { " " \musicglyph #"custodes-medicaea-u0" }
5276 { " " \musicglyph #"custodes-hufnagel-u0" }
5281 { " " \musicglyph #"custodes-mensural-u0" }
5293 Program reference: @internalsref{Custos}.
5295 Examples: @inputfileref{input/regression,custos.ly}.
5299 @subsection Divisiones
5305 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5306 `division') is a staff context symbol that is used to structure
5307 Gregorian music into phrases and sections. The musical meaning of
5308 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5309 can be characterized as short, medium and long pause, somewhat like
5310 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5311 a chant, but is also frequently used within a single
5312 antiphonal/responsorial chant to mark the end of each section.
5315 To use divisiones, include the file @code{gregorian-init.ly}. It
5316 contains definitions that you can apply by just inserting
5317 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5318 and @code{\finalis} at proper places in the input. Some editions use
5319 @emph{virgula} or @emph{caesura} instead of divisio minima.
5320 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5323 @lilypondfile[quote,raggedright]{divisiones.ly}
5327 @cindex @code{\virgula}
5329 @cindex @code{\caesura}
5331 @cindex @code{\divisioMinima}
5332 @code{\divisioMinima},
5333 @cindex @code{\divisioMaior}
5334 @code{\divisioMaior},
5335 @cindex @code{\divisioMaxima}
5336 @code{\divisioMaxima},
5337 @cindex @code{\finalis}
5342 In this manual: @ref{Breath marks}.
5344 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5346 Examples: @inputfileref{input/test,divisiones.ly}.
5349 @subsection Ligatures
5353 @c TODO: Should double check if I recalled things correctly when I wrote
5354 @c down the following paragraph by heart.
5356 A ligature is a coherent graphical symbol that represents at least two
5357 distinct notes. Ligatures originally appeared in the manuscripts of
5358 Gregorian chant notation roughly since the 9th century to denote
5359 ascending or descending sequences of notes.
5361 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5362 Some ligature styles may need additional input syntax specific for
5363 this particular type of ligature. By default, the
5364 @internalsref{LigatureBracket} engraver just puts a square bracket
5367 @lilypond[quote,raggedright,verbatim]
5369 \notes \transpose c c' {
5377 To select a specific style of ligatures, a proper ligature engraver
5378 has to be added to the @internalsref{Voice} context, as explained in
5379 the following subsections. Only white mensural ligatures
5380 are supported with certain limitations.
5383 * White mensural ligatures::
5384 * Gregorian square neumes ligatures::
5387 @node White mensural ligatures
5388 @subsubsection White mensural ligatures
5390 @cindex Mensural ligatures
5391 @cindex White mensural ligatures
5393 There is limited support for white mensural ligatures.
5395 To engrave white mensural ligatures, in the paper block the
5396 @internalsref{Mensural_ligature_engraver} has to be put into the
5397 @internalsref{Voice} context, and remove the
5398 @internalsref{Ligature_bracket_engraver}
5404 \remove Ligature_bracket_engraver
5405 \consists Mensural_ligature_engraver
5410 There is no additional input language to describe the shape of a
5411 white mensural ligature. The shape is rather determined solely from
5412 the pitch and duration of the enclosed notes. While this approach may
5413 take a new user a while to get accustomed, it has the great advantage
5414 that the full musical information of the ligature is known internally.
5415 This is not only required for correct MIDI output, but also allows for
5416 automatic transcription of the ligatures.
5421 \set Score.timing = ##f
5422 \set Score.defaultBarType = "empty"
5423 \override NoteHead #'style = #'neo_mensural
5424 \override Staff.TimeSignature #'style = #'neo_mensural
5426 \[ g\longa c\breve a\breve f\breve d'\longa \]
5428 \[ e1 f1 a\breve g\longa \]
5430 @lilypond[quote,raggedright]
5432 \notes \transpose c c' {
5433 \set Score.timing = ##f
5434 \set Score.defaultBarType = "empty"
5435 \override NoteHead #'style = #'neo_mensural
5436 \override Staff.TimeSignature #'style = #'neo_mensural
5438 \[ g\longa c\breve a\breve f\breve d'\longa \]
5440 \[ e1 f1 a\breve g\longa \]
5445 \remove Ligature_bracket_engraver
5446 \consists Mensural_ligature_engraver
5452 Without replacing @internalsref{Ligature_bracket_engraver} with
5453 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5456 @lilypond[quote,raggedright]
5458 \notes \transpose c c' {
5459 \set Score.timing = ##f
5460 \set Score.defaultBarType = "empty"
5461 \override NoteHead #'style = #'neo_mensural
5462 \override Staff.TimeSignature #'style = #'neo_mensural
5464 \[ g\longa c\breve a\breve f\breve d'\longa \]
5466 \[ e1 f1 a\breve g\longa \]
5473 The implementation is experimental; it may output strange warnings or
5474 even crash in some cases or produce weird results on more complex
5477 @node Gregorian square neumes ligatures
5478 @subsubsection Gregorian square neumes ligatures
5480 @cindex Square neumes ligatures
5481 @cindex Gregorian square neumes ligatures
5483 Gregorian square neumes notation (following the style of the Editio
5484 Vaticana) is under heavy development, but not yet really usable for
5485 production purposes. Core ligatures can already be typeset, but
5486 essential issues for serious typesetting are still under development,
5487 such as (among others) horizontal alignment of multiple ligatures,
5488 lyrics alignment and proper accidentals handling. Still, this section
5489 gives a sneak preview of what Gregorian chant may look like once it
5492 The following table contains the extended neumes table of the 2nd
5493 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5494 1983 by the monks of Solesmes.
5496 @multitable @columnfractions .4 .2 .2 .2
5499 @b{Neuma aut@*Neumarum Elementa} @tab
5500 @b{Figurae@*Rectae} @tab
5501 @b{Figurae@*Liquescentes Auctae} @tab
5502 @b{Figurae@*Liquescentes Deminutae}
5504 @c TODO: \paper block is identical in all of the below examples.
5505 @c Therefore, it should somehow be included rather than duplicated all
5508 @c why not make identifiers in ly/engraver-init.ly? --hwn
5510 @c Because it's just used to typeset plain notes without
5511 @c a staff for demonstration purposes rather than something
5512 @c special of Gregorian chant notation. --jr
5517 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5518 \include "gregorian-init.ly"
5520 \notes \transpose c c' {
5523 \noBreak s^\markup {"a"} \noBreak
5525 % Punctum Inclinatum
5527 \noBreak s^\markup {"b"}
5533 \remove "Bar_number_engraver"
5537 \remove "Clef_engraver"
5538 \remove "Key_engraver"
5539 \override StaffSymbol #'transparent = ##t
5540 \remove "Time_signature_engraver"
5541 \remove "Bar_engraver"
5542 minimumVerticalExtent = ##f
5546 \remove Ligature_bracket_engraver
5547 \consists Vaticana_ligature_engraver
5548 \override NoteHead #'style = #'vaticana_punctum
5549 \override Stem #'transparent = ##t
5555 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5556 \include "gregorian-init.ly"
5558 \notes \transpose c c' {
5559 % Punctum Auctum Ascendens
5560 \[ \auctum \ascendens b \]
5561 \noBreak s^\markup {"c"} \noBreak
5563 % Punctum Auctum Descendens
5564 \[ \auctum \descendens b \]
5565 \noBreak s^\markup {"d"} \noBreak
5567 % Punctum Inclinatum Auctum
5568 \[ \inclinatum \auctum b \]
5569 \noBreak s^\markup {"e"}
5575 \remove "Bar_number_engraver"
5579 \remove "Clef_engraver"
5580 \remove "Key_engraver"
5581 \override StaffSymbol #'transparent = ##t
5582 \remove "Time_signature_engraver"
5583 \remove "Bar_engraver"
5584 minimumVerticalExtent = ##f
5588 \remove Ligature_bracket_engraver
5589 \consists Vaticana_ligature_engraver
5590 \override NoteHead #'style = #'vaticana_punctum
5591 \override Stem #'transparent = ##t
5597 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5598 \include "gregorian-init.ly"
5600 \notes \transpose c c' {
5601 % Punctum Inclinatum Parvum
5602 \[ \inclinatum \deminutum b \]
5603 \noBreak s^\markup {"f"}
5609 \remove "Bar_number_engraver"
5613 \remove "Clef_engraver"
5614 \remove "Key_engraver"
5615 \override StaffSymbol #'transparent = ##t
5616 \remove "Time_signature_engraver"
5617 \remove "Bar_engraver"
5618 minimumVerticalExtent = ##f
5622 \remove Ligature_bracket_engraver
5623 \consists Vaticana_ligature_engraver
5624 \override NoteHead #'style = #'vaticana_punctum
5625 \override Stem #'transparent = ##t
5634 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5635 \include "gregorian-init.ly"
5637 \notes \transpose c c' {
5640 \noBreak s^\markup {"g"}
5646 \remove "Bar_number_engraver"
5650 \remove "Clef_engraver"
5651 \remove "Key_engraver"
5652 \override StaffSymbol #'transparent = ##t
5653 \remove "Time_signature_engraver"
5654 \remove "Bar_engraver"
5655 minimumVerticalExtent = ##f
5659 \remove Ligature_bracket_engraver
5660 \consists Vaticana_ligature_engraver
5661 \override NoteHead #'style = #'vaticana_punctum
5662 \override Stem #'transparent = ##t
5671 @code{3. Apostropha vel Stropha}
5673 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5674 \include "gregorian-init.ly"
5676 \notes \transpose c c' {
5679 \noBreak s^\markup {"h"}
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=1.0\cm]
5708 \include "gregorian-init.ly"
5710 \notes \transpose c c' {
5712 \[ \stropha \auctum b \]
5713 \noBreak s^\markup {"i"}
5719 \remove "Bar_number_engraver"
5723 \remove "Clef_engraver"
5724 \remove "Key_engraver"
5725 \override StaffSymbol #'transparent = ##t
5726 \remove "Time_signature_engraver"
5727 \remove "Bar_engraver"
5728 minimumVerticalExtent = ##f
5732 \remove Ligature_bracket_engraver
5733 \consists Vaticana_ligature_engraver
5734 \override NoteHead #'style = #'vaticana_punctum
5735 \override Stem #'transparent = ##t
5745 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5746 \include "gregorian-init.ly"
5748 \notes \transpose c c' {
5751 \noBreak s^\markup {"j"}
5757 \remove "Bar_number_engraver"
5761 \remove "Clef_engraver"
5762 \remove "Key_engraver"
5763 \override StaffSymbol #'transparent = ##t
5764 \remove "Time_signature_engraver"
5765 \remove "Bar_engraver"
5766 minimumVerticalExtent = ##f
5770 \remove Ligature_bracket_engraver
5771 \consists Vaticana_ligature_engraver
5772 \override NoteHead #'style = #'vaticana_punctum
5773 \override Stem #'transparent = ##t
5782 @code{5. Clivis vel Flexa}
5784 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5785 \include "gregorian-init.ly"
5787 \notes \transpose c c' {
5796 \remove "Bar_number_engraver"
5800 \remove "Clef_engraver"
5801 \remove "Key_engraver"
5802 \override StaffSymbol #'transparent = ##t
5803 \remove "Time_signature_engraver"
5804 \remove "Bar_engraver"
5805 minimumVerticalExtent = ##f
5809 \remove Ligature_bracket_engraver
5810 \consists Vaticana_ligature_engraver
5811 \override NoteHead #'style = #'vaticana_punctum
5812 \override Stem #'transparent = ##t
5818 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5819 \include "gregorian-init.ly"
5821 \notes \transpose c c' {
5822 % Clivis Aucta Descendens
5823 \[ b \flexa \auctum \descendens g \]
5824 \noBreak s^\markup {"l"} \noBreak
5826 % Clivis Aucta Ascendens
5827 \[ b \flexa \auctum \ascendens g \]
5828 \noBreak s^\markup {"m"}
5834 \remove "Bar_number_engraver"
5838 \remove "Clef_engraver"
5839 \remove "Key_engraver"
5840 \override StaffSymbol #'transparent = ##t
5841 \remove "Time_signature_engraver"
5842 \remove "Bar_engraver"
5843 minimumVerticalExtent = ##f
5847 \remove Ligature_bracket_engraver
5848 \consists Vaticana_ligature_engraver
5849 \override NoteHead #'style = #'vaticana_punctum
5850 \override Stem #'transparent = ##t
5856 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5857 \include "gregorian-init.ly"
5859 \notes \transpose c c' {
5861 \[ b \flexa \deminutum g \]
5868 \remove "Bar_number_engraver"
5872 \remove "Clef_engraver"
5873 \remove "Key_engraver"
5874 \override StaffSymbol #'transparent = ##t
5875 \remove "Time_signature_engraver"
5876 \remove "Bar_engraver"
5877 minimumVerticalExtent = ##f
5881 \remove Ligature_bracket_engraver
5882 \consists Vaticana_ligature_engraver
5883 \override NoteHead #'style = #'vaticana_punctum
5884 \override Stem #'transparent = ##t
5891 @code{6. Podatus vel Pes}
5893 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5894 \include "gregorian-init.ly"
5896 \notes \transpose c c' {
5905 \remove "Bar_number_engraver"
5909 \remove "Clef_engraver"
5910 \remove "Key_engraver"
5911 \override StaffSymbol #'transparent = ##t
5912 \remove "Time_signature_engraver"
5913 \remove "Bar_engraver"
5914 minimumVerticalExtent = ##f
5918 \remove Ligature_bracket_engraver
5919 \consists Vaticana_ligature_engraver
5920 \override NoteHead #'style = #'vaticana_punctum
5921 \override Stem #'transparent = ##t
5927 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5928 \include "gregorian-init.ly"
5930 \notes \transpose c c' {
5931 % Pes Auctus Descendens
5932 \[ g \pes \auctum \descendens b \]
5933 \noBreak s^\markup {"p"} \noBreak
5935 % Pes Auctus Ascendens
5936 \[ g \pes \auctum \ascendens b \]
5937 \noBreak s^\markup {"q"}
5943 \remove "Bar_number_engraver"
5947 \remove "Clef_engraver"
5948 \remove "Key_engraver"
5949 \override StaffSymbol #'transparent = ##t
5950 \remove "Time_signature_engraver"
5951 \remove "Bar_engraver"
5952 minimumVerticalExtent = ##f
5956 \remove Ligature_bracket_engraver
5957 \consists Vaticana_ligature_engraver
5958 \override NoteHead #'style = #'vaticana_punctum
5959 \override Stem #'transparent = ##t
5965 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5966 \include "gregorian-init.ly"
5968 \notes \transpose c c' {
5970 \[ g \pes \deminutum b \]
5977 \remove "Bar_number_engraver"
5981 \remove "Clef_engraver"
5982 \remove "Key_engraver"
5983 \override StaffSymbol #'transparent = ##t
5984 \remove "Time_signature_engraver"
5985 \remove "Bar_engraver"
5986 minimumVerticalExtent = ##f
5990 \remove Ligature_bracket_engraver
5991 \consists Vaticana_ligature_engraver
5992 \override NoteHead #'style = #'vaticana_punctum
5993 \override Stem #'transparent = ##t
6000 @code{7. Pes Quassus}
6002 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6003 \include "gregorian-init.ly"
6005 \notes \transpose c c' {
6007 \[ \oriscus g \pes \virga b \]
6014 \remove "Bar_number_engraver"
6018 \remove "Clef_engraver"
6019 \remove "Key_engraver"
6020 \override StaffSymbol #'transparent = ##t
6021 \remove "Time_signature_engraver"
6022 \remove "Bar_engraver"
6023 minimumVerticalExtent = ##f
6027 \remove Ligature_bracket_engraver
6028 \consists Vaticana_ligature_engraver
6029 \override NoteHead #'style = #'vaticana_punctum
6030 \override Stem #'transparent = ##t
6036 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6037 \include "gregorian-init.ly"
6039 \notes \transpose c c' {
6040 % Pes Quassus Auctus Descendens
6041 \[ \oriscus g \pes \auctum \descendens b \]
6048 \remove "Bar_number_engraver"
6052 \remove "Clef_engraver"
6053 \remove "Key_engraver"
6054 \override StaffSymbol #'transparent = ##t
6055 \remove "Time_signature_engraver"
6056 \remove "Bar_engraver"
6057 minimumVerticalExtent = ##f
6061 \remove Ligature_bracket_engraver
6062 \consists Vaticana_ligature_engraver
6063 \override NoteHead #'style = #'vaticana_punctum
6064 \override Stem #'transparent = ##t
6072 @code{8. Quilisma Pes}
6074 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6075 \include "gregorian-init.ly"
6077 \notes \transpose c c' {
6079 \[ \quilisma g \pes b \]
6086 \remove "Bar_number_engraver"
6090 \remove "Clef_engraver"
6091 \remove "Key_engraver"
6092 \override StaffSymbol #'transparent = ##t
6093 \remove "Time_signature_engraver"
6094 \remove "Bar_engraver"
6095 minimumVerticalExtent = ##f
6099 \remove Ligature_bracket_engraver
6100 \consists Vaticana_ligature_engraver
6101 \override NoteHead #'style = #'vaticana_punctum
6102 \override Stem #'transparent = ##t
6108 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6109 \include "gregorian-init.ly"
6111 \notes \transpose c c' {
6112 % Quilisma Pes Auctus Descendens
6113 \[ \quilisma g \pes \auctum \descendens b \]
6120 \remove "Bar_number_engraver"
6124 \remove "Clef_engraver"
6125 \remove "Key_engraver"
6126 \override StaffSymbol #'transparent = ##t
6127 \remove "Time_signature_engraver"
6128 \remove "Bar_engraver"
6129 minimumVerticalExtent = ##f
6133 \remove Ligature_bracket_engraver
6134 \consists Vaticana_ligature_engraver
6135 \override NoteHead #'style = #'vaticana_punctum
6136 \override Stem #'transparent = ##t
6144 @code{9. Podatus Initio Debilis}
6146 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6147 \include "gregorian-init.ly"
6149 \notes \transpose c c' {
6150 % Pes Initio Debilis
6151 \[ \deminutum g \pes b \]
6158 \remove "Bar_number_engraver"
6162 \remove "Clef_engraver"
6163 \remove "Key_engraver"
6164 \override StaffSymbol #'transparent = ##t
6165 \remove "Time_signature_engraver"
6166 \remove "Bar_engraver"
6167 minimumVerticalExtent = ##f
6171 \remove Ligature_bracket_engraver
6172 \consists Vaticana_ligature_engraver
6173 \override NoteHead #'style = #'vaticana_punctum
6174 \override Stem #'transparent = ##t
6180 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6181 \include "gregorian-init.ly"
6183 \notes \transpose c c' {
6184 % Pes Auctus Descendens Initio Debilis
6185 \[ \deminutum g \pes \auctum \descendens b \]
6192 \remove "Bar_number_engraver"
6196 \remove "Clef_engraver"
6197 \remove "Key_engraver"
6198 \override StaffSymbol #'transparent = ##t
6199 \remove "Time_signature_engraver"
6200 \remove "Bar_engraver"
6201 minimumVerticalExtent = ##f
6205 \remove Ligature_bracket_engraver
6206 \consists Vaticana_ligature_engraver
6207 \override NoteHead #'style = #'vaticana_punctum
6208 \override Stem #'transparent = ##t
6218 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6219 \include "gregorian-init.ly"
6221 \notes \transpose c c' {
6223 \[ a \pes b \flexa g \]
6230 \remove "Bar_number_engraver"
6234 \remove "Clef_engraver"
6235 \remove "Key_engraver"
6236 \override StaffSymbol #'transparent = ##t
6237 \remove "Time_signature_engraver"
6238 \remove "Bar_engraver"
6239 minimumVerticalExtent = ##f
6243 \remove Ligature_bracket_engraver
6244 \consists Vaticana_ligature_engraver
6245 \override NoteHead #'style = #'vaticana_punctum
6246 \override Stem #'transparent = ##t
6252 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6253 \include "gregorian-init.ly"
6255 \notes \transpose c c' {
6256 % Torculus Auctus Descendens
6257 \[ a \pes b \flexa \auctum \descendens g \]
6264 \remove "Bar_number_engraver"
6268 \remove "Clef_engraver"
6269 \remove "Key_engraver"
6270 \override StaffSymbol #'transparent = ##t
6271 \remove "Time_signature_engraver"
6272 \remove "Bar_engraver"
6273 minimumVerticalExtent = ##f
6277 \remove Ligature_bracket_engraver
6278 \consists Vaticana_ligature_engraver
6279 \override NoteHead #'style = #'vaticana_punctum
6280 \override Stem #'transparent = ##t
6286 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6287 \include "gregorian-init.ly"
6289 \notes \transpose c c' {
6290 % Torculus Deminutus
6291 \[ a \pes b \flexa \deminutum g \]
6298 \remove "Bar_number_engraver"
6302 \remove "Clef_engraver"
6303 \remove "Key_engraver"
6304 \override StaffSymbol #'transparent = ##t
6305 \remove "Time_signature_engraver"
6306 \remove "Bar_engraver"
6307 minimumVerticalExtent = ##f
6311 \remove Ligature_bracket_engraver
6312 \consists Vaticana_ligature_engraver
6313 \override NoteHead #'style = #'vaticana_punctum
6314 \override Stem #'transparent = ##t
6321 @code{11. Torculus Initio Debilis}
6323 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6324 \include "gregorian-init.ly"
6326 \notes \transpose c c' {
6327 % Torculus Initio Debilis
6328 \[ \deminutum a \pes b \flexa g \]
6335 \remove "Bar_number_engraver"
6339 \remove "Clef_engraver"
6340 \remove "Key_engraver"
6341 \override StaffSymbol #'transparent = ##t
6342 \remove "Time_signature_engraver"
6343 \remove "Bar_engraver"
6344 minimumVerticalExtent = ##f
6348 \remove Ligature_bracket_engraver
6349 \consists Vaticana_ligature_engraver
6350 \override NoteHead #'style = #'vaticana_punctum
6351 \override Stem #'transparent = ##t
6357 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6358 \include "gregorian-init.ly"
6360 \notes \transpose c c' {
6361 % Torculus Auctus Descendens Initio Debilis
6362 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6369 \remove "Bar_number_engraver"
6373 \remove "Clef_engraver"
6374 \remove "Key_engraver"
6375 \override StaffSymbol #'transparent = ##t
6376 \remove "Time_signature_engraver"
6377 \remove "Bar_engraver"
6378 minimumVerticalExtent = ##f
6382 \remove Ligature_bracket_engraver
6383 \consists Vaticana_ligature_engraver
6384 \override NoteHead #'style = #'vaticana_punctum
6385 \override Stem #'transparent = ##t
6391 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6392 \include "gregorian-init.ly"
6394 \notes \transpose c c' {
6395 % Torculus Deminutus Initio Debilis
6396 \[ \deminutum a \pes b \flexa \deminutum g \]
6403 \remove "Bar_number_engraver"
6407 \remove "Clef_engraver"
6408 \remove "Key_engraver"
6409 \override StaffSymbol #'transparent = ##t
6410 \remove "Time_signature_engraver"
6411 \remove "Bar_engraver"
6412 minimumVerticalExtent = ##f
6416 \remove Ligature_bracket_engraver
6417 \consists Vaticana_ligature_engraver
6418 \override NoteHead #'style = #'vaticana_punctum
6419 \override Stem #'transparent = ##t
6426 @code{12. Porrectus}
6428 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6429 \include "gregorian-init.ly"
6431 \notes \transpose c c' {
6433 \[ a \flexa g \pes b \]
6440 \remove "Bar_number_engraver"
6444 \remove "Clef_engraver"
6445 \remove "Key_engraver"
6446 \override StaffSymbol #'transparent = ##t
6447 \remove "Time_signature_engraver"
6448 \remove "Bar_engraver"
6449 minimumVerticalExtent = ##f
6453 \remove Ligature_bracket_engraver
6454 \consists Vaticana_ligature_engraver
6455 \override NoteHead #'style = #'vaticana_punctum
6456 \override Stem #'transparent = ##t
6462 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6463 \include "gregorian-init.ly"
6465 \notes \transpose c c' {
6466 % Porrectus Auctus Descendens
6467 \[ a \flexa g \pes \auctum \descendens b \]
6474 \remove "Bar_number_engraver"
6478 \remove "Clef_engraver"
6479 \remove "Key_engraver"
6480 \override StaffSymbol #'transparent = ##t
6481 \remove "Time_signature_engraver"
6482 \remove "Bar_engraver"
6483 minimumVerticalExtent = ##f
6487 \remove Ligature_bracket_engraver
6488 \consists Vaticana_ligature_engraver
6489 \override NoteHead #'style = #'vaticana_punctum
6490 \override Stem #'transparent = ##t
6496 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6497 \include "gregorian-init.ly"
6499 \notes \transpose c c' {
6500 % Porrectus Deminutus
6501 \[ a \flexa g \pes \deminutum b \]
6508 \remove "Bar_number_engraver"
6512 \remove "Clef_engraver"
6513 \remove "Key_engraver"
6514 \override StaffSymbol #'transparent = ##t
6515 \remove "Time_signature_engraver"
6516 \remove "Bar_engraver"
6517 minimumVerticalExtent = ##f
6521 \remove Ligature_bracket_engraver
6522 \consists Vaticana_ligature_engraver
6523 \override NoteHead #'style = #'vaticana_punctum
6524 \override Stem #'transparent = ##t
6533 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6534 \include "gregorian-init.ly"
6536 \notes \transpose c c' {
6538 \[ \virga b \inclinatum a \inclinatum g \]
6545 \remove "Bar_number_engraver"
6549 \remove "Clef_engraver"
6550 \remove "Key_engraver"
6551 \override StaffSymbol #'transparent = ##t
6552 \remove "Time_signature_engraver"
6553 \remove "Bar_engraver"
6554 minimumVerticalExtent = ##f
6558 \remove Ligature_bracket_engraver
6559 \consists Vaticana_ligature_engraver
6560 \override NoteHead #'style = #'vaticana_punctum
6561 \override Stem #'transparent = ##t
6567 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6568 \include "gregorian-init.ly"
6570 \notes \transpose c c' {
6572 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6579 \remove "Bar_number_engraver"
6583 \remove "Clef_engraver"
6584 \remove "Key_engraver"
6585 \override StaffSymbol #'transparent = ##t
6586 \remove "Time_signature_engraver"
6587 \remove "Bar_engraver"
6588 minimumVerticalExtent = ##f
6592 \remove Ligature_bracket_engraver
6593 \consists Vaticana_ligature_engraver
6594 \override NoteHead #'style = #'vaticana_punctum
6595 \override Stem #'transparent = ##t
6601 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6602 \include "gregorian-init.ly"
6604 \notes \transpose c c' {
6605 % Climacus Deminutus
6606 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6613 \remove "Bar_number_engraver"
6617 \remove "Clef_engraver"
6618 \remove "Key_engraver"
6619 \override StaffSymbol #'transparent = ##t
6620 \remove "Time_signature_engraver"
6621 \remove "Bar_engraver"
6622 minimumVerticalExtent = ##f
6626 \remove Ligature_bracket_engraver
6627 \consists Vaticana_ligature_engraver
6628 \override NoteHead #'style = #'vaticana_punctum
6629 \override Stem #'transparent = ##t
6636 @code{14. Scandicus}
6638 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6639 \include "gregorian-init.ly"
6641 \notes \transpose c c' {
6643 \[ g \pes a \virga b \]
6650 \remove "Bar_number_engraver"
6654 \remove "Clef_engraver"
6655 \remove "Key_engraver"
6656 \override StaffSymbol #'transparent = ##t
6657 \remove "Time_signature_engraver"
6658 \remove "Bar_engraver"
6659 minimumVerticalExtent = ##f
6663 \remove Ligature_bracket_engraver
6664 \consists Vaticana_ligature_engraver
6665 \override NoteHead #'style = #'vaticana_punctum
6666 \override Stem #'transparent = ##t
6672 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6673 \include "gregorian-init.ly"
6675 \notes \transpose c c' {
6676 % Scandicus Auctus Descendens
6677 \[ g \pes a \pes \auctum \descendens b \]
6684 \remove "Bar_number_engraver"
6688 \remove "Clef_engraver"
6689 \remove "Key_engraver"
6690 \override StaffSymbol #'transparent = ##t
6691 \remove "Time_signature_engraver"
6692 \remove "Bar_engraver"
6693 minimumVerticalExtent = ##f
6697 \remove Ligature_bracket_engraver
6698 \consists Vaticana_ligature_engraver
6699 \override NoteHead #'style = #'vaticana_punctum
6700 \override Stem #'transparent = ##t
6706 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6707 \include "gregorian-init.ly"
6709 \notes \transpose c c' {
6710 % Scandicus Deminutus
6711 \[ g \pes a \pes \deminutum b \]
6718 \remove "Bar_number_engraver"
6722 \remove "Clef_engraver"
6723 \remove "Key_engraver"
6724 \override StaffSymbol #'transparent = ##t
6725 \remove "Time_signature_engraver"
6726 \remove "Bar_engraver"
6727 minimumVerticalExtent = ##f
6731 \remove Ligature_bracket_engraver
6732 \consists Vaticana_ligature_engraver
6733 \override NoteHead #'style = #'vaticana_punctum
6734 \override Stem #'transparent = ##t
6743 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6744 \include "gregorian-init.ly"
6746 \notes \transpose c c' {
6748 \[ g \oriscus a \pes \virga b \]
6755 \remove "Bar_number_engraver"
6759 \remove "Clef_engraver"
6760 \remove "Key_engraver"
6761 \override StaffSymbol #'transparent = ##t
6762 \remove "Time_signature_engraver"
6763 \remove "Bar_engraver"
6764 minimumVerticalExtent = ##f
6768 \remove Ligature_bracket_engraver
6769 \consists Vaticana_ligature_engraver
6770 \override NoteHead #'style = #'vaticana_punctum
6771 \override Stem #'transparent = ##t
6777 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6778 \include "gregorian-init.ly"
6780 \notes \transpose c c' {
6781 % Salicus Auctus Descendens
6782 \[ g \oriscus a \pes \auctum \descendens b \]
6789 \remove "Bar_number_engraver"
6793 \remove "Clef_engraver"
6794 \remove "Key_engraver"
6795 \override StaffSymbol #'transparent = ##t
6796 \remove "Time_signature_engraver"
6797 \remove "Bar_engraver"
6798 minimumVerticalExtent = ##f
6802 \remove Ligature_bracket_engraver
6803 \consists Vaticana_ligature_engraver
6804 \override NoteHead #'style = #'vaticana_punctum
6805 \override Stem #'transparent = ##t
6815 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6816 \include "gregorian-init.ly"
6818 \notes \transpose c c' {
6820 \[ \stropha b \stropha b \stropha a \]
6827 \remove "Bar_number_engraver"
6831 \remove "Clef_engraver"
6832 \remove "Key_engraver"
6833 \override StaffSymbol #'transparent = ##t
6834 \remove "Time_signature_engraver"
6835 \remove "Bar_engraver"
6836 minimumVerticalExtent = ##f
6840 \remove Ligature_bracket_engraver
6841 \consists Vaticana_ligature_engraver
6842 \override NoteHead #'style = #'vaticana_punctum
6843 \override Stem #'transparent = ##t
6854 Unlike most other neumes notation systems, the input language for
6855 neumes does not necessarily reflect directly the typographical
6856 appearance, but is designed to solely focuse on musical meaning. For
6857 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6858 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6859 a Porrectus with a curved flexa shape and only a single Punctum head.
6860 There is no command to explicitly typeset the curved flexa shape; the
6861 decision of when to typeset a curved flexa shape is purely taken from
6862 the musical input. The idea of this approach is to separate the
6863 musical aspects of the input from the notation style of the output.
6864 This way, the same input can be reused to typeset the same music in a
6865 different style of Gregorian chant notation.
6867 The following table shows the code fragments that produce the
6868 ligatures in the above neumes table. The letter in the first column
6869 in each line of the below table indicates to which ligature in the
6870 above table it refers. The second column gives the name of the
6871 ligature. The third column shows the code fragment that produces this
6872 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6874 @multitable @columnfractions .1 .4 .5
6888 Punctum Inclinatum @tab
6889 @code{\[ \inclinatum b \]}
6893 Punctum Auctum Ascendens @tab
6894 @code{\[ \auctum \ascendens b \]}
6898 Punctum Auctum Descendens @tab
6899 @code{\[ \auctum \descendens b \]}
6903 Punctum Inclinatum Auctum @tab
6904 @code{\[ \inclinatum \auctum b \]}
6908 Punctum Inclinatum Parvum @tab
6909 @code{\[ \inclinatum \deminutum b \]}
6914 @code{\[ \virga b \]}
6919 @code{\[ \stropha b \]}
6924 @code{\[ \stropha \auctum b \]}
6929 @code{\[ \oriscus b \]}
6933 Clivis vel Flexa @tab
6934 @code{\[ b \flexa g \]}
6938 Clivis Aucta Descendens @tab
6939 @code{\[ b \flexa \auctum \descendens g \]}
6943 Clivis Aucta Ascendens @tab
6944 @code{\[ b \flexa \auctum \ascendens g \]}
6949 @code{\[ b \flexa \deminutum g \]}
6953 Podatus vel Pes @tab
6954 @code{\[ g \pes b \]}
6958 Pes Auctus Descendens @tab
6959 @code{\[ g \pes \auctum \descendens b \]}
6963 Pes Auctus Ascendens @tab
6964 @code{\[ g \pes \auctum \ascendens b \]}
6969 @code{\[ g \pes \deminutum b \]}
6974 @code{\[ \oriscus g \pes \virga b \]}
6978 Pes Quassus Auctus Descendens @tab
6979 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6984 @code{\[ \quilisma g \pes b \]}
6988 Quilisma Pes Auctus Descendens @tab
6989 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6993 Pes Initio Debilis @tab
6994 @code{\[ \deminutum g \pes b \]}
6998 Pes Auctus Descendens Initio Debilis @tab
6999 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7004 @code{\[ a \pes b \flexa g \]}
7008 Torculus Auctus Descendens @tab
7009 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7013 Torculus Deminutus @tab
7014 @code{\[ a \pes b \flexa \deminutum g \]}
7018 Torculus Initio Debilis @tab
7019 @code{\[ \deminutum a \pes b \flexa g \]}
7023 Torculus Auctus Descendens Initio Debilis @tab
7024 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7028 Torculus Deminutus Initio Debilis @tab
7029 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7034 @code{\[ a \flexa g \pes b \]}
7038 Porrectus Auctus Descendens @tab
7039 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7043 Porrectus Deminutus @tab
7044 @code{\[ a \flexa g \pes \deminutum b \]}
7049 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7053 Climacus Auctus @tab
7054 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7058 Climacus Deminutus @tab
7059 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7064 @code{\[ g \pes a \virga b \]}
7068 Scandicus Auctus Descendens @tab
7069 @code{\[ g \pes a \pes \auctum \descendens b \]}
7073 Scandicus Deminutus @tab
7074 @code{\[ g \pes a \pes \deminutum b \]}
7079 @code{\[ g \oriscus a \pes \virga b \]}
7083 Salicus Auctus Descendens @tab
7084 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7089 @code{\[ \stropha b \stropha b \stropha a \]}
7095 The following head prefixes are supported
7097 @cindex @code{\virga}
7099 @cindex @code{\stropha}
7101 @cindex @code{\inclinatum}
7103 @cindex @code{\auctum}
7105 @cindex @code{\descendens}
7107 @cindex @code{\ascendens}
7109 @cindex @code{\oriscus}
7111 @cindex @code{\quilisma}
7113 @cindex @code{\deminutum}
7116 Head prefixes can be accumulated, though restrictions apply. For
7117 example, either @code{\descendens} or @code{\ascendens} can be applied
7118 to a head, but not both to the same head.
7121 @cindex @code{\flexa}
7122 Two adjacent heads can be tied together with the @code{\pes} and
7123 @code{\flexa} infix commands for a rising and falling line of melody,
7128 @node Vaticana style contexts
7129 @subsection Vaticana style contexts
7131 @cindex VaticanaVoiceContext
7132 @cindex VaticanaStaffContext
7134 The predefined @code{VaticanaVoiceContext} and
7135 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7136 Gregorian Chant in the style of the Editio Vaticana. These contexts
7137 initialize all relevant context properties and grob properties to
7138 proper values. With these contexts, you can immediately go ahead
7139 entering the chant, as the following short excerpt demonstrates
7141 @lilypond[quote,raggedright,verbatim,noindent]
7142 \include "gregorian-init.ly"
7145 \context VaticanaVoice = "cantus" {
7146 \override Score.BarNumber #'transparent = ##t
7148 \[ c'\melisma c' \flexa a \]
7149 \[ a \flexa \deminutum g\melismaEnd \]
7151 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7152 c' \divisioMinima \break
7153 \[ c'\melisma c' \flexa a \]
7154 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7157 \lyricsto "cantus" \new Lyrics \lyrics {
7158 San- ctus, San- ctus, San- ctus
7165 @subsection Figured bass
7167 @cindex Basso continuo
7169 @c TODO: musicological blurb about FB
7172 LilyPond has limited support for figured bass
7174 @lilypond[quote,verbatim,fragment]
7176 \context Voice \notes { \clef bass dis4 c d ais }
7177 \context FiguredBass \figures {
7178 < 6 >4 < 7 >8 < 6+ [_!] >
7184 The support for figured bass consists of two parts: there is an input
7185 mode, introduced by @code{\figures}, where you can enter bass figures
7186 as numbers, and there is a context called @internalsref{FiguredBass} that
7187 takes care of making @internalsref{BassFigure} objects.
7189 In figures input mode, a group of bass figures is delimited by
7190 @code{<} and @code{>}. The duration is entered after the @code{>>}
7194 @lilypond[quote,fragment]
7195 \context FiguredBass
7199 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7205 @lilypond[quote,fragment]
7206 \context FiguredBass
7207 \figures { <4- 6+ 7!> }
7210 Spaces or dashes may be inserted by using @code{_}. Brackets are
7211 introduced with @code{[} and @code{]}
7216 @lilypond[quote,fragment]
7217 \context FiguredBass
7218 \figures { < [4 6] 8 [_! 12]> }
7221 Although the support for figured bass may superficially resemble chord
7222 support, it works much simpler. The @code{\figures} mode simply
7223 stores the numbers , and @internalsref{FiguredBass} context prints
7224 them as entered. There is no conversion to pitches, and no
7225 realizations of the bass are played in the MIDI file.
7227 Internally, the code produces markup texts. You can use any of the
7228 markup text properties to override formatting. For example, the
7229 vertical spacing of the figures may be set with @code{baseline-skip}.
7233 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7234 and @internalsref{FiguredBass} context.
7238 Slash notation for alterations is not supported.
7240 @node Contemporary notation
7241 @section Contemporary notation
7243 In the 20th century, composers have greatly expanded the musical
7244 vocabulary. With this expansion, many innovations in musical notation
7245 have been tried. The book by Stone (1980) gives a comprehensive
7246 overview (see @ref{Literature list}). In general, the use of new,
7247 innovative notation makes a piece harder to understand and perform and
7248 its use should therefore be avoided if possible. For this reason,
7249 support for contemporary notation in LilyPond is limited.
7258 @subsection Clusters
7262 A cluster indicates a continuous range of pitches to be played. They
7263 can be denoted as the envelope of a set of notes. They are entered by
7264 applying the function @code{notes-to-clusters} to a sequence of
7267 @lilypond[quote,relative=2,verbatim]
7268 \apply #notes-to-clusters { <c e > <b f'> }
7271 The following example (from
7272 @inputfileref{input/regression,cluster.ly}) shows what the result
7275 @lilypondfile[quote]{cluster.ly}
7277 Ordinary notes and clusters can be put together in the same staff,
7278 even simultaneously. In such a case no attempt is made to
7279 automatically avoid collisions between ordinary notes and clusters.
7283 Program reference: @internalsref{ClusterSpanner},
7284 @internalsref{ClusterSpannerBeacon},
7285 @internalsref{Cluster_spanner_engraver}, and
7286 @internalsref{ClusterNoteEvent}.
7288 Examples: @inputfileref{input/regression,cluster.ly}.
7292 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7293 accurately. Use @code{<g a>8 <e a>8} instead.
7298 @subsection Fermatas
7304 Contemporary music notation frequently uses special fermata symbols to
7305 indicate fermatas of differing lengths. The following fermatas are
7308 @lilypond[quote,raggedright]
7331 \context Lyrics \lyrics {
7332 \override LyricText #'font-family = #'typewriter
7333 "shortfermata" "fermata" "longfermata" "verylongfermata"
7339 See @ref{Articulations} for general instructions how to apply scripts
7340 such as fermatas to a @code{\notes@{@}} block.
7343 @node Special notation
7344 @section Special notation
7348 * Easy Notation note heads::
7352 @subsection Balloon help
7354 Elements of notation can be marked and named with the help of a square
7355 balloon. The primary purpose of this feature is to explain notation.
7357 The following example demonstrates its use.
7359 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7362 #(add-balloon-text 'NoteHead "heads, or tails?"
7368 The function @code{add-balloon-text} takes the name of a grob, the
7369 label to print and where to put the label relative to the object. In
7370 the above example, the text ``heads or tails?'' ends 3 spaces below
7374 @cindex notation, explaining
7378 Program reference: @internalsref{text-balloon-interface}.
7380 Examples: @inputfileref{input/regression,balloon.ly}.
7382 @node Easy Notation note heads
7383 @subsection Easy Notation note heads
7385 @cindex easy notation
7388 The `easy play' note head includes a name inside the head. It is
7389 used in music for beginners
7391 @lilypond[quote,raggedright,verbatim,staffsize=26]
7396 The command @code{\setEasyHeads} overrides settings for the
7397 @internalsref{NoteHead} object. To make the letters readable, it has
7398 to be printed in a large font size. To print with a larger font, see
7399 @ref{Setting global staff size}.
7404 If you view the result with Xdvi, staff lines may show through the
7405 letters. Printing the PostScript file obtained does produce the
7410 @cindex \setEasyHeads
7411 @code{\setEasyHeads}
7417 Entered music can also be converted to MIDI output. The performance
7418 is intended for proof-hearing the music for errors.
7420 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7421 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7422 marks translate to a fixed fraction of the available MIDI volume
7423 range, crescendi and decrescendi make the volume vary linearly between
7424 their two extremities. The fractions can be adjusted by
7425 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7426 For each type of MIDI instrument, a volume range can be defined. This
7427 gives a basic equalizer control, which can enhance the quality of
7428 the MIDI output remarkably. The equalizer can be controlled by
7429 setting @code{instrumentEqualizer}.
7433 Many musically interesting effects, such as swing, articulation,
7434 slurring, etc., are not translated to MIDI.
7436 The MIDI output allocates a channel for each Staff, and one for global
7437 settings. Hence, the MIDI file should not have more than 15 staves
7438 (or 14 if you do not use drums). Other staves will remain silent.
7443 * MIDI instrument names::
7448 @subsection MIDI block
7452 The MIDI block is analogous to the paper block, but it is somewhat
7453 simpler. The @code{\midi} block can contain
7457 @item a @code{\tempo} definition, and
7458 @item context definitions.
7461 A number followed by a period is interpreted as a real number, so
7462 for setting the tempo for dotted notes, an extra space should be
7463 inserted, for example
7466 \midi @{ \tempo 4 . = 120 @}
7470 @cindex context definition
7472 Context definitions follow precisely the same syntax as within the
7473 \paper block. Translation modules for sound are called performers.
7474 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7477 @node MIDI instrument names
7478 @subsection MIDI instrument names
7480 @cindex instrument names
7481 @cindex @code{Staff.midiInstrument}
7483 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7484 property. The instrument name should be chosen from the list in
7485 @ref{MIDI instruments}.
7489 If the selected string does not exactly match, the default is used,
7490 which is the Grand Piano.