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 using LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 The basic elements of any piece of music are the notes. This section
43 is about basic notation elements notes, rests and related constructs,
44 such as stems, tuplets and ties.
49 * Chromatic alterations::
64 A note is printed by specifying its pitch and then its duration:
65 @footnote{Notes constitute the most basic elements of LilyPond input,
66 but they do not form valid input on their own without a @code{\score}
67 block. However, for the sake of brevity and simplicity we will
68 generally omit @code{\score} blocks and @code{\paper} declarations in
71 @lilypond[fragment,verbatim]
80 @cindex Note specification
82 @cindex entering notes
84 The most common syntax for pitch entry is used in @code{\chords} and
85 @code{\notes} mode. In Note and Chord mode, pitches may be designated
86 by names. The notes are specified by the letters @code{a} through
87 @code{g}, while the octave is formed with notes ranging from @code{c}
88 to @code{b}. The pitch @code{c} is an octave below middle C and the
89 letters span the octave above that C:
91 @lilypond[fragment,verbatim]
93 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
96 @cindex note names, Dutch
98 A sharp is formed by adding @code{-is} to the end of a pitch name and
99 a flat is formed by adding @code{-es}. Double sharps and double flats
100 are obtained by adding @code{-isis} or @code{-eses}. These
101 names are the Dutch note names. In Dutch, @code{aes} is contracted to
102 @code{as}, but both forms are accepted. Similarly, both
103 @code{es} and @code{ees} are accepted.
105 Half-flats and half-sharps are formed by adding @code{-eh} and
106 @code{-ih}; the following is a series of Cs with increasing pitches:
108 @cindex quarter tones
109 @cindex semi-flats, semi-sharps
111 @lilypond[verbatim,relative=2]
123 There are predefined sets of note names for various other languages.
124 To use them, include the language specific init file. For
125 example: @code{\include "english.ly"}. The available language files
126 and the note names they define are:
131 Note Names sharp flat
132 nederlands.ly c d e f g a bes b -is -es
133 english.ly c d e f g a bf b -s/-sharp -f/-flat
135 deutsch.ly c d e f g a b h -is -es
136 norsk.ly c d e f g a b h -iss/-is -ess/-es
137 svenska.ly c d e f g a b h -iss -ess
138 italiano.ly do re mi fa sol la sib si -d -b
139 catalan.ly do re mi fa sol la sib si -d/-s -b
140 espanol.ly do re mi fa sol la sib si -s -b
149 The optional octave specification takes the form of a series of
150 single quote (`@code{'}') characters or a series of comma
151 (`@code{,}') characters. Each @code{'} raises the pitch by one
152 octave; each @code{,} lowers the pitch by an octave:
154 @lilypond[fragment,verbatim]
155 c' c'' es' g' as' gisis' ais'
161 Notes can be hidden and unhidden with the following commands:
163 @cindex @code{\hideNotes}
165 @cindex @code{\unHideNotes}
171 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
173 @node Chromatic alterations
174 @subsection Chromatic alterations
176 Normally accidentals are printed automatically, but you may also
177 print them manually. A reminder accidental
178 @cindex reminder accidental
180 can be forced by adding an exclamation mark @code{!}
181 after the pitch. A cautionary accidental
182 @cindex cautionary accidental
183 @cindex parenthesized accidental
184 (i.e. an accidental within parentheses) can be obtained by adding the
185 question mark `@code{?}' after the pitch:
187 @lilypond[fragment,verbatim]
188 cis' cis' cis'! cis'?
192 The automatic production of accidentals can be tuned in many
193 ways. For more information, refer to @ref{Accidentals}.
198 A chord is formed by a enclosing a set of pitches in @code{<} and
199 @code{>}. A chord may be followed by a duration, and a set of
200 articulations, just like simple notes.
210 Rests are entered like notes, with the note name @code{r}:
212 @lilypond[raggedright,verbatim]
216 Whole bar rests, centered in middle of the bar,
217 must be done with multi measure rests. They are discussed in
218 @ref{Multi measure rests}.
221 A rest's vertical position may be explicitly specified by entering a
222 note with the @code{\rest} keyword appended. This makes manual
223 formatting in polyphonic music easier. Rest collision testing will
224 leave these rests alone:
226 @lilypond[raggedright,verbatim]
232 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
239 @cindex Invisible rest
242 An invisible rest (also called a `skip') can be entered like a note
243 with note name `@code{s}' or with @code{\skip @var{duration}}:
245 @lilypond[raggedright,verbatim]
249 The @code{s} syntax is only available in note mode and chord mode. In
250 other situations, you should use the @code{\skip} command:
252 @lilypond[raggedright,verbatim]
255 { \time 4/8 \skip 2 \time 4/4 }
256 \notes\relative c'' { a2 a1 }
261 The skip command is merely an empty musical placeholder. It does not
262 produce any output, not even transparent output.
264 The @code{s} skip command does create @internalsref{Staff} and
265 @internalsref{Voice} when necessary, similar to note and rest
266 commands. For example, the following results in an empty staff.
268 @lilypond[raggedright,verbatim]
269 \score { \notes { s4 } }
272 The same fragment using @code{\skip} results in an empty page.
276 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
281 @subsection Durations
287 In Note, Chord, and Lyrics mode, durations are designated by numbers
288 and dots: durations are entered as their reciprocal values. For example,
289 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
290 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
291 longer than a whole you must use variables:
295 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
297 r1 r2 r4 r8 r16 r32 r64 r64
302 \notes \relative c'' {
304 a1 a2 a4 a8 a16 a32 a64 a64
306 r1 r2 r4 r8 r16 r32 r64 r64
311 \remove "Clef_engraver"
312 \override StaffSymbol #'transparent = ##t
313 \override TimeSignature #'transparent = ##t
314 \consists "Pitch_squash_engraver"
321 If the duration is omitted then it is set to the previously entered
322 duration. The default for the first note is a quarter note. The duration
323 can be followed by dots (`@code{.}') in order to obtain dotted note
327 @lilypond[fragment,verbatim]
328 a' b' c''8 b' a'4 a'4. b'4.. c'8.
333 You can alter the length of duration by a fraction @var{N/M}
334 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
335 will not affect the appearance of the notes or rests produced.
336 In the following example, the first three notes take up exactly two
338 @lilypond[fragment,relative=2,verbatim]
340 a4*2/3 gis4*2/3 a4*2/3
347 Dots are normally moved up to avoid staff lines, except in polyphonic
348 situations. The following commands may be used to force a particular
351 @cindex @code{\dotsUp}
353 @cindex @code{\dotsDown}
355 @cindex @code{\dotsBoth}
360 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
365 Whenever a note is found, a @internalsref{Stem} object is created
366 automatically. For whole notes and rests, they are also created but
371 @cindex @code{\stemUp}
373 @cindex @code{\stemDown}
375 @cindex @code{\stemBoth}
386 A tie connects two adjacent note heads of the same pitch. The tie in
387 effect extends the length of a note. Ties should not be confused with
388 slurs, which indicate articulation, or phrasing slurs, which indicate
389 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
391 @lilypond[fragment,verbatim]
392 e' ~ e' <c' e' g'> ~ <c' e' g'>
395 When a tie is applied to a chord, all note heads whose pitches match
396 are connected. When no note heads match, no ties will be created.
398 In its meaning a tie is just a way of extending a note duration, similar
399 to the augmentation dot; in the following example there are two ways of
400 notating exactly the same concept:
402 @lilypond[fragment,raggedright]
403 \time 3/4 c'2. c'2 ~ c'4
405 If you need to tie a lot of notes over bars, it may be easier to use automatic
406 note splitting (see @ref{Automatic note splitting}).
411 @cindex @code{\tieUp}
413 @cindex @code{\tieDown}
415 @cindex @code{\tieBoth}
417 @cindex @code{\tieDotted}
419 @cindex @code{\tieSolid}
424 In this manual: @ref{Automatic note splitting}.
426 Internals: @internalsref{TieEvent}, @internalsref{Tie}.
428 For tying only a subset of the note heads of a pair of chords, see
429 @inputfileref{input/regression,tie-chord-partial.ly}.
434 Switching staves when a tie is active will not produce a slanted tie.
436 Formatting of ties is a difficult subject. The results are often not
446 @cindex @code{\times}
448 Tuplets are made out of a music expression by multiplying all durations
451 @cindex @code{\times}
453 \times @var{fraction} @var{musicexpr}
457 The duration of @var{musicexpr} will be multiplied by the fraction.
458 The fraction's denominator will be printed over the notes, optionally
459 with a bracket. The most common tuplet is the triplet in which 3
460 notes have the length of 2, so the notes are 2/3 of their written
463 @lilypond[fragment,verbatim]
464 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
467 The property @code{tupletSpannerDuration} specifies how long each
468 bracket should last. With this, you can make lots of tuplets while
469 typing @code{\times} only once, saving lots of typing. In the next
470 example, there are two triplets shown, while @code{\times} was only
473 @lilypond[fragment,relative,raggedright,verbatim]
474 \set tupletSpannerDuration = #(ly:make-moment 1 4)
475 \times 2/3 { c'8 c c c c c }
478 The format of the number is determined by the property
479 @code{tupletNumberFormatFunction}. The default prints only the
480 denominator, but if it is set to the Scheme function
481 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
485 @cindex @code{tupletNumberFormatFunction}
486 @cindex tuplet formatting
491 @cindex @code{\tupletUp}
493 @cindex @code{\tupletDown}
495 @cindex @code{\tupletBoth}
500 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
502 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
506 Nested tuplets are not formatted automatically. In this case, outer
507 tuplet brackets should be moved manually, which is demonstrated in
508 @inputfileref{input/regression,tuplet-nest.ly}.
512 @node Easier music entry
513 @section Easier music entry
516 When entering music it is easy to introduce errors. This section deals
517 with tricks and features of the input language that were added solely
518 to help entering music, and find and correct mistakes.
520 It is also possible to use external programs, for example GUI
521 interfaces, or MIDI transcription programs, to enter or edit
522 music. Refer to the website for more information. Finally, there are
523 tools make debugging easier, by linking the input file and the output
524 shown on screen. See @ref{Point and click} for more information.
531 * Skipping corrected music::
532 * Automatic note splitting::
538 @node Relative octaves
539 @subsection Relative octaves
541 @cindex relative octave specification
543 Octaves are specified by adding @code{'} and @code{,} to pitch names.
544 When you copy existing music, it is easy to accidentally put a pitch
545 in the wrong octave and hard to find such an error. The relative
546 octave mode prevents these errors: a single error puts the rest of the
547 piece off by one octave:
549 @cindex @code{\relative}
551 \relative @var{startpitch} @var{musicexpr}
554 The octave of notes that appear in @var{musicexpr} are calculated as
555 follows: If no octave changing marks are used, the basic interval
556 between this and the last note is always taken to be a fourth or less
557 (; this distance is determined without regarding alterations: a
558 @code{fisis} following a @code{ceses} will be put above the
561 The octave changing marks @code{'} and @code{,} can be added to raise
562 or lower the pitch by an extra octave. Upon entering relative mode,
563 an absolute starting pitch must be specified that will act as the
564 predecessor of the first note of @var{musicexpr}.
566 Here is the relative mode shown in action:
567 @lilypond[fragment,raggedright,verbatim]
573 Octave changing marks are used for intervals greater than a fourth:
574 @lilypond[fragment,verbatim]
579 If the preceding item is a chord, the first note of the chord is used
580 to determine the first note of the next chord:
582 @lilypond[fragment,verbatim]
589 @cindex @code{\notes}
591 The pitch after the @code{\relative} contains a note name. To parse
592 the pitch as a note name, you have to be in note mode, so there must
593 be a surrounding @code{\notes} keyword (which is not
596 The relative conversion will not affect @code{\transpose},
597 @code{\chords} or @code{\relative} sections in its argument. If you
598 want to use relative within transposed music, you must place an
599 additional @code{\relative} inside the @code{\transpose}.
602 @subsection Octave check
605 Octave checks make octave errors easier to correct: a note may be
606 followed by @code{=}@var{quotes} which indicates what its absolute
607 octave should be. In the following example,
609 \relative c'' @{ c='' b=' d,='' @}
613 @c take care with @code, adds confusing quotes.
614 the d will generate a warning, because a d'' is expected, but a d' is
615 found. In the output, the octave is corrected this and the following
620 There is also a syntax that is separate from the notes.
625 This checks that @var{pitch} (without octave) yields @var{pitch} (with
626 octave) in \relative mode. If not, a warning is printed, and the
627 octave is corrected, for example, the first check is passed
628 successfully. The second check fails with an error message. The
629 octave is adjusted so the following notes are in the correct octave
640 The octave of a note following an octave check is determined with
641 respect to the note preceding it. In the next fragment, the last note
642 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
643 be deleted without changing the meaning of the piece.
645 @lilypond[verbatim,fragment]
654 @subsection Bar check
658 @cindex @code{barCheckSynchronize}
661 Bar checks help detect errors in the durations. A bar check is
662 entered using the bar symbol, `@code{|}'. Whenever it is encountered
663 during interpretation, it should fall on a measure boundary. If it
664 does not, a warning is printed. Depending on the value of
665 @code{barCheckSynchronize}, the beginning of the measure will be
668 In the next example, the second bar check will signal an error:
670 \time 3/4 c2 e4 | g2 |
673 Bar checks can also be used in lyrics, for example
678 Twin -- kle | Twin -- kle
683 @cindex skipTypesetting
685 Failed bar checks are caused by entering incorrect
686 durations. Incorrect durations often completely garble up the score,
687 especially if it is polyphonic, so you should start correcting the
688 score by scanning for failed bar checks and incorrect durations. To
689 speed up this process, you can use @code{skipTypesetting}, described
692 @node Skipping corrected music
693 @subsection Skipping corrected music
695 The property @code{Score.skipTypesetting} can be used to switch on and
696 off typesetting completely during the interpretation phase. When
697 typesetting is switched off, the music is processed much more quickly.
698 This can be used to skip over the parts of a score that have already
699 been checked for errors:
701 @lilypond[fragment,raggedright,verbatim]
703 \set Score.skipTypesetting = ##t
705 \set Score.skipTypesetting = ##f
709 @node Automatic note splitting
710 @subsection Automatic note splitting
712 Long notes can be converted automatically to tied notes. This is done
713 by replacing the @internalsref{Note_heads_engraver} by the
714 @internalsref{Completion_heads_engraver}.
715 In the following examples, notes crossing the bar line are split and tied.
718 @lilypond[noindent,verbatim,relative=1]
720 \remove "Note_heads_engraver"
721 \consists "Completion_heads_engraver"
723 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
727 This engraver splits all running notes at the bar line, and inserts
728 ties. One of its uses is to debug complex scores: if the measures are
729 not entirely filled, then the ties exactly show how much each measure
734 Not all durations (especially those containing tuplets) can be
735 represented exactly; the engraver will not insert tuplets.
739 Examples: @inputfileref{input/regression,completion-heads.ly}.
741 Internals: @internalsref{Completion_heads_engraver}.
745 @section Staff notation
747 This section describes music notation that occurs on staff level,
748 such as keys, clefs and time signatures.
750 @cindex Staff notation
764 @subsection Staff symbol
766 @cindex adjusting staff symbol
768 Notes, dynamic signs, etc. are grouped
769 with a set of horizontal lines, into a staff (plural `staves'). In our
770 system, these lines are drawn using a separate layout object called
774 @cindex staff lines, setting number of
775 @cindex staff lines, setting thickness of
776 @cindex thickness of staff lines, setting
777 @cindex number of staff lines, setting
781 Internals: @internalsref{StaffSymbol}.
783 Examples: @inputfileref{input/test,staff-lines.ly},
784 @inputfileref{input/test,staff-size.ly}.
788 If a staff is ended halfway a piece, the staff symbol may not end
789 exactly on the bar line.
793 @subsection Key signature
794 @cindex Key signature
798 The key signature indicates the scale in which a piece is played. It
799 is denoted by a set of alterations (flats or sharps) at the start of
804 Setting or changing the key signature is done with the @code{\key}
807 @code{\key} @var{pitch} @var{type}
810 @cindex @code{\minor}
811 @cindex @code{\major}
812 @cindex @code{\minor}
813 @cindex @code{\ionian}
814 @cindex @code{\locrian}
815 @cindex @code{\aeolian}
816 @cindex @code{\mixolydian}
817 @cindex @code{\lydian}
818 @cindex @code{\phrygian}
819 @cindex @code{\dorian}
821 Here, @var{type} should be @code{\major} or @code{\minor} to get
822 @var{pitch}-major or @var{pitch}-minor, respectively.
823 The standard mode names @code{\ionian},
824 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
825 @code{\phrygian}, and @code{\dorian} are also defined.
827 This command sets the context property
828 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
829 can be specified by setting this property directly.
831 Accidentals and key signatures often confuse new users, because
832 unaltered notes get natural signs depending on the key signature. The
833 tutorial explains why this is so in @ref{More about pitches}.
837 The ordering of a key cancellation is wrong when it is combined with
838 repeat bar lines. The cancellation is also printed after a line break.
842 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
844 @cindex @code{keySignature}
851 The clef indicates which lines of the staff correspond to which
856 The clef can be set or changed with the @code{\clef} command:
857 @lilypond[fragment,verbatim]
858 \key f\major c''2 \clef alto g'2
861 Supported clef-names include:
862 @c Moved standard clefs to the top /MB
866 @item treble, violin, G, G2
879 G clef on 1st line, so-called French violin clef
884 @cindex mezzosoprano clef
887 @cindex baritone clef
890 @cindex varbaritone clef
899 By adding @code{_8} or @code{^8} to the clef name, the clef is
900 transposed one octave down or up, respectively, and @code{_15} and
901 @code{^15} transposes by two octaves. The argument @var{clefname}
902 must be enclosed in quotes when it contains underscores or digits. For
906 @cindex choral tenor clef
907 @lilypond[verbatim,fragment,relative]
911 This command is equivalent to setting @code{clefGlyph},
912 @code{clefPosition} (which controls the Y position of the clef),
913 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
914 when any of these properties are changed.
918 Internals: the object for this symbol is @internalsref{Clef}.
922 @node Ottava brackets
923 @subsection Ottava brackets
925 ``Ottava'' brackets introduce an extra transposition of an octave for
926 the staff. They are created by invoking the function
927 @code{set-octavation}:
933 @lilypond[verbatim,fragment]
942 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
943 (for 15ma) as arguments. Internally the function sets the properties
944 @code{ottavation} (e.g. to @code{"8va"}) and
945 @code{centralCPosition}. For overriding the text of the bracket, set
946 @code{ottavation} after invoking @code{set-octavation}, i.e.,
950 \set Staff.ottavation = #"8"
955 Internals: @internalsref{OttavaBracket}.
957 Examples: @inputfileref{input/regression,ottava.ly},
958 @inputfileref{input/regression,ottava-broken.ly}.
962 @code{set-octavation} will get confused when clef changes happen
963 during an octavation bracket.
966 @subsection Time signature
967 @cindex Time signature
971 Time signature indicates the metrum of a piece: a regular pattern of
972 strong and weak beats. It is denoted by a fraction at the start of the
977 The time signature is set or changed by the @code{\time}
979 @lilypond[fragment,verbatim]
980 \time 2/4 c'2 \time 3/4 c'2.
983 The symbol that is printed can be customized with the @code{style}
984 property. Setting it to @code{#'()} uses fraction style for 4/4 and
985 2/2 time. There are many more options for its layout. See
986 @inputfileref{input/test,time.ly} for more examples.
989 This command sets the property @code{timeSignatureFraction},
990 @code{beatLength} and @code{measureLength} in the @code{Timing}
991 context, which is normally aliased to @internalsref{Score}. The
992 property @code{measureLength} determines where bar lines should be
993 inserted, and how automatic beams should be generated. Changing the
994 value of @code{timeSignatureFraction} also causes the symbol to be
997 More options are available through the Scheme function
998 @code{set-time-signature}. In combination with the
999 @internalsref{Measure_grouping_engraver}, it will create
1000 @internalsref{MeasureGrouping} signs. Such signs ease reading
1001 rhythmically complex modern music. In the following example, the 9/8
1002 measure is subdivided in 2, 2, 2 and 3. This is passed to
1003 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1006 \score { \notes \relative c'' {
1007 #(set-time-signature 9 8 '(2 2 2 3))
1008 g8[ g] d[ d] g[ g] a8[( bes g]) |
1009 #(set-time-signature 5 8 '(3 2))
1014 \translator { \StaffContext
1015 \consists "Measure_grouping_engraver"
1021 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1026 Automatic beaming does not use measure grouping specified with
1027 @code{set-time-signature}.
1029 @node Partial measures
1030 @subsection Partial measures
1033 @cindex partial measure
1034 @cindex measure, partial
1035 @cindex shorten measures
1036 @cindex @code{\partial}
1038 Partial measures, for example in upsteps, are entered using the
1039 @code{\partial} command:
1040 @lilypond[fragment,verbatim,relative=1]
1041 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1044 The syntax for this command is
1046 \partial @var{duration}
1048 This is internally translated into
1050 \set Timing.measurePosition = -@var{length of duration}
1053 The property @code{measurePosition} contains a rational number
1054 indicating how much of the measure has passed at this point.
1056 @node Unmetered music
1057 @subsection Unmetered music
1059 Bar lines and bar numbers are calculated automatically. For unmetered
1060 music (e.g. cadenzas), this is not desirable. By setting
1061 @code{Score.timing} to false, this automatic timing can be switched
1067 @cindex @code{\cadenzaOn}
1069 @cindex @code{\cadenzaOff}
1073 @subsection Bar lines
1077 @cindex measure lines
1081 Bar lines delimit measures, but are also used to indicate repeats.
1082 Normally, they are inserted automatically. Line breaks may only
1083 happen on bar lines.
1088 of bar lines can be forced with the @code{\bar} command:
1090 @lilypond[relative=1,fragment,verbatim]
1094 The following bar types are available:
1095 @lilypond[fragment,relative,raggedright,verbatim]
1108 For allowing line breaks, there is a special command,
1112 This will insert an invisible bar line, and allow line breaks at this
1115 In scores with many staves, a @code{\bar} command in one staff is
1116 automatically applied to all staves. The resulting bar lines are
1117 connected between different staves of a @internalsref{StaffGroup}:
1119 @lilypond[fragment,verbatim]
1120 << \context StaffGroup <<
1124 \new Staff { \clef bass c4 g e g } >>
1125 \new Staff { \clef bass c2 c2 } >>
1129 The command @code{\bar @var{bartype}} is a short cut for doing
1130 @code{\set Score.whichBar = @var{bartype}} Whenever
1131 @code{whichBar} is set to a string, a bar line of that type is
1132 created. At the start of a measure it is set to
1133 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1134 to override default measure bars.
1136 Property @code{whichBar} can also be set directly, using @code{\set}
1137 or @code{\bar}. These settings take precedence over the automatic
1138 @code{whichBar} settings.
1141 @cindex repeatCommands
1142 @cindex defaultBarType
1144 You are encouraged to use @code{\repeat} for repetitions. See
1151 In this manual: @ref{Repeats}.
1154 Internals: the bar line objects that are created at
1155 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1156 lines that span staves are @internalsref{SpanBar}s.
1158 @cindex bar lines at start of system
1159 @cindex start of system
1161 The bar lines at the start of each system are
1162 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1163 @internalsref{SystemStartBracket}. Only one of these types is created
1164 in every context, and that type is determined by the property
1165 @code{systemStartDelimiter}.
1167 Examples: @inputfileref{input/test,bar-lines.ly},
1173 The easiest way to enter fragments with more than one voice on a staff
1174 is to split chords using the separator @code{\\}. You can use it for
1175 small, short-lived voices or for single chords:
1177 @lilypond[verbatim,fragment]
1178 \context Staff \relative c'' {
1179 c4 << { f d e } \\ { b c2 } >>
1180 c4 << g' \\ b, \\ f' \\ d >>
1184 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1185 voices are sometimes called "layers" other notation packages}
1187 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1188 each of these contexts, vertical direction of slurs, stems, etc. is set
1191 @cindex @code{\voiceOne}
1192 @cindex @code{\voiceFour}
1194 This can also be done by instantiating @internalsref{Voice} contexts
1195 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1196 a stem directions and horizontal shift for each part:
1199 @lilypond[raggedright,verbatim]
1201 \context Staff << \new Voice { \voiceOne cis2 b }
1202 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1203 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1207 The command @code{\oneVoice} will revert back to the normal setting.
1208 @cindex @code{\oneVoice}
1211 Normally, note heads with a different number of dots are not merged, but
1212 when the object property @code{merge-differently-dotted} is set in
1213 the @internalsref{NoteCollision} object, they are merged:
1214 @lilypond[verbatim,fragment,raggedright]
1215 \relative c'' \context Voice << {
1217 \override Staff.NoteCollision
1218 #'merge-differently-dotted = ##t
1220 } \\ { g8.[ f16] g8.[ f16] }
1224 Similarly, you can merge half note heads with eighth notes, by setting
1225 @code{merge-differently-headed}:
1226 @lilypond[fragment,relative=2,verbatim]
1229 \override Staff.NoteCollision
1230 #'merge-differently-headed = ##t
1231 c8 c4. } \\ { c2 c2 } >>
1234 LilyPond also vertically shifts rests that are opposite of a stem:
1237 @lilypond[raggedright,fragment,verbatim]
1238 \context Voice << c''4 \\ r4 >>
1246 @cindex @code{\oneVoice}
1248 @cindex @code{\voiceOne}
1250 @cindex @code{\voiceTwo}
1252 @cindex @code{\voiceThree}
1254 @cindex @code{\voiceFour}
1258 The following commands specify in what chords of the current voice
1259 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1260 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1263 @cindex @code{\shiftOn}
1265 @cindex @code{\shiftOnn}
1267 @cindex @code{\shiftOnnn}
1269 @cindex @code{\shiftOff}
1276 Internals: the objects responsible for resolving collisions are
1277 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1279 Examples: See also example files
1280 @inputfileref{input/regression,collision-dots.ly},
1281 @inputfileref{input/regression,collision-head-chords.ly},
1282 @inputfileref{input/regression,collision-heads.ly},
1283 @inputfileref{input/regression,collision-mesh.ly}, and
1284 @inputfileref{input/regression,collisions.ly}.
1289 Resolving collisions is a intricate subject, and only a few situations
1290 are handled. When LilyPond cannot cope, the @code{force-hshift}
1291 property of the @internalsref{NoteColumn} object and pitched rests can
1292 be used to override typesetting decisions.
1294 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1295 note, and a downstem half note, the 8th note gets the wrong offset.
1297 There is no support for clusters where the same note occurs with
1298 different accidentals in the same chord. In this case, it is
1299 recommended to use enharmonic transcription, or to use special cluster
1300 notation (see @ref{Clusters}).
1305 Beams are used to group short notes into chunks that are aligned with
1306 the metrum. They are inserted automatically in most cases:
1308 @lilypond[fragment,verbatim,relative=2]
1309 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1312 When these automatic decisions are not good enough, beaming can be
1313 entered explicitly. It is also possible to define beaming patterns
1314 that differ from the defaults.
1316 Individual notes may be marked with @code{\noBeam}, to prevent them
1319 @lilypond[fragment,verbatim,relative=2]
1320 \time 2/4 c8 c\noBeam c c
1326 Internals: @internalsref{Beam}.
1329 @cindex Automatic beams
1332 * Setting automatic beam behavior::
1336 @subsection Manual beams
1337 @cindex beams, manual
1341 In some cases it may be necessary to override the automatic beaming
1342 algorithm. For example, the autobeamer will not put beams over rests
1343 or bar lines. Such beams are specified by manually: the begin and end
1344 point are marked with @code{[} and @code{]}:
1346 @lilypond[fragment,relative,verbatim]
1348 r4 r8[ g' a r8] r8 g[ | a] r8
1352 @cindex @code{stemLeftBeamCount}
1354 Normally, beaming patterns within a beam are determined automatically.
1355 When this mechanism fouls up, the properties
1356 @code{stemLeftBeamCount} and @code{stemRightBeamCount} can
1357 be used to control the beam subdivision on a stem. If either property
1358 is set, its value will be used only once, and then it is erased:
1360 @lilypond[fragment,relative,verbatim]
1363 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1366 @cindex @code{stemRightBeamCount}
1369 The property @code{subdivideBeams} can be set in order to subdivide
1370 all 16th or shorter beams at beat positions, as defined by the
1371 @code{beatLength} property. This accomplishes the same effect as
1372 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1373 but it take less typing:
1376 @lilypond[relative=1,verbatim,noindent]
1378 \set subdivideBeams = ##t
1380 \set Score.beatLength = #(ly:make-moment 1 8)
1383 @cindex subdivideBeams
1385 Kneed beams are inserted automatically, when a large gap is detected
1386 between the note heads. This behavior can be tuned through the object
1387 property @code{auto-knee-gap}.
1389 Normally, line breaks are forbidden when beams cross bar lines. This
1390 behavior can be changed by setting @code{allowBeamBreak}.
1392 @cindex @code{allowBeamBreak}
1393 @cindex beams and line breaks
1395 @cindex beams, kneed
1397 @cindex auto-knee-gap
1403 @cindex Frenched staves
1405 Automatically kneed beams cannot be used together with hidden staves.
1410 @node Setting automatic beam behavior
1411 @subsection Setting automatic beam behavior
1413 @cindex @code{autoBeamSettings}
1414 @cindex @code{(end * * * *)}
1415 @cindex @code{(begin * * * *)}
1416 @cindex automatic beams, tuning
1417 @cindex tuning automatic beaming
1419 @c [TODO: use \applycontext]
1421 In normal time signatures, automatic beams can start on any note but can
1422 only end in a few positions within the measure: beams can end on a beat,
1423 or at durations specified by the properties in
1424 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1425 are defined in @file{scm/auto-beam.scm}.
1427 The value of @code{autoBeamSettings} is changed with two functions:
1429 #(override-auto-beam-setting
1430 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1432 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1434 Here, @var{be} is the symbol @code{begin} or @code{end}. It determines
1435 whether the rule applies to begin or end-points. The quantity
1436 @var{p}/@var{q} refers to the length of the beamed notes (and `@code{*
1437 *}' designates notes of any length), @var{n}/@var{M} refers to a time
1438 signature (wildcards `@code{* *}' may be entered to designate all time
1439 signatures), @var{a}/@var{b} is a duration. By default, this command
1440 changes settings for the current voice. It is also possible to adjust
1441 settings at higher contexts, by adding a @var{context} argument.
1443 For example, if automatic beams should end on every quarter note, use
1446 #(override-auto-beam-setting '(end * * * *) 1 4)
1448 Since the duration of a quarter note is 1/4 of a whole note, it is
1449 entered as @code{(ly:make-moment 1 4)}.
1451 The same syntax can be used to specify beam starting points. In this
1452 example, automatic beams can only end on a dotted quarter note:
1454 #(override-auto-beam-setting '(end * * * *) 3 8)
1456 In 4/4 time signature, this means that automatic beams could end only on
1457 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1458 3/8, has passed within the measure).
1460 Rules can also be restricted to specific time signatures. A rule that
1461 should only be applied in @var{N}/@var{M} time signature is formed by
1462 replacing the second asterisks by @var{N} and @var{M}. For example, a
1463 rule for 6/8 time exclusively looks like
1465 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1468 If a rule should be to applied only to certain types of beams, use the
1469 first pair of asterisks. Beams are classified according to the
1470 shortest note they contain. For a beam ending rule that only applies
1471 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1474 If a score ends while an automatic beam has not been ended and is still
1475 accepting notes, this last beam will not be typeset at all.
1477 @cindex automatic beam generation
1479 @cindex @code{autoBeaming}
1482 For melodies that have lyrics, you may want to switch off
1483 automatic beaming. This is done by setting @code{autoBeaming} to
1488 @cindex @code{\autoBeamOff}
1489 @code{\autoBeamOff},
1490 @cindex @code{\autoBeamOn}
1496 The rules for ending a beam depend on the shortest note in a beam.
1497 So, while it is possible to have different ending rules for eight
1498 beams and sixteenth beams, a beam that contains both eight and
1499 sixteenth notes will use the rules for the sixteenth beam.
1501 In the example below, the autobeamer makes eight beams and sixteenth
1502 end at 3 eights; the third beam can only be corrected by specifying
1505 @lilypond[raggedright,fragment,relative]
1506 #(override-auto-beam-setting '(end * * * *) 3 8)
1507 % rather show case where it goes wrong
1508 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1509 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1511 It is not possible to specify beaming parameters that act differently in
1512 different parts of a measure. This means that it is not possible to use
1513 automatic beaming in irregular meters such as @code{5/8}.
1516 @section Accidentals
1519 This section describes how to change the way that accidentals are
1520 inserted automatically before the running notes.
1524 * Using the predefined accidental variables::
1525 * Customized accidental rules::
1528 @node Using the predefined accidental variables
1529 @subsection Using the predefined accidental variables
1532 Common rules for typesetting macros have been canned in a
1533 function. This function is called as follows:
1535 @cindex @code{set-accidental-style}
1537 #(set-accidental-style 'modern 'Voice)
1540 The function takes two arguments: a symbol that denotes the style (in
1541 the example, @code{modern}), and another symbol that denotes the
1542 context name (in this example, @code{Staff}). If no context name is
1543 supplied, @code{Staff} is the default.
1545 The following styles are supported:
1548 This is the default typesetting behavior. It should correspond
1549 to 18th century common practice: Accidentals are
1550 remembered to the end of the measure in which they occur and
1551 only on their own octave.
1555 The normal behavior is to remember the accidentals on
1556 Staff-level. This variable, however, typesets accidentals
1557 individually for each voice. Apart from that, the rule is similar to
1560 This leads to some weird and often unwanted results
1561 because accidentals from one voice do not get canceled in other
1563 @lilypond[raggedright,relative,fragment,verbatim]
1565 #(set-accidental-style 'voice)
1571 Hence you should only use @code{voice} if the voices
1572 are to be read solely by individual musicians. If the staff is to be
1573 used by one musician (e.g. a conductor) then you use
1574 @code{modern} or @code{modern-cautionary}
1578 @cindex @code{modern} style accidentals
1579 This rule corresponds to the common practice in the 20th
1581 This rule prints the same accidentals as @code{default}, but temporary
1582 accidentals also are canceled in other octaves. Furthermore,
1583 in the same octave, they also get canceled in the following
1586 @lilypond[raggedright,fragment,verbatim]
1587 #(set-accidental-style 'modern)
1588 cis' c'' cis'2 | c'' c'
1591 @item @code{modern-cautionary}
1592 @cindex @code{modern-cautionary}
1593 This rule is similar to @code{modern}, but the
1594 ``extra'' accidentals (the ones not typeset by
1595 @code{default}) are typeset as cautionary accidentals.
1596 They are printed in reduced size or with parentheses:
1597 @lilypond[raggedright,fragment,verbatim]
1598 #(set-accidental-style 'modern-cautionary)
1599 cis' c'' cis'2 | c'' c'
1602 @cindex @code{modern-voice}
1604 is used for multivoice accidentals to be read both by musicians
1605 playing one voice and musicians playing all voices. Accidentals are
1606 typeset for each voice, but they @emph{are} canceled across voices in
1607 the same @internalsref{Staff}.
1609 @cindex @code{modern-voice-cautionary}
1610 @item modern-voice-cautionary
1611 is the same as @code{modern-voice}, but with the extra
1612 accidentals (the ones not typeset by @code{voice}) typeset
1613 as cautionaries. Even though all accidentals typeset by
1614 @code{default} @emph{are} typeset by this variable then
1615 some of them are typeset as cautionaries.
1618 @cindex @code{piano} accidentals
1619 20th century practice for piano notation. Very similar to
1620 @code{modern} but accidentals also get canceled
1621 across the staves in the same @internalsref{GrandStaff} or
1622 @internalsref{PianoStaff}.
1624 @item piano-cautionary
1625 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1626 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1627 typeset as cautionaries.
1630 @cindex @code{no-reset} accidental style
1631 Same as @code{default} but with accidentals lasting
1632 ``forever'' and not only until the next measure:
1633 @lilypond[raggedright,fragment,verbatim,relative]
1634 #(set-accidental-style 'no-reset)
1639 This is sort of the opposite of @code{no-reset}: Accidentals
1640 are not remembered at all---and hence all accidentals are
1641 typeset relative to the key signature, regardless of what was
1642 before in the music:
1644 @lilypond[raggedright,fragment,verbatim,relative]
1645 #(set-accidental-style 'forget)
1646 \key d\major c4 c cis cis d d dis dis
1650 @node Customized accidental rules
1651 @subsection Customized accidental rules
1653 For determining when to print an accidental, several different rules
1654 are tried. The rule that gives the highest number of accidentals is
1655 used. Each rule consists of
1658 In which context is the rule applied. For example, if
1659 @var{context} is @internalsref{Score} then all staves share
1660 accidentals, and if @var{context} is @internalsref{Staff} then all
1661 voices in the same staff share accidentals, but staves do not.
1664 Whether the accidental changes all octaves or only the current
1665 octave. Valid choices are
1669 This is the default algorithm. Accidentals are typeset if the note changes
1670 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1671 and then as many measures as specified in the value. I.e. 1 means to the end
1672 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1674 Accidentals are typeset if the note is different from
1675 the previous note on the same pitch in any octave. The value has same meaning as in
1681 Over how many bar lines the accidental lasts.
1682 If @var{laziness} is @code{-1} then the accidental is forget
1683 immediately, and if @var{laziness} is @code{#t} then the accidental
1690 Internals: @internalsref{Accidental_engraver},
1691 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1696 Currently the simultaneous notes are considered to be entered in
1697 sequential mode. This means that in a chord the accidentals are
1698 typeset as if the notes in the chord happened once at a time - in the
1699 order in which they appear in the input file.
1701 This is only a problem when there are simultaneous notes whose
1702 accidentals depend on each other. The problem only occurs when using
1703 non-default accidentals. In the default scheme, accidentals only
1704 depend on other accidentals with the same pitch on the same staff, so
1705 no conflicts possible.
1707 This example shows two examples of the same music giving different
1708 accidentals depending on the order in which the notes occur in the
1711 @lilypond[raggedright,fragment,verbatim]
1712 \set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1713 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1714 | <cis' c''> r | <c'' cis'> r |
1717 This problem can be solved by manually inserting @code{!} and @code{?}
1718 for the problematic notes.
1720 @node Expressive marks
1721 @section Expressive marks
1724 @c todo: should change ordering
1725 @c where to put text spanners, metronome marks,
1734 * Analysis brackets::
1736 * Fingering instructions::
1747 A slur indicates that notes are to be played bound or @emph{legato}.
1751 They are entered using parentheses:
1752 @lilypond[relative=1,fragment,verbatim]
1753 f( g)( a) a8 b( a4 g2 f4)
1758 @c TODO: should explain that ^( and _( set directions
1759 @c should set attachments with ^ and _ ?
1761 Slurs avoid crossing stems, and are generally attached to note heads.
1762 However, in some situations with beams, slurs may be attached to stem
1763 ends. If you want to override this layout you can do this through the
1764 object property @code{attachment} of @internalsref{Slur} in
1765 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1766 the attachment type of the left and right end points:
1768 @lilypond[fragment,relative,verbatim]
1770 \override Stem #'length = #5.5
1772 \override Slur #'attachment = #'(stem . stem)
1776 If a slur would strike through a stem or beam, the slur will be moved
1777 away upward or downward. If this happens, attaching the slur to the
1778 stems might look better:
1780 @lilypond[fragment,relative,verbatim]
1783 \override Slur #'attachment = #'(stem . stem)
1790 @cindex @code{\slurUp}
1792 @cindex @code{\slurDown}
1794 @cindex @code{\slurBoth}
1796 @cindex @code{\slurDotted}
1798 @cindex @code{\slurSolid}
1803 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1808 Producing nice slurs is a difficult problem, and LilyPond currently
1809 uses a simple, empiric method to produce slurs. In some cases, its
1813 @cindex Adjusting slurs
1815 @node Phrasing slurs
1816 @subsection Phrasing slurs
1818 @cindex phrasing slurs
1819 @cindex phrasing marks
1821 A phrasing slur (or phrasing mark) connects chords and is used to
1822 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1825 @lilypond[fragment,verbatim,relative]
1826 \time 6/4 c'\( d( e) f( e) d\)
1829 Typographically, the phrasing slur behaves almost exactly like a
1830 normal slur. However, they are treated as different objects. A
1831 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1832 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1833 @code{\phrasingSlurBoth}.
1835 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1836 will only affect normal slurs and not phrasing slurs.
1840 @cindex @code{\phrasingSlurUp}
1841 @code{\phrasingSlurUp},
1842 @cindex @code{\phrasingSlurDown}
1843 @code{\phrasingSlurDown},
1844 @cindex @code{\phrasingSlurBoth}
1845 @code{\phrasingSlurBoth}.
1849 Internals: see also @internalsref{PhrasingSlur}, and
1850 @internalsref{PhrasingSlurEvent}.
1854 Phrasing slurs have the same limitations in their formatting as normal
1855 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1858 @subsection Breath marks
1860 Breath marks are entered using @code{\breathe}:
1863 @lilypond[fragment,relative,verbatim]
1867 The glyph of the breath mark can be tweaked by overriding the
1868 @code{text} property of the @code{BreathingSign} layout object with
1869 any markup text. For example,
1870 @lilypond[fragment,verbatim,relative]
1872 \override BreathingSign #'text
1873 = #(make-musicglyph-markup "scripts-rvarcomma")
1880 Internals: @internalsref{BreathingSign},
1881 @internalsref{BreathingSignEvent}.
1883 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1886 @node Metronome marks
1887 @subsection Metronome marks
1890 @cindex beats per minute
1891 @cindex metronome marking
1893 Metronome settings can be entered as follows:
1895 \tempo @var{duration} = @var{per-minute}
1898 In the MIDI output, they are interpreted as a tempo change, and in the
1899 paper output, a metronome marking is printed:
1900 @cindex @code{\tempo}
1901 @lilypond[fragment,verbatim]
1907 Internals: @internalsref{MetronomeChangeEvent}.
1912 @subsection Text spanners
1913 @cindex Text spanners
1915 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1916 are written as texts, and extended over many measures with dotted
1917 lines. You can create such texts using text spanners: attach
1918 @code{\startTextSpan} and @code{\stopTextSpan} to the
1919 start and ending note of the spanner.
1921 The string to be printed, as well as the style, is set through object
1924 @lilypond[fragment,relative,verbatim]
1926 \override TextSpanner #'direction = #-1
1927 \override TextSpanner #'edge-text = #'("rall " . "")
1928 c2\startTextSpan b c\stopTextSpan a }
1934 Internals @internalsref{TextSpanEvent},
1935 @internalsref{TextSpanner}.
1937 Examples: @inputfileref{input/regression,text-spanner.ly}.
1940 @node Analysis brackets
1941 @subsection Analysis brackets
1943 @cindex phrasing brackets
1944 @cindex musicological analysis
1945 @cindex note grouping bracket
1947 Brackets are used in musical analysis to indicate structure in musical
1948 pieces. LilyPond supports a simple form of nested horizontal brackets.
1949 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1950 @internalsref{Staff} context. A bracket is started with
1951 @code{\startGroup} and closed with @code{\stopGroup}:
1953 @lilypond[raggedright,verbatim]
1954 \score { \notes \relative c'' {
1955 c4\startGroup\startGroup
1958 c4\stopGroup\stopGroup
1960 \paper { \translator {
1961 \StaffContext \consists "Horizontal_bracket_engraver"
1967 Internals: @internalsref{HorizontalBracket},
1968 @internalsref{NoteGroupingEvent}.
1970 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1974 @subsection Articulations
1975 @cindex Articulations
1977 @cindex articulations
1981 A variety of symbols can appear above and below notes to indicate
1982 different characteristics of the performance. They are added to a note
1983 by adding a dash and the character signifying the
1984 articulation. They are demonstrated here:
1986 @lilypondfile[]{script-abbreviations.ly}
1988 The meanings of these shorthands can be changed: see
1989 @file{ly/script-init.ly} for examples.
1992 The script is automatically placed, but if you need to force
1993 directions, you can use @code{_} to force them down, or @code{^} to
1995 @lilypond[fragment,verbatim]
1999 Other symbols can be added using the syntax
2000 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2001 can be forced up or down using @code{^} and @code{_},
2004 @lilypond[verbatim,fragment,relative=2]
2005 c\fermata c^\fermata c_\fermata
2012 @cindex staccatissimo
2021 @cindex organ pedal marks
2030 @cindex prallmordent
2034 @cindex thumb marking
2039 @lilypondfile[]{script-chart.ly}
2044 @cindex @code{\scriptUp}
2046 @cindex @code{\scriptDown}
2048 @cindex @code{\scriptBoth}
2053 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2057 These note ornaments appear in the printed output but have no
2058 effect on the MIDI rendering of the music.
2061 @node Fingering instructions
2062 @subsection Fingering instructions
2066 Fingering instructions can be entered using
2068 @var{note}-@var{digit}
2070 For finger changes, use markup texts:
2072 @lilypond[verbatim,raggedright,fragment]
2073 c'4-1 c'4-2 c'4-3 c'4-4
2074 c'^\markup { \fontsize #-3 \number "2-3" }
2077 @cindex finger change
2082 You can use the thumb-script to indicate that a note should be
2083 played with the thumb (e.g. in cello music):
2085 @lilypond[verbatim,raggedright,fragment]
2086 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2087 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2090 Fingerings for chords can also be added to individual notes
2091 of the chord by adding them after the pitches:
2092 @lilypond[verbatim,raggedright,fragment,relative=1]
2093 < c-1 e-2 g-3 b-5 > 4
2097 In this case, setting @code{fingeringOrientations} will put fingerings next
2100 @lilypond[verbatim,raggedright,fragment,relative=1]
2101 \set fingeringOrientations = #'(left down)
2102 <c-1 es-2 g-4 bes-5 > 4
2103 \set fingeringOrientations = #'(up right down)
2104 <c-1 es-2 g-4 bes-5 > 4
2107 By using single note chords, fingering instructions can be put close
2108 to note heads in monophonic music.
2112 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2114 Examples: @inputfileref{input/regression,finger-chords.ly}.
2117 @subsection Text scripts
2118 @cindex Text scripts
2120 @cindex text items, non-empty
2121 @cindex non-empty texts
2123 It is possible to place arbitrary strings of text or markup text (see
2124 @ref{Text markup}) above or below notes by using a string:
2125 @code{c^"text"}. By default, these indications do not influence the
2126 note spacing, but by using the command @code{\fatText}, the widths
2127 will be taken into account:
2129 @lilypond[fragment,raggedright,verbatim] \relative c' {
2130 c4^"longtext" \fatText c4_"longlongtext" c4 }
2133 It is possible to use @TeX{} commands in the strings, but this should
2134 be avoided because the exact dimensions of the string can then no
2139 @cindex @code{\fatText}
2141 @cindex @code{\emptyText}
2146 In this manual: @ref{Text markup}.
2148 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2154 @subsection Grace notes
2157 @c should have blurb about accaciatura / appogiatura
2159 @cindex @code{\grace}
2163 Grace notes are ornaments that are written out. The most common ones
2164 are acciaccatura, which should be played as very short. It is denoted
2165 by a slurred small note with a slashed stem. The appoggiatura is a
2166 grace note that takes a fixed fraction of the main note, is and
2167 denoted as a slurred note in small print without a slash.
2168 They are entered with the commands @code{\acciaccatura} and
2169 @code{\appoggiatura}, as demonstrated in the following example:
2172 @cindex appoggiatura
2173 @cindex acciaccatura
2175 @lilypond[relative=2,verbatim,fragment]
2176 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2177 \acciaccatura { g16[ f] } e4
2180 Both are special forms of the @code{\grace} command. By prefixing this
2181 keyword to a music expression, a new one is formed, which will be
2182 printed in a smaller font and takes up no logical time in a measure.
2183 @lilypond[relative=2,verbatim,fragment]
2185 \grace { c16[ d16] } c2 c4
2189 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2190 @code{\grace} command does not start a slur.
2192 Internally, timing for grace notes is done using a second, `grace'
2193 time. Every point in time consists of two rational numbers: one
2194 denotes the logical time, one denotes the grace timing. The above
2195 example is shown here with timing tuples:
2197 @lilypond[raggedright]
2200 c4 \grace c16 c4 \grace {
2203 \new Lyrics \lyrics {
2206 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2207 \markup { (\fraction 1 4 , 0 ) } 4
2209 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2210 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2212 \markup { ( \fraction 2 4 , 0 ) }
2217 The placement of grace notes is synchronized between different staves.
2218 In the following example, there are two sixteenth graces notes for
2219 every eighth grace note:
2221 @lilypond[relative=2,verbatim,fragment]
2222 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2223 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2228 If you want to end a note with a grace, then the standard trick
2229 is to put the grace notes after a ``space note'', e.g.
2230 @lilypond[fragment,verbatim,relative=2]
2233 { s2 \grace { c16[ d] } } >>
2239 By adjusting the duration of the skip note (here it is a half-note),
2240 the space between the main-note and the grace is adjusted.
2243 A @code{\grace} section will introduce special typesetting settings,
2244 for example, to produce smaller type, and set directions. Hence, when
2245 introducing layout tweaks, they should be inside the grace section,
2247 @lilypond[fragment,verbatim,relative=1]
2250 \override Stem #'direction = #-1
2252 \revert Stem #'direction
2259 The overrides should also be reverted inside the grace section.
2261 If the layout of grace sections must be changed throughout the music,
2262 then this can be accomplished through the function
2263 @code{add-grace-property}. The following example
2264 undefines the Stem direction grace section, so stems do not always
2269 #(add-grace-property "Voice" Stem direction '())
2275 Another option is to change the variables @code{startGraceMusic},
2276 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2277 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2278 @code{stopAppoggiaturaMusic}. More information is in the file
2279 @file{ly/grace-init.ly}.
2284 Internals: @internalsref{GraceMusic}.
2288 A score that starts with an @code{\grace} section needs an explicit
2289 @code{\context Voice} declaration, otherwise the main note and grace
2290 note end up on different staves.
2292 Grace note synchronization can also lead to surprises. Staff notation,
2293 such as key signatures, bar lines, etc. are also synchronized. Take
2294 care when you mix staves with grace notes and staves without, for example,
2296 @lilypond[relative=2,verbatim,fragment]
2297 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2298 \new Staff { c4 \bar "|:" d4 } >>
2301 Grace sections should only be used within sequential music
2302 expressions. Nesting or juxtaposing grace sections is not supported,
2303 and might produce crashes or other errors.
2307 @subsection Glissando
2310 @cindex @code{\glissando}
2312 A glissando is a smooth change in pitch. It is denoted by a line or a
2313 wavy line between two notes.
2317 A glissando line can be requested by attaching a @code{\glissando} to
2320 @lilypond[fragment,relative,verbatim]
2326 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2331 Adding additional texts (such as @emph{gliss.}) is not supported.
2335 @subsection Dynamics
2348 @cindex @code{\ffff}
2358 Absolute dynamic marks are specified using a command after a note:
2359 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2360 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2361 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2362 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2364 @lilypond[verbatim,raggedright,fragment,relative]
2365 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2371 @cindex @code{\decr}
2372 @cindex @code{\rced}
2379 A crescendo mark is started with @code{\<} and terminated with
2380 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2381 with @code{\!}. Because these marks are bound to notes, if you must
2382 use spacer notes if multiple marks during one note are needed:
2384 @lilypond[fragment,verbatim]
2385 c''\< c''\! d''\decr e''\rced
2386 << f''1 { s4 s4\< s4\! \> s4\! } >>
2388 This may give rise to very short hairpins. Use @code{minimum-length}
2389 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2393 \override Staff.Hairpin #'minimum-length = #5
2396 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2397 is an example how to do it:
2399 @lilypond[fragment,relative=2,verbatim]
2400 c4 \cresc c4 c c c \endcresc c4
2406 You can also supply your own texts:
2407 @lilypond[fragment,relative,verbatim]
2409 \set crescendoText = \markup { \italic "cresc. poco" }
2410 \set crescendoSpanner = #'dashed-line
2420 @cindex @code{\dynamicUp}
2422 @cindex @code{\dynamicDown}
2423 @code{\dynamicDown},
2424 @cindex @code{\dynamicBoth}
2425 @code{\dynamicBoth}.
2427 @cindex direction, of dynamics
2431 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2432 @internalsref{AbsoluteDynamicEvent}.
2434 Dynamics are objects of @internalsref{DynamicText} and
2435 @internalsref{Hairpin}. Vertical positioning of these symbols is
2436 handled by the @internalsref{DynamicLineSpanner} object.
2438 If you want to adjust padding or vertical direction of the dynamics, you
2439 must set properties for the @internalsref{DynamicLineSpanner} object.
2447 @cindex @code{\repeat}
2450 Repetition is a central concept in music, and multiple notations exist
2451 for repetitions. In LilyPond, most of these notations can be captured
2452 in a uniform syntax. One of the advantages is that they can be
2453 rendered in MIDI accurately.
2455 The following types of repetition are supported:
2459 Repeated music is fully written (played) out. Useful for MIDI
2460 output, and entering repetitive music.
2463 This is the normal notation: Repeats are not written out, but
2464 alternative endings (volte) are printed, left to right.
2468 Alternative endings are written stacked. This has limited use but may be
2469 used to typeset two lines of lyrics in songs with repeats, see
2470 @inputfileref{input,star-spangled-banner.ly}.
2478 Make beat or measure repeats. These look like percent signs.
2484 * Repeats and MIDI::
2485 * Manual repeat commands::
2487 * Tremolo subdivisions::
2492 @subsection Repeat syntax
2496 LilyPond has one syntactic construct for specifying different types of
2497 repeats. The syntax is
2500 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2503 If you have alternative endings, you may add
2504 @cindex @code{\alternative}
2506 \alternative @code{@{} @var{alternative1}
2508 @var{alternative3} @dots{} @code{@}}
2510 where each @var{alternative} is a music expression. If you do not
2511 give enough alternatives for all of the repeats, then the first
2512 alternative is assumed to be played more than once.
2514 Normal notation repeats are used like this:
2515 @lilypond[fragment,verbatim,relative=1]
2517 \repeat volta 2 { c4 d e f }
2518 \repeat volta 2 { f e d c }
2521 With alternative endings:
2522 @lilypond[fragment,verbatim,relative=1]
2524 \repeat volta 2 {c4 d e f}
2525 \alternative { {d2 d} {f f,} }
2529 @lilypond[fragment,verbatim,relative=1]
2532 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2533 \alternative { { g4 g g } { a | a a a a | b2. } }
2539 If you do a nested repeat like
2548 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2549 belongs. This ambiguity is resolved by always having the
2550 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2551 it is advisable to use braces in such situations.
2554 @node Repeats and MIDI
2555 @subsection Repeats and MIDI
2557 @cindex expanding repeats
2559 For instructions on how to unfold repeats for MIDI output, see the
2560 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2565 Timing information is not remembered at the start of an alternative,
2566 so after a repeat timing information must be reset by hand, for
2567 example by setting @code{Score.measurePosition} or entering
2568 @code{\partial}. Similarly, slurs or ties are also not repeated.
2571 @node Manual repeat commands
2572 @subsection Manual repeat commands
2574 @cindex @code{repeatCommands}
2576 The property @code{repeatCommands} can be used to control the layout of
2577 repeats. Its value is a Scheme list of repeat commands, where each repeat
2581 @item the symbol @code{start-repeat},
2582 which prints a @code{|:} bar line,
2583 @item the symbol @code{end-repeat},
2584 which prints a @code{:|} bar line,
2585 @item the list @code{(volta @var{text})},
2586 which prints a volta bracket saying @var{text}: The text can be specified as
2587 a text string or as a markup text, see @ref{Text markup}. Do not
2588 forget to change the font, as the default number font does not contain
2589 alphabetic characters. Or,
2590 @item the list @code{(volta #f)}, which
2591 stops a running volta bracket:
2594 @lilypond[verbatim,fragment,relative=2]
2596 \set Score.repeatCommands = #'((volta "93") end-repeat)
2598 \set Score.repeatCommands = #'((volta #f))
2605 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2606 @internalsref{VoltaRepeatedMusic},
2607 @internalsref{UnfoldedRepeatedMusic}, and
2608 @internalsref{FoldedRepeatedMusic}.
2610 @node Tremolo repeats
2611 @subsection Tremolo repeats
2612 @cindex tremolo beams
2614 To place tremolo marks between notes, use @code{\repeat} with tremolo
2616 @lilypond[verbatim,raggedright]
2618 \context Voice \notes\relative c' {
2619 \repeat "tremolo" 8 { c16 d16 }
2620 \repeat "tremolo" 4 { c16 d16 }
2621 \repeat "tremolo" 2 { c16 d16 }
2626 Tremolo marks can also be put on a single note. In this case, the
2627 note should not be surrounded by braces.
2628 @lilypond[verbatim,raggedright]
2629 \repeat "tremolo" 4 c16
2632 A similar mechanism is the tremolo subdivision, described in
2633 @ref{Tremolo subdivisions}.
2637 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2639 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2640 tremolos are @internalsref{StemTremolo} objects. The music expression is
2641 @internalsref{TremoloEvent}.
2643 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2644 @inputfileref{input/regression,stem-tremolo.ly}.
2646 @node Tremolo subdivisions
2647 @subsection Tremolo subdivisions
2648 @cindex tremolo marks
2649 @cindex @code{tremoloFlags}
2651 Tremolo marks can be printed on a single note by adding
2652 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2653 A @var{length} value of 8 gives one line across the note stem. If the
2654 length is omitted, then then the last value (stored in
2655 @code{tremoloFlags}) is used:
2657 @lilypond[verbatim,fragment]
2658 c'2:8 c':32 | c': c': |
2661 @c [TODO : stok is te kort bij 32en]
2665 Tremolos in this style do not carry over into the MIDI output.
2669 In this manual: @ref{Tremolo repeats}.
2671 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2673 @node Measure repeats
2674 @subsection Measure repeats
2676 @cindex percent repeats
2677 @cindex measure repeats
2679 In the @code{percent} style, a note pattern can be repeated. It is
2680 printed once, and then the pattern is replaced with a special sign.
2681 Patterns of a one and two measures are replaced by percent-like signs,
2682 patterns that divide the measure length are replaced by slashes:
2684 @lilypond[verbatim,raggedright]
2685 \context Voice { \repeat "percent" 4 { c'4 }
2686 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2692 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2693 @internalsref{PercentRepeatedMusic}, and
2694 @internalsref{DoublePercentRepeat}.
2698 @node Rhythmic music
2699 @section Rhythmic music
2703 * Showing melody rhythms::
2704 * Entering percussion::
2705 * Percussion staves::
2709 @node Showing melody rhythms
2710 @subsection Showing melody rhythms
2712 Sometimes you might want to show only the rhythm of a melody. This
2713 can be done with the rhythmic staff. All pitches of notes on such a
2714 staff are squashed, and the staff itself has a single line:
2716 @lilypond[fragment,relative,verbatim]
2717 \context RhythmicStaff {
2719 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2725 Internals: @internalsref{RhythmicStaff}.
2727 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2730 @node Entering percussion
2731 @subsection Entering percussion
2738 Percussion notes may be entered in @code{\drums} mode, which is
2739 similar to @code{notes}. Each piece of percussion has a full name and
2740 an abbreviated name, and both be used in input files:
2742 @lilypond[raggedright]
2743 \drums { hihat4 hh4 }
2746 The complete list of drum names is in the init file
2747 @file{ly/drumpitch-init.ly}.
2748 @c TODO: properly document this.
2752 Internals: @internalsref{DrumNoteEvent}.
2754 @node Percussion staves
2755 @subsection Percussion staves
2759 A percussion part for more than one instrument typically uses a
2760 multiline staff where each position in the staff refers to one piece
2764 To typeset the music, the notes must be interpreted in a
2765 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2768 @lilypond[raggedright,verbatim]
2769 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2770 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2773 << \new DrumVoice { \voiceOne \up }
2774 \new DrumVoice { \voiceTwo \down }
2778 The above example shows verbose polyphonic notation. The short
2779 polyphonic notation, described in @ref{Polyphony}, can also be used if
2780 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2783 \drums \new DrumStaff <<
2784 \context DrumVoice = "1" { s1 *2 }
2785 \context DrumVoice = "2" { s1 *2 }
2789 { \repeat unfold 16 hh16 }
2798 There are also other layout possibilities. To use these, set the
2799 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2800 The following variables have been predefined:
2804 is the default. It typesets a typical drum kit on a five-line staff
2807 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2808 bd sn ss tomh tommh tomml toml tomfh tomfl }
2809 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2810 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2812 << \new DrumStaff\with {
2813 \remove Bar_engraver
2814 \remove Time_signature_engraver
2815 \override Stem #'transparent = ##t
2816 \override Stem #'Y-extent-callback = ##f
2817 minimumVerticalExtent = #'(-4.0 . 5.0)
2819 \context Lyrics \nam
2822 %% need to do this, because of indented @itemize
2824 \translator { \ScoreContext
2825 \override BarNumber #'transparent =##T
2829 The drum scheme supports six different toms. When there fewer toms, simply
2830 select the toms that produce the desired result, i.e. to get toms on
2831 the three middle lines you use @code{tommh}, @code{tomml} and
2834 @item timbales-style
2835 to typeset timbales on a two line staff:
2837 @lilypond[raggedright]
2838 nam = \lyrics { timh ssh timl ssl cb }
2839 mus = \drums { timh ssh timl ssl cb s16 }
2842 \context DrumStaff \with {
2843 \remove Bar_engraver
2844 \remove Time_signature_engraver
2845 \override Stem #'transparent = ##t
2846 \override Stem #'Y-extent-callback = ##f
2847 \override StaffSymbol #'line-count = #2
2848 \override StaffSymbol #'staff-space = #2
2849 minimumVerticalExtent = #'(-3.0 . 4.0)
2850 drumStyleTable = #timbales-style
2852 \context Lyrics \nam
2857 to typeset congas on a two line staff:
2859 @lilypond[raggedright]
2860 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2861 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2864 \context DrumStaff\with {
2865 \remove Bar_engraver
2866 \remove Time_signature_engraver
2867 drumStyleTable = #congas-style
2868 \override StaffSymbol #'line-count = #2
2870 %% this sucks; it will lengthen stems.
2871 \override StaffSymbol #'staff-space = #2
2872 \override Stem #'transparent = ##t
2873 \override Stem #'Y-extent-callback = ##f
2875 \context Lyrics \nam
2880 to typeset bongos on a two line staff:
2882 @lilypond[raggedright]
2883 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2884 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2887 \context DrumStaff\with {
2888 \remove Bar_engraver
2889 \remove Time_signature_engraver
2890 \override StaffSymbol #'line-count = #2
2891 drumStyleTable = #bongos-style
2893 %% this sucks; it will lengthen stems.
2894 \override StaffSymbol #'staff-space = #2
2895 \override Stem #'transparent = ##t
2896 \override Stem #'Y-extent-callback = ##f
2898 \context Lyrics \nam
2903 @item percussion-style
2904 to typeset all kinds of simple percussion on one line staves:
2905 @lilypond[raggedright]
2906 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2907 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2910 \context DrumStaff\with{
2911 \remove Bar_engraver
2912 drumStyleTable = #percussion-style
2913 \override StaffSymbol #'line-count = #1
2914 \remove Time_signature_engraver
2915 \override Stem #'transparent = ##t
2916 \override Stem #'Y-extent-callback = ##f
2918 \context Lyrics \nam
2924 If you do not like any of the predefined lists you can define your own
2925 list at the top of your file:
2927 @lilypond[raggedright,verbatim]
2929 (bassdrum default #f -1)
2930 (snare default #f 0)
2932 (pedalhihat xcircle "stopped" 2)
2933 (lowtom diamond #f 3)
2935 up = \drums { hh8 hh hh hh hhp4 hhp }
2936 down = \drums { bd4 sn bd toml8 toml }
2939 \set DrumStaff.drumStyleTable
2940 = #(alist->hash-table mydrums)
2941 \new DrumVoice { \voiceOne \up }
2942 \new DrumVoice { \voiceTwo \down }
2950 Init files: @file{ly/drumpitch-init.ly}.
2952 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2956 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2957 work for @internalsref{DrumVoices}.
2959 Because general MIDI does not contain rim shots, the sidestick is used
2960 for this purpose instead.
2963 @section Piano music
2965 Piano staves are two normal staves coupled with a brace. The staves
2966 are largely independent, but sometimes voices can cross between the
2967 two staves. The same notation is also used for harps and other key
2968 instruments. The @internalsref{PianoStaff} is especially built to
2969 handle this cross-staffing behavior. In this section we discuss the
2970 @internalsref{PianoStaff} and some other pianistic peculiarities.
2974 * Automatic staff changes::
2975 * Manual staff switches::
2978 * Staff switch lines::
2983 There is no support for putting chords across staves. You can get
2984 this result by increasing the length of the stem in the lower stave so
2985 it reaches the stem in the upper stave, or vice versa. An example is
2986 included with the distribution as
2987 @inputfileref{input/test,stem-cross-staff.ly}.
2989 Dynamics are not centered, but kludges do exist. See
2990 @inputfileref{input/template,piano-dynamics.ly}.
2992 @cindex cross staff stem
2993 @cindex stem, cross staff
2995 The distance between the two staves is normally fixed across the
2996 entire score. It is possible to tune this per system, but it does
2997 require arcane command incantations. See
2998 @inputfileref{input/test,piano-staff-distance.ly}.
3005 @node Automatic staff changes
3006 @subsection Automatic staff changes
3007 @cindex Automatic staff changes
3009 Voices can switch automatically between the top and the bottom
3010 staff. The syntax for this is
3012 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3014 The two staffs of the piano staff must be named @code{up} and
3017 The autochanger switches on basis of pitch (middle C is the turning
3018 point), and it looks ahead skipping over rests to switch in
3019 advance. Here is a practical example:
3021 @lilypond[verbatim,raggedright]
3022 \score { \notes \context PianoStaff <<
3023 \context Staff = "up" {
3024 \autochange \new Voice \relative c' {
3025 g4 a b c d r4 a g } }
3026 \context Staff = "down" {
3033 In this example, spacer rests are used to prevent the bottom staff from
3034 terminating too soon.
3039 In this manual: @ref{Manual staff switches}.
3041 Internals: @internalsref{AutoChangeMusic}.
3047 The staff switches often do not end up in optimal places. For high
3048 quality output, staff switches should be specified manually.
3052 @node Manual staff switches
3053 @subsection Manual staff switches
3055 @cindex manual staff switches
3056 @cindex staff switch, manual
3058 Voices can be switched between staves manually, using the following command:
3060 \change Staff = @var{staffname} @var{music}
3064 The string @var{staffname} is the name of the staff. It switches the
3065 current voice from its current staff to the Staff called
3066 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3075 Pianos have pedals that alter the way sound are produced. Generally, a
3076 piano has three pedals, sustain, una corda, and sostenuto.
3080 Piano pedal instruction can be expressed by attaching
3081 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3082 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3085 @lilypond[fragment,verbatim]
3086 c'4\sustainDown c'4\sustainUp
3089 What is printed can be modified by setting @code{pedal@var{X}Strings},
3090 where @var{X} is one of the pedal types: @code{Sustain},
3091 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3092 documentation of @internalsref{SustainPedal} for more information.
3094 Pedals can also be indicated by a sequence of brackets, by setting the
3095 @code{pedalSustainStyle} property to @code{bracket} objects:
3097 @lilypond[fragment,verbatim]
3098 \set Staff.pedalSustainStyle = #'bracket
3099 c''4\sustainDown d''4 e''4
3100 a'4\sustainUp\sustainDown
3101 f'4 g'4 a'4\sustainUp
3104 A third style of pedal notation is a mixture of text and brackets,
3105 obtained by setting the @code{pedalSustainStyle} style property to
3108 @lilypond[fragment,verbatim]
3109 \set Staff.pedalSustainStyle = #'mixed
3110 c''4\sustainDown d''4 e''4
3111 c'4\sustainUp\sustainDown
3112 f'4 g'4 a'4\sustainUp
3115 The default `*Ped.' style for sustain and damper pedals corresponds to
3116 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3119 @lilypond[fragment,verbatim]
3120 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3123 For fine-tuning of the appearance of a pedal bracket, the properties
3124 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3125 @code{PianoPedalBracket} objects (see
3126 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3127 bracket may be extended to the end of the note head:
3129 @lilypond[fragment,verbatim]
3130 \override Staff.PianoPedalBracket
3131 #'shorten-pair = #'(0 . -1.0)
3132 c''4\sostenutoDown d''4 e''4 c'4
3133 f'4 g'4 a'4\sostenutoUp
3137 @subsection Arpeggio
3140 @cindex broken arpeggio
3141 @cindex @code{\arpeggio}
3143 You can specify an arpeggio sign on a chord by attaching an
3144 @code{\arpeggio} to a chord:
3147 @lilypond[fragment,relative,verbatim]
3151 When an arpeggio crosses staves, you attach an arpeggio to the chords
3152 in both staves, and set
3153 @internalsref{PianoStaff}.@code{connectArpeggios}:
3155 @lilypond[fragment,relative,verbatim]
3156 \context PianoStaff <<
3157 \set PianoStaff.connectArpeggios = ##t
3158 \new Staff { <c' e g c>\arpeggio }
3159 \new Staff { \clef bass <c,, e g>\arpeggio }
3163 The direction of the arpeggio is sometimes denoted by adding an
3164 arrowhead to the wiggly line:
3166 @lilypond[fragment,relative,verbatim]
3175 A square bracket on the left indicates that the player should not
3176 arpeggiate the chord:
3178 @lilypond[fragment,relative,verbatim]
3185 @cindex @code{\arpeggio}
3187 @cindex @code{\arpeggioUp}
3189 @cindex @code{\arpeggioDown}
3191 @cindex @code{\arpeggioBoth}
3192 @code{\arpeggioBoth},
3193 @cindex @code{\arpeggioBracket}
3194 @code{\arpeggioBracket}.
3198 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3199 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3200 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3204 It is not possible to mix connected arpeggios and unconnected
3205 arpeggios in one @internalsref{PianoStaff} at the same time.
3207 @node Staff switch lines
3208 @subsection Staff switch lines
3211 @cindex follow voice
3212 @cindex staff switching
3215 @cindex @code{followVoice}
3217 Whenever a voice switches to another staff a line connecting the notes
3218 can be printed automatically. This is enabled if the property
3219 @code{PianoStaff.followVoice} is set to true:
3221 @lilypond[fragment,relative,verbatim]
3222 \context PianoStaff <<
3223 \set PianoStaff.followVoice = ##t
3224 \context Staff \context Voice {
3229 \context Staff=two { \clef bass \skip 1*2 }
3233 The associated object is @internalsref{VoiceFollower}.
3237 @cindex @code{\showStaffSwitch}
3238 @code{\showStaffSwitch},
3239 @cindex @code{\hideStaffSwitch}
3240 @code{\hideStaffSwitch}.
3244 @section Vocal music
3246 This section discusses how to enter and print lyrics.
3250 * The Lyrics context::
3255 @node Entering lyrics
3256 @subsection Entering lyrics
3260 @cindex @code{\lyrics}
3263 Lyrics are entered in a special input mode. This mode is is introduced
3264 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3265 punctuation and accents without any hassle. Syllables are entered like
3266 notes, but with pitches replaced by text. For example,
3268 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3271 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3272 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3273 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3274 any 8-bit character with ASCII code over 127, or a two-character
3275 combination of a backslash followed by one of @code{`}, @code{'},
3276 @code{"}, or @code{^}.
3278 Subsequent characters of a word can be any character that is not a digit
3279 and not white space. One important consequence of this is that a word
3280 can end with @code{@}}. The following example is usually a bug. The
3281 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3283 \lyrics @{ twinkle@}
3286 @cindex @code{\property}, in @code{\lyrics}
3287 Similarly, a period following a alphabetic sequence, is included in
3288 the resulting string. As a consequence, spaces must be inserted around
3291 \override Score . LyricText #'font-shape = #'italic
3295 @cindex spaces, in lyrics
3296 @cindex quotes, in lyrics
3298 Any @code{_} character which appears in an unquoted word is converted
3299 to a space. This provides a mechanism for introducing spaces into words
3300 without using quotes. Quoted words can also be used in Lyrics mode to
3301 specify words that cannot be written with the above rules:
3304 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3308 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3313 These will be attached to the end of the first syllable.
3315 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3316 as a separate word between syllables. The hyphen will have variable
3317 length depending on the space between the syllables and it will be
3318 centered between the syllables.
3323 When a lyric is sung over many notes (this is called a melisma), this is
3324 indicated with a horizontal line centered between a syllable and the
3325 next one. Such a line is called an extender line, and it is entered as
3330 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3331 @internalsref{ExtenderEvent}.
3333 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3337 The definition of lyrics mode is too complex.
3341 @node The Lyrics context
3342 @subsection The Lyrics context
3344 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3346 \context Lyrics \lyrics @dots{}
3349 @cindex automatic syllable durations
3350 @cindex @code{\lyricsto}
3351 @cindex lyrics and melodies
3353 This will place the lyrics according to the durations that were
3354 entered. The lyrics can also be aligned under a given melody
3355 automatically. In this case, it is no longer necessary to enter the
3356 correct duration for each syllable. This is achieved by combining the
3357 melody and the lyrics with the @code{\lyricsto} expression:
3359 \lyricsto @var{name} \new Lyrics @dots{}
3362 This aligns the lyrics to the
3364 notes of the @internalsref{Voice} context called @var{name}, which has
3365 to exist. Therefore, normally the @code{Voice} is specified first, and
3366 then the lyrics are specified with @code{\lyricsto}.
3368 For different or more complex orderings, the best way is to setup the
3369 hierarchy of staves and lyrics first, e.g.
3371 \context ChoirStaff \notes <<
3372 \context Lyrics = sopranoLyrics @{ s1 @}
3373 \context Voice = soprano @{ @emph{music} @}
3374 \context Lyrics = tenorLyrics @{ s1 @}
3375 \context Voice = tenor @{ @emph{music} @}
3378 and then combine the appropriate melodies and lyric lines:
3380 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3384 The final input would resemble
3387 << \context ChoirStaff \notes << @emph{setup the music} >>
3388 \lyricsto "soprano" @emph{etc}
3389 \lyricsto "alto" @emph{etc}
3395 The @code{\lyricsto} command detects melismata: it only puts one
3396 syllable under a tied or slurred group of notes. If you want to force
3397 an unslurred group of notes to be a melisma, then insert
3398 @code{\melisma} after the first note of the group, and
3399 @code{\melismaEnd} after the last one, e.g.
3401 @lilypond[relative=1,raggedright,fragment,verbatim]
3402 << \context Voice = "lala" { \time 3/4
3408 \lyricsto "lala" \new Lyrics \lyrics {
3413 In addition, notes are considered a melisma if they are manually
3414 beamed, and automatic beaming (see @ref{Setting automatic beam
3415 behavior}) is switched off. The criteria for deciding melismata
3416 can be tuned with the property @code{melismaBusyProperties}. See
3417 @internalsref{Melisma_translator} for more information.
3419 When multiple stanzas are put on the same melody, it can happen that
3420 two stanzas have melismata in different locations. This can be
3421 remedied by switching off melismata for one
3422 @internalsref{Lyrics}. This is achieved by setting
3423 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3424 in @inputfileref{input/regression,lyric-combine-new.ly}.
3427 @cindex choral score
3429 A complete example of a SATB score setup is in the file
3430 @inputfileref{input/template,satb.ly}.
3435 @code{\melisma}, @code{\melismaEnd}
3436 @cindex @code{\melismaEnd}
3437 @cindex @code{\melisma}
3441 Internals: Music expressions: @internalsref{LyricCombineMusic},
3442 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3444 Examples: @inputfileref{input/template,satb.ly},
3445 @inputfileref{input/regression,lyric-combine-new.ly}.
3449 Melismata are not detected automatically, and extender lines must be
3453 For proper processing of extender lines, the
3454 @internalsref{Lyrics} and @internalsref{Voice} should be
3455 linked. This can be achieved either by using @code{\lyricsto} or by
3456 setting corresponding names for both contexts. The latter is explained
3457 in @ref{More stanzas}.
3460 @subsection More stanzas
3462 @cindex phrasing, in lyrics
3465 The lyrics should be aligned with the note heads of the melody. To
3466 achieve this, each line of lyrics should be marked to correspond with
3467 the melodic line. This is done automatically when @code{\lyricsto},
3468 but it can also be done manually.
3470 To this end, give the @internalsref{Voice} context an identity:
3472 \context Voice = duet @{
3477 Then set the @internalsref{Lyrics} contexts to names starting with
3478 that identity followed by a dash. In the preceding example, the
3479 @internalsref{Voice} identity is @code{duet}, so the identities of the
3480 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3482 \context Lyrics = "duet-1" @{
3483 Hi, my name is bert. @}
3484 \context Lyrics = "duet-2" @{
3485 Ooooo, ch\'e -- ri, je t'aime. @}
3488 The complete example is shown here:
3489 @lilypond[raggedright,verbatim]
3491 << \notes \relative c'' \context Voice = duet { \time 3/4
3493 \lyrics << \lyricsto "duet" \new Lyrics {
3495 \set vocNam = "Bert"
3496 Hi, my name is bert. }
3497 \lyricsto "duet" \new Lyrics {
3499 \set vocNam = "Ernie"
3500 Ooooo, ch\'e -- ri, je t'aime.
3506 @cindex stanza number
3507 @cindex singer's names
3508 @cindex name of singer
3510 Stanza numbers can be added by setting @code{stanza}, e.g.
3518 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3519 prevent @code{stanza} being interpreted as a single
3522 This example also demonstrates how names of the singers can be added
3523 using @code{vocalName} analogous to instrument annotations for staves.
3524 A short version may be entered as @code{vocNam}.
3526 To make empty spaces in lyrics, use @code{\skip}.
3531 Internals: Layout objects @internalsref{LyricText} and
3532 @internalsref{VocalName}. Music expressions:
3533 @internalsref{LyricEvent}.
3539 Input for lyrics introduces a syntactical ambiguity:
3546 is interpreted as assigning a string identifier @code{\foo} such that
3547 it contains @code{"bar"}. However, it could also be interpreted as
3548 making or a music identifier @code{\foo} containing the syllable
3549 `bar'. The force the latter interpretation, use
3559 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3560 for a given voice in a part of music. It also may denote the pitch
3561 range that a musical instrument is capable of playing. Most musical
3562 instruments have their ambitus standardized (or at least there is
3563 agreement upon the minimal ambitus of a particular type of
3564 instrument), such that a composer or arranger of a piece of music can
3565 easily meet the ambitus constraints of the targeted instrument.
3566 However, the ambitus of the human voice depends on individual
3567 physiological state, including education and training of the voice.
3568 Therefore, a singer potentially has to check for each piece of music
3569 if the ambitus of that piece meets his individual capabilities. This
3570 is why the ambitus of a piece may be of particular value to vocal
3573 The ambitus is typically notated on a per-voice basis at the very
3574 beginning of a piece, e.g. nearby the initial clef or time signature of
3575 each staff. The range is graphically specified by two note heads, that
3576 represent the minimum and maximum pitch. Some publishers use a textual
3577 notation: they put the range in words in front of the corresponding
3578 staff. LilyPond only supports the graphical ambitus notation.
3580 To apply, add the @internalsref{Ambitus_engraver} to the
3581 @internalsref{Voice} context, i.e.
3587 \consists Ambitus_engraver
3592 This results in the following output:
3594 @lilypond[raggedright]
3595 upper = \notes \relative c {
3598 as'' c e2 bes f cis d4 e f2 g
3600 lower = \notes \relative c {
3603 e'4 b g a c es fis a cis b a g f e d2
3606 \context ChoirStaff {
3608 \new Staff { \upper }
3609 \new Staff { \lower }
3615 \consists Ambitus_engraver
3621 If you have multiple voices in a single staff, and you want a single
3622 ambitus per staff rather than per each voice, then add the
3623 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3624 rather than to the @internalsref{Voice} context.
3626 It is possible to tune individual ambituses for multiple voices on a
3627 single staff, for example by erasing or shifting them horizontally. An
3628 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3632 Internals: @internalsref{Ambitus}.
3634 Examples: @inputfileref{input/regression,ambitus.ly},
3635 @inputfileref{input/test,ambitus-mixed.ly}.
3639 There is no collision handling in the case of multiple per-voice
3645 Tablature notation is used for notating music for plucked string
3646 instruments. It notates pitches not by using note heads, but by
3647 indicating on which string and fret a note must be played. LilyPond
3648 offers limited support for tablature.
3651 * Tablatures basic::
3652 * Non-guitar tablatures::
3655 @node Tablatures basic
3656 @subsection Tablatures basic
3657 @cindex Tablatures basic
3659 The string number associated to a note is given as a backslash
3660 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3661 string. By default, string 1 is the highest one, and the tuning
3662 defaults to the standard guitar tuning (with 6 strings). The notes
3663 are printed as tablature, by using @internalsref{TabStaff} and
3664 @internalsref{TabVoice} contexts:
3666 @lilypond[fragment,verbatim]
3667 \notes \context TabStaff {
3675 When no string is specified, the first string that does not give a
3676 fret number less than @code{minimumFret} is selected. The default
3677 value for @code{minimumFret} is 0:
3681 e8 fis gis a b cis' dis' e'
3682 \set TabStaff.minimumFret = #8
3683 e8 fis gis a b cis' dis' e'
3688 e8 fis gis a b cis' dis' e'
3689 \set TabStaff.minimumFret = #8
3690 e8 fis gis a b cis' dis' e'
3693 \context StaffGroup <<
3694 \context Staff { \clef "G_8" \frag }
3695 \context TabStaff { \frag }
3702 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3703 @internalsref{StringNumberEvent}.
3707 Chords are not handled in a special way, and hence the automatic
3708 string selector may easily select the same string to two notes in a
3712 @node Non-guitar tablatures
3713 @subsection Non-guitar tablatures
3714 @cindex Non-guitar tablatures
3716 You can change the number of strings, by setting the number of lines
3717 in the @internalsref{TabStaff}.
3719 You can change the tuning of the strings. A string tuning is given as
3720 a Scheme list with one integer number for each string, the number
3721 being the pitch (measured in semitones relative to middle C) of an
3722 open string. The numbers specified for @code{stringTuning} are the
3723 numbers of semitones to subtract or add, starting the specified pitch
3724 by default middle C, in string order. Thus, the notes are e, a, d, and
3727 @lilypond[fragment,verbatim]
3728 \context TabStaff <<
3729 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3732 a,4 c' a e' e c' a e'
3737 It is possible to change the Scheme function to format the tablature
3738 note text. The default is @code{fret-number-tablature-format}, which
3739 uses the fret number. For instruments that do not use this notation,
3740 you can create a special tablature formatting function. This function
3741 takes three argument: string number, string tuning and note pitch.
3745 No guitar special effects have been implemented.
3750 @section Chord names
3753 LilyPond has support for both printing chord names. Chords may be
3754 entered in musical chord notation, i.e. @code{< .. >}, but they can
3755 also be entered by name. Internally, the chords are represented as a
3756 set of pitches, so they can be transposed:
3759 @lilypond[verbatim,raggedright]
3760 twoWays = \notes \transpose c c' {
3770 << \context ChordNames \twoWays
3771 \context Voice \twoWays >> }
3774 This example also shows that the chord printing routines do not try to
3775 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3781 * Printing chord names::
3786 @subsection Chords mode
3789 Chord mode is a mode where you can input sets of pitches using common
3790 names. It is introduced by the keyword @code{\chords}.
3791 In chords mode, a chord is entered by the root, which is entered
3792 like a common pitch:
3793 @lilypond[fragment,verbatim,relative=1]
3794 \chords { es4. d8 c2 }
3799 Other chords may be entered by suffixing a colon, and introducing a
3800 modifier, and optionally, a number:
3802 @lilypond[fragment,verbatim]
3803 \chords { e1:m e1:7 e1:m7 }
3805 The first number following the root is taken to be the `type' of the
3806 chord, thirds are added to the root until it reaches the specified
3808 @lilypond[fragment,verbatim]
3809 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3812 @cindex root of chord
3813 @cindex additions, in chords
3814 @cindex removals, in chords
3816 More complex chords may also be constructed adding separate steps
3817 to a chord. Additions are added after the number following
3818 the colon, and are separated by dots:
3820 @lilypond[verbatim,fragment]
3821 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3823 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3825 @lilypond[verbatim,fragment]
3826 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3828 Removals are specified similarly, and are introduced by a caret. They
3829 must come after the additions:
3830 @lilypond[verbatim,fragment]
3831 \chords { c^3 c:7^5 c:9^3.5 }
3834 Modifiers can be used to change pitches. The following modifiers are
3838 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3840 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3843 is the augmented chord. This modifier raises the 5th step.
3845 is the major 7th chord. This modifier raises the 7th step if present.
3847 is the suspended 4th or 2nd. This modifier removes the 3rd
3848 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3851 Modifiers can be mixed with additions:
3852 @lilypond[verbatim,fragment]
3853 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3856 @cindex modifiers, in chords.
3863 Since an unaltered 11 does not sound good when combined with an
3864 unaltered 13, the 11 is removed in this case (unless it is added
3867 @lilypond[fragment,verbatim]
3868 \chords { c:13 c:13.11 c:m13 }
3873 An inversion (putting one pitch of the chord on the bottom), as well
3874 as bass notes, can be specified by appending
3875 @code{/}@var{pitch} to the chord:
3876 @lilypond[fragment,verbatim]
3877 \chords { c1 c/g c/f }
3881 A bass note can be added instead of transposed out of the chord,
3882 by using @code{/+}@var{pitch}.
3884 @lilypond[fragment,verbatim]
3885 \chords { c1 c/+g c/+f }
3888 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3889 of the commands continue to work, for example, @code{r} and
3890 @code{\skip} can be used to insert rests and spaces, and property
3891 commands may be used to change various settings.
3897 Each step can only be present in a chord once. The following
3898 simply produces the augmented chord, since @code{5+} is interpreted
3901 @lilypond[verbatim,fragment]
3902 \chords { c:5.5-.5+ }
3906 @node Printing chord names
3907 @subsection Printing chord names
3909 @cindex printing chord names
3913 For displaying printed chord names, use the @internalsref{ChordNames} context.
3914 The chords may be entered either using the notation
3915 described above, or directly using @code{<} and @code{>}:
3917 @lilypond[verbatim,raggedright]
3919 \chords {a1 b c} <d' f' a'> <e' g' b'>
3923 \context ChordNames \scheme
3924 \context Staff \scheme
3929 You can make the chord changes stand out by setting
3930 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3931 display chord names when there is a change in the chords scheme and at
3932 the start of a new line:
3934 @lilypond[verbatim,linewidth=9\cm]
3936 c1:m c:m \break c:m c:m d
3940 \context ChordNames {
3941 \set chordChanges = ##t
3943 \context Staff \transpose c c' \scheme
3948 The default chord name layout is a system for Jazz music, proposed by
3949 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3950 following properties:
3953 @cindex chordNameExceptions
3954 @item chordNameExceptions
3955 This is a list that contains the chords that have special formatting.
3957 @inputfileref{input/regression,chord-name-exceptions.ly}.
3958 @cindex exceptions, chord names.
3961 @cindex majorSevenSymbol
3962 @item majorSevenSymbol
3963 This property contains the markup object used for the 7th step, when
3964 it is major. Predefined options are @code{whiteTriangleMarkup} and
3965 @code{blackTriangleMarkup}. See
3966 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3968 @cindex chordNameSeparator
3969 @item chordNameSeparator
3970 Different parts of a chord name are normally separated by a
3971 slash. By setting @code{chordNameSeparator}, you can specify other
3973 @lilypond[fragment,verbatim]
3974 \context ChordNames \chords {
3976 \set chordNameSeparator
3977 = \markup { \typewriter "|" }
3981 @cindex chordRootNamer
3982 @item chordRootNamer
3983 The root of a chord is usually printed as a letter with an optional
3984 alteration. The transformation from pitch to letter is done by this
3985 function. Special note names (for example, the German ``H'' for a
3986 B-chord) can be produced by storing a new function in this property.
3988 The predefined variables @code{\germanChords},
3989 @code{\semiGermanChords} set these variables.
3992 @cindex chordNoteNamer
3993 @item chordNoteNamer
3994 The default is to print single pitch, e.g. the bass note, using the
3995 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3996 to a specialized function to change this behavior. For example, the
3997 base can be printed in lower case.
4002 There are also two other chord name schemes implemented: an alternate
4003 Jazz chord notation, and a systematic scheme called Banter chords. The
4004 alternate jazz notation is also shown on the chart in @ref{Chord name
4005 chart}. Turning on these styles is described in the input file
4006 @inputfileref{input/test,chord-names-jazz.ly}.
4010 @cindex chords, jazz
4015 @cindex @code{\germanChords}
4016 @code{\germanChords},
4017 @cindex @code{\semiGermanChords}
4018 @code{\semiGermanChords}.
4025 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4026 @inputfileref{input/regression,chord-name-exceptions.ly},
4027 @inputfileref{input/test,chord-names-jazz.ly},
4028 @inputfileref{input/test,chord-names-german.ly}.
4030 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4035 Chord names are determined solely from the list of pitches. Chord
4036 inversions are not identified, and neither are added bass notes. This
4037 may result in strange chord names when chords are entered with the
4038 @code{< .. >} syntax.
4043 @node Orchestral music
4044 @section Orchestral music
4046 @cindex Writing parts
4048 Orchestral music involves some special notation, both in the full
4049 score and the individual parts. This section explains how to tackle
4050 some common problems in orchestral music.
4055 * Multiple staff contexts::
4058 * Instrument names::
4060 * Instrument transpositions::
4061 * Multi measure rests::
4062 * Automatic part combining::
4064 * Different editions from one source::
4065 * Quoting other voices::
4068 @node Multiple staff contexts
4069 @subsection Multiple staff contexts
4071 Polyphonic scores consist of many staves. These staves can be
4072 constructed in three different ways:
4074 @item The group is started with a brace at the left. This is done with the
4075 @internalsref{GrandStaff} context.
4076 @item The group is started with a bracket. This is done with the
4077 @internalsref{StaffGroup} context
4078 @item The group is started with a vertical line. This is the default
4082 @cindex Staff, multiple
4083 @cindex bracket, vertical
4084 @cindex brace, vertical
4091 @node Rehearsal marks
4092 @subsection Rehearsal marks
4093 @cindex Rehearsal marks
4095 @cindex @code{\mark}
4097 To print a rehearsal mark, use the @code{\mark} command:
4098 @lilypond[fragment,verbatim]
4109 (The letter I is skipped in accordance with engraving traditions.)
4111 The mark is incremented automatically if you use @code{\mark
4112 \default}, but you can also use an integer argument to set the mark
4113 manually. The value to use is stored in the property
4114 @code{rehearsalMark}.
4116 The style is defined by the property @code{markFormatter}. It is a
4117 function taking the current mark (an integer) and the current context
4118 as argument. It should return a markup object. In the following
4119 example, @code{markFormatter} is set to a canned procedure. After a
4120 few measures, it is set to function that produces a boxed number.
4122 @lilypond[verbatim,fragment,relative=1]
4123 \set Score.markFormatter = #format-mark-numbers
4126 \set Score.markFormatter
4127 = #(lambda (mark context)
4128 (make-bold-markup (make-box-markup (number->string mark))))
4133 The file @file{scm/translation-functions.scm} contains the definitions
4134 of @code{format-mark-numbers} (the default format) and
4135 @code{format-mark-letters}. They can be used as inspiration for other
4136 formatting functions.
4139 @cindex coda on bar line
4140 @cindex segno on bar line
4141 @cindex fermata on bar line
4142 @cindex bar lines, symbols on
4144 The @code{\mark} command can also be used to put signs like coda,
4145 segno and fermatas on a bar line. Use @code{\markup} to
4146 to access the appropriate symbol:
4148 @lilypond[fragment,verbatim,relative=1]
4149 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4153 In this case, during line breaks, marks must also be printed at the
4154 end of the line, and not at the beginning. Use the following to force
4157 \override Score.RehearsalMark
4158 #'break-visibility = #begin-of-line-invisible
4164 @cindex bar lines, putting symbols on
4168 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4170 Init files: @file{scm/translation-functions.scm} contains the
4171 definition of @code{format-mark-numbers} and
4172 @code{format-mark-letters}. They can be used as inspiration for other
4173 formatting functions.
4175 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4176 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4180 @subsection Bar numbers
4184 @cindex measure numbers
4185 @cindex currentBarNumber
4187 Bar numbers are printed by default at the start of the line. The
4188 number itself is stored in the
4189 @code{currentBarNumber} property,
4190 which is normally updated automatically for every measure.
4192 Bar numbers can be typeset at regular intervals instead of at the
4193 beginning of each line. This is illustrated in the following example,
4194 whose source is available as
4195 @inputfileref{input/test,bar-number-regular-interval.ly}:
4197 @lilypondfile[]{bar-number-regular-interval.ly}
4202 Internals: @internalsref{BarNumber}.
4204 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4205 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4209 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4210 there is one at the top. To solve this, the
4211 @code{padding} property of @internalsref{BarNumber} can be
4212 used to position the number correctly.
4214 @node Instrument names
4215 @subsection Instrument names
4217 In an orchestral score, instrument names are printed left side of the
4220 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4221 and @internalsref{Staff}.@code{instr}. This will print a string before
4222 the start of the staff. For the first start, @code{instrument} is
4223 used, for the next ones @code{instr} is used:
4226 @lilypond[verbatim,raggedright]
4227 \set Staff.instrument = "ploink " { c''4 }
4231 You can also use markup texts to construct more complicated instrument
4235 @lilypond[fragment,verbatim,raggedright]
4237 \set Staff.instrument = \markup {
4238 \column < "Clarinetti"
4251 Internals: @internalsref{InstrumentName}.
4255 When you put a name on a grand staff or piano staff the width of the
4256 brace is not taken into account. You must add extra spaces to the end of
4257 the name to avoid a collision.
4260 @subsection Transpose
4262 @cindex transposition of pitches
4263 @cindex @code{\transpose}
4265 A music expression can be transposed with @code{\transpose}. The syntax
4268 \transpose @var{from} @var{to} @var{musicexpr}
4271 This means that @var{musicexpr} is transposed by the interval between
4272 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4273 is changed to @code{to}.
4276 For example, consider a piece written in the key of D major. If
4277 this piece is a little too low for its performer, it can be
4278 transposed up to E major with
4280 \transpose d e @dots{}
4283 Consider a part written for violin (a C instrument). If
4284 this part is to be played on the A clarinet, the following
4285 transposition will produce the appropriate part
4288 \transpose a c @dots{}
4291 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4292 inside a @code{\notes} section. @code{\transpose} distinguishes
4293 between enharmonic pitches: both @code{\transpose c cis} or
4294 @code{\transpose c des} will transpose up half a tone. The first
4295 version will print sharps and the second version will print flats:
4297 @lilypond[raggedright,verbatim]
4298 mus =\notes { \key d \major cis d fis g }
4299 \score { \notes \context Staff {
4302 \transpose c g' \mus
4303 \transpose c f' \mus
4310 Internals: @internalsref{TransposedMusic}, and
4311 @internalsref{UntransposableMusic}.
4315 If you want to use both @code{\transpose} and @code{\relative}, then
4316 you must put @code{\transpose} outside of @code{\relative}, since
4317 @code{\relative} will have no effect music that appears inside a
4320 @node Instrument transpositions
4321 @subsection Instrument transpositions
4323 The key of a transposing instrument can also be specified. This
4324 applies to many wind instruments, for example, clarinets (B-flat, A and
4325 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4329 The transposition is entered after the keyword @code{\transposition}:
4332 \transposition bes %% B-flat clarinet
4335 This command sets the property @code{instrumentTuning}. The value of
4336 this property is used for MIDI output and quotations. It does not
4337 affect how notes are printed in the current staff.
4339 @cindex transposition, MIDI
4340 @cindex transposition, instrument
4343 @node Multi measure rests
4344 @subsection Multi measure rests
4345 @cindex multi measure rests
4346 @cindex Rests, multi measure
4350 Multi measure rests are entered using `@code{R}'. It is specifically
4351 meant for full bar rests and for entering parts: the rest can expand
4352 to fill a score with rests, or it can be printed as a single
4353 multimeasure rest. This expansion is controlled by the property
4354 @code{Score.skipBars}. If this is set to true, empty measures will not
4355 be expanded, and the appropriate number is added automatically:
4357 @lilypond[fragment,verbatim]
4358 \time 4/4 r1 | R1 | R1*2
4359 \set Score.skipBars = ##t R1*17 R1*4
4362 The @code{1} in @code{R1} is similar to the duration notation used for
4363 notes. Hence, for time signatures other than 4/4, you must enter other
4364 durations. This can be done with augmentation dots or fractions:
4366 @lilypond[fragment,verbatim]
4367 \set Score.skipBars = ##t
4375 An @code{R} spanning a single measure is printed as either a whole rest
4376 or a breve, centered in the measure regardless of the time signature.
4378 @cindex text on multi-measure rest
4379 @cindex script on multi-measure rest
4380 @cindex fermata on multi-measure rest
4382 Texts can be added to multi-measure rests by using the
4383 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4384 replaced. If you need both texts and the number, you must add the
4385 number by hand. A variable (@code{\fermataMarkup}) is provided for
4389 @lilypond[verbatim,fragment]
4391 R2._\markup { "Ad lib" }
4395 If you want to have a text on the left end of a multi-measure rest,
4396 attach the text to a zero-length skip note, i.e.
4404 @cindex whole rests for a full measure
4408 Internals: @internalsref{MultiMeasureRestEvent},
4409 @internalsref{MultiMeasureTextEvent},
4410 @internalsref{MultiMeasureRestMusicGroup}, and
4411 @internalsref{MultiMeasureRest}.
4413 The layout object @internalsref{MultiMeasureRestNumber} is for the
4414 default number, and @internalsref{MultiMeasureRestText} for user
4419 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4420 over multi-measure rests.
4422 @cindex condensing rests
4424 There is no way to automatically condense multiple rests into a single
4425 multimeasure rest. Multi measure rests do not take part in rest
4428 Be careful when entering multimeasure rests followed by whole
4429 notes. The following will enter two notes lasting four measures each:
4433 When @code{skipBars} is set, then the result will look OK, but the
4434 bar numbering will be off.
4436 @node Automatic part combining
4437 @subsection Automatic part combining
4438 @cindex automatic part combining
4439 @cindex part combiner
4442 Automatic part combining is used to merge two parts of music onto a
4443 staff. It is aimed at typesetting orchestral scores. When the two
4444 parts are identical for a period of time, only one is shown. In
4445 places where the two parts differ, they are typeset as separate
4446 voices, and stem directions are set automatically. Also, solo and
4447 @emph{a due} parts are identified and can be marked.
4451 The syntax for part combining is
4454 \partcombine @var{musicexpr1} @var{musicexpr2}
4457 The music expressions will be interpreted as @internalsref{Voice} contexts.
4459 The following example demonstrates the basic functionality of the part
4460 combiner: putting parts on one staff, and setting stem directions and
4463 @lilypond[verbatim,raggedright,fragment,relative=1]
4464 \new Staff \partcombine
4473 The first @code{g} appears only once, although it was
4474 specified twice (once in each part). Stem, slur and tie directions are
4475 set automatically, depending whether there is a solo or unisono. The
4476 first part (with context called @code{one}) always gets up stems, and
4477 `solo', while the second (called @code{two}) always gets down stems and
4480 If you just want the merging parts, and not the textual markings, you
4481 may set the property @var{soloADue} to false:
4483 @lilypond[verbatim,raggedright,fragment,relative=1]
4485 \set Staff.soloADue = ##f
4497 Internals: @internalsref{PartCombineMusic},
4498 @internalsref{SoloOneEvent}, and
4499 @internalsref{SoloTwoEvent}, and
4500 @internalsref{UnisonoEvent}.
4504 In @code{soloADue} mode, when the two voices play the same notes on and
4505 off, the part combiner may typeset @code{a2} more than once in a
4508 @code{\partcombine} can not be inside @code{\times}.
4510 Internally, the @code{\partcombine} interprets both arguments as
4511 @code{Voice}s named @code{one} and @code{two}, and then decides when
4512 the parts can be combined. Consequently, if the arguments switch to
4513 differently named @internalsref{Voice} contexts, then the events in
4514 those will be ignored.
4517 @subsection Hiding staves
4519 @cindex Frenched scores
4520 @cindex Hiding staves
4522 In orchestral scores, staff lines that only have rests are usually
4523 removed. This saves some space. This style is called `French Score'.
4524 For @internalsref{Lyrics},
4525 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4526 switched on by default. When these line of these contexts turn out
4527 empty after the line-breaking process, they are removed.
4529 For normal staves, a specialized @internalsref{Staff} context is
4530 available, which does the same: staves containing nothing (or only
4531 multi measure rests) are removed. The context definition is stored in
4532 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4533 in this example disappears in the second line:
4538 \notes \relative c' <<
4539 \new Staff { e4 f g a \break c1 }
4540 \new Staff { c4 d e f \break R1 }
4544 \translator { \RemoveEmptyStaffContext }
4549 The first page shows all staffs in full. If they should be removed
4550 from the first page too, set @code{remove-first} to false
4551 in @internalsref{RemoveEmptyVerticalGroup}.
4553 Another application is making ossia sections, i.e. alternative
4554 melodies on a separate piece of staff, with help of a Frenched
4555 staff. See @inputfileref{input/test,ossia.ly} for an example.
4558 @node Different editions from one source
4559 @subsection Different editions from one source
4561 The @code{\tag} command marks music expressions with a name. These
4562 tagged expressions can be filtered out later. With this mechanism it
4563 is possible to make different versions of the same music source.
4565 In the following example, we see two versions of a piece of music, one
4566 for the full score, and one with cue notes for the instrumental part:
4582 The same can be applied to articulations, texts, etc.: they are
4585 -\tag #@var{your-tag}
4587 to an articulation, for example,
4592 This defines a note with a conditional fingering indication.
4594 By applying the @code{remove-tag} function, tagged expressions can be
4595 filtered. For example,
4599 \apply #(remove-tag 'score) @var{the music}
4600 \apply #(remove-tag 'part) @var{the music}
4605 @lilypondfile[]{tag-filter.ly}
4607 The argument of the @code{\tag} command should be a symbol, or a list
4608 of symbols, for example,
4610 \tag #'(original-part transposed-part) @dots{}
4615 Examples: @inputfileref{input/regression,tag-filter.ly}.
4618 @node Quoting other voices
4619 @subsection Quoting other voices
4621 With quotations, fragments of other parts can be inserted into a part
4622 directly. Before a part can be quoted, it must be marked especially as
4623 quotable. This is done with code @code{\addquote} command. The
4624 quotation may then be done with @code{\quote}
4627 \addquote @var{name} @var{music}
4628 \quote @var{name} @var{duration}
4633 Here, @var{name} is an identifying string. The @var{music} is any kind
4634 of music. This is an example of @code{\addquote}:
4637 \addquote clarinet \notes\relative c' {
4642 During a part, a piece of music can be quoted with the @code{\quote}
4649 This would cite 3 quarter notes (a dotted half note) of the previously
4650 added clarinet voice.
4652 Quotations take into account the transposition both source and target
4653 instruments, if they are specified using the @code{\transposition} command.
4655 @lilypond[verbatim,fragment]
4656 \addquote clarinet \notes\relative c' {
4662 e'8 f'8 \quote clarinet 2
4668 Only the contents of the first @internalsref{Voice} occurring in an
4669 @code{\addquote} command will be considered for quotation, so
4670 @var{music} can not contain @code{\new} and @code{\context Voice}
4671 statements that would switch to a different Voice.
4676 In this manual: @ref{Instrument transpositions}.
4678 Examples: @inputfileref{input/regression,quote.ly}
4679 @inputfileref{input/regression,quote-transposition.ly}
4681 Internals: @internalsref{QuoteMusic}.
4683 @node Ancient notation
4684 @section Ancient notation
4686 @cindex Vaticana, Editio
4687 @cindex Medicaea, Editio
4692 @c [TODO: write more comprehensive introduction on ancient notation]
4694 Support for ancient notation is still under heavy development.
4695 Regardless of all of the current limitations (see the bugs section
4696 below for details), it includes features for mensural
4697 notation and Gregorian Chant notation. There is also limited support
4698 for figured bass notation.
4700 Many graphical objects provide a @code{style} property, see
4701 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4702 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4703 signatures}. By manipulating such a grob property, the typographical
4704 appearance of the affected graphical objects can be accommodated for a
4705 specific notation flavor without need for introducing any new
4709 Other aspects of ancient notation can not that easily be expressed as
4710 in terms of just changing a style property of a graphical object.
4711 Therefore, some notational concepts are introduced specifically for
4712 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4713 @ref{Ligatures}, and @ref{Figured bass}.
4717 * Ancient note heads::
4718 * Ancient accidentals::
4722 * Ancient time signatures::
4727 * Vaticana style contexts::
4730 If this all is way too much of documentation for you, and you just
4731 want to dive into typesetting without worrying too much about the
4732 details on how to customize a context, then you may have a look at the
4733 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4734 set up predefined style-specific voice and staff contexts, and
4735 directly go ahead with the note entry.
4739 Ligatures need special spacing that has not yet been implemented. As
4740 a result, there is too much space between ligatures most of the time,
4741 and line breaking often is unsatisfactory. Also, lyrics do not
4742 correctly align with ligatures.
4744 Accidentals must not be printed within a ligature, but instead need to
4745 be collected and printed in front of it.
4747 Augmentum dots within ligatures are not handled correctly.
4750 @node Ancient note heads
4751 @subsection Ancient note heads
4757 For ancient notation, a note head style other than the @code{default}
4758 style may be chosen. This is accomplished by setting the @code{style}
4759 property of the NoteHead object to the desired value (@code{baroque},
4760 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4761 differs from the @code{default} style only in using a square shape for
4762 @code{\breve} note heads. The @code{neo_mensural} style differs from
4763 the @code{baroque} style in that it uses rhomboidal heads for whole
4764 notes and all smaller durations. Stems are centered on the note
4765 heads. This style is in particular useful when transcribing mensural
4766 music, e.g. for the incipit. The @code{mensural} style finally
4767 produces note heads that mimic the look of note heads in historic
4768 printings of the 16th century.
4770 The following example demonstrates the @code{neo_mensural} style:
4772 @lilypond[fragment,raggedright,verbatim]
4773 \override NoteHead #'style = #'neo_mensural
4774 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4777 When typesetting a piece in Gregorian Chant notation, a Gregorian
4778 ligature engraver will automatically select the proper note heads,
4779 such there is no need to explicitly set the note head style. Still,
4780 the note head style can be set e.g. to @code{vaticana_punctum} to
4781 produce punctum neumes. Similarly, a mensural ligature engraver is
4782 used to automatically assemble mensural ligatures. See
4783 @ref{Ligatures} for how ligature engravers work.
4788 @ref{Percussion staves} use note head styles of their own that are
4789 frequently used in contemporary music notation.
4791 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4792 overview over all available note head styles.
4795 @node Ancient accidentals
4796 @subsection Ancient accidentals
4802 Use the @code{style} property of grob @internalsref{Accidental} to
4803 select ancient accidentals. Supported styles are
4804 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4806 @lilypond[raggedright,staffsize=26]
4814 { " " \musicglyph #"accidentals-vaticana-1"
4815 " " \musicglyph #"accidentals-vaticana0" }
4819 { " " \musicglyph #"accidentals-medicaea-1" }
4823 { " " \musicglyph #"accidentals-hufnagel-1" }
4827 { " " \musicglyph #"accidentals-mensural-1"
4828 " " \musicglyph #"accidentals-mensural1" }
4837 \remove "Bar_number_engraver"
4841 \remove "Clef_engraver"
4842 \remove "Key_engraver"
4843 \remove "Time_signature_engraver"
4844 \remove "Staff_symbol_engraver"
4845 minimumVerticalExtent = ##f
4851 As shown, not all accidentals are supported by each style. When
4852 trying to access an unsupported accidental, LilyPond will switch to a
4853 different style, as demonstrated in
4854 @inputfileref{input/test,ancient-accidentals.ly}.
4856 Similarly to local accidentals, the style of the key signature can be
4857 controlled by the @code{style} property of the
4858 @internalsref{KeySignature} grob.
4862 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4863 @ref{Accidentals} give a general introduction into the use of
4864 accidentals. @ref{Key signature} gives a general introduction into
4865 the use of key signatures.
4867 Internals: @internalsref{KeySignature}.
4869 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4872 @subsection Ancient rests
4878 Use the @code{style} property of grob @internalsref{Rest} to select
4879 ancient accidentals. Supported styles are @code{classical},
4880 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4881 from the @code{default} style only in that the quarter rest looks like
4882 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4883 well for e.g. the incipit of a transcribed mensural piece of music.
4884 The @code{mensural} style finally mimics the appearance of rests as
4885 in historic prints of the 16th century.
4887 The following example demonstrates the @code{neo_mensural} style:
4889 @lilypond[fragment,raggedright,verbatim]
4890 \override Rest #'style = #'neo_mensural
4891 r\longa r\breve r1 r2 r4 r8 r16
4894 There are no 32th and 64th rests specifically for the mensural or
4895 neo-mensural style. Instead, the rests from the default style will be
4896 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4899 There are no rests in Gregorian Chant notation; instead, it uses
4904 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4908 @subsection Ancient clefs
4914 LilyPond supports a variety of clefs, many of them ancient.
4916 The following table shows all ancient clefs that are supported via the
4917 @code{\clef} command. Some of the clefs use the same glyph, but
4918 differ only with respect to the line they are printed on. In such
4919 cases, a trailing number in the name is used to enumerate these clefs.
4920 Still, you can manually force a clef glyph to be typeset on an
4921 arbitrary line, as described in @ref{Clef}. The note printed to the
4922 right side of each clef in the example column denotes the @code{c'}
4923 with respect to that clef.
4925 @multitable @columnfractions .3 .3 .3 .1
4929 @b{Description} @tab
4930 @b{Supported Clefs} @tab
4934 @code{clefs-neo_mensural_c} @tab
4935 modern style mensural C clef @tab
4936 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4937 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4938 @lilypond[relative,notime]
4939 \override Staff.TimeSignature #'transparent = ##t
4940 \clef "neo_mensural_c2" c
4944 @code{clefs-petrucci_c1}
4945 @code{clefs-petrucci_c2}
4946 @code{clefs-petrucci_c3}
4947 @code{clefs-petrucci_c4}
4948 @code{clefs-petrucci_c5}
4951 petrucci style mensural C clefs, for use on different staff lines
4952 (the examples shows the 2nd staff line C clef).
4962 @lilypond[relative,notime]
4963 \override Staff.TimeSignature #'transparent = ##t
4964 \clef "petrucci_c2" c
4968 @code{clefs-petrucci_f} @tab
4969 petrucci style mensural F clef @tab
4970 @code{petrucci_f} @tab
4971 @lilypond[relative,notime]
4972 \override Staff.TimeSignature #'transparent = ##t
4973 \clef "petrucci_f" c
4977 @code{clefs-petrucci_g} @tab
4978 petrucci style mensural G clef @tab
4979 @code{petrucci_g} @tab
4980 @lilypond[relative,notime]
4981 \override Staff.TimeSignature #'transparent = ##t
4982 \clef "petrucci_g" c
4986 @code{clefs-mensural_c} @tab
4987 historic style mensural C clef @tab
4988 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4989 @code{mensural_c4} @tab
4990 @lilypond[relative,notime]
4991 \override Staff.TimeSignature #'transparent = ##t
4992 \clef "mensural_c2" c
4996 @code{clefs-mensural_f} @tab
4997 historic style mensural F clef @tab
4998 @code{mensural_f} @tab
4999 @lilypond[relative,notime]
5000 \override Staff.TimeSignature #'transparent = ##t
5001 \clef "mensural_f" c
5005 @code{clefs-mensural_g} @tab
5006 historic style mensural G clef @tab
5007 @code{mensural_g} @tab
5008 @lilypond[relative,notime]
5009 \override Staff.TimeSignature #'transparent = ##t
5010 \clef "mensural_g" c
5014 @code{clefs-vaticana_do} @tab
5015 Editio Vaticana style do clef @tab
5016 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5017 @lilypond[relative,notime]
5018 \override Staff.StaffSymbol #'line-count = #4
5019 \override Staff.TimeSignature #'transparent = ##t
5020 \clef "vaticana_do2" c
5024 @code{clefs-vaticana_fa} @tab
5025 Editio Vaticana style fa clef @tab
5026 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5027 @lilypond[relative,notime]
5028 \override Staff.StaffSymbol #'line-count = #4
5029 \override Staff.TimeSignature #'transparent = ##t
5030 \clef "vaticana_fa2" c
5034 @code{clefs-medicaea_do} @tab
5035 Editio Medicaea style do clef @tab
5036 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5037 @lilypond[relative,notime]
5038 \override Staff.StaffSymbol #'line-count = #4
5039 \override Staff.TimeSignature #'transparent = ##t
5040 \clef "medicaea_do2" c
5044 @code{clefs-medicaea_fa} @tab
5045 Editio Medicaea style fa clef @tab
5046 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5047 @lilypond[relative,notime]
5048 \override Staff.StaffSymbol #'line-count = #4
5049 \override Staff.TimeSignature #'transparent = ##t
5050 \clef "medicaea_fa2" c
5054 @code{clefs-hufnagel_do} @tab
5055 historic style hufnagel do clef @tab
5056 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5057 @lilypond[relative,notime]
5058 \override Staff.StaffSymbol #'line-count = #4
5059 \override Staff.TimeSignature #'transparent = ##t
5060 \clef "hufnagel_do2" c
5064 @code{clefs-hufnagel_fa} @tab
5065 historic style hufnagel fa clef @tab
5066 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5067 @lilypond[relative,notime]
5068 \override Staff.StaffSymbol #'line-count = #4
5069 \override Staff.TimeSignature #'transparent = ##t
5070 \clef "hufnagel_fa2" c
5074 @code{clefs-hufnagel_do_fa} @tab
5075 historic style hufnagel combined do/fa clef @tab
5076 @code{hufnagel_do_fa} @tab
5077 @lilypond[relative,notime]
5078 \override Staff.TimeSignature #'transparent = ##t
5079 \clef "hufnagel_do_fa" c
5084 @c --- This should go somewhere else: ---
5085 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5088 @c @code{percussion}
5090 @c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
5092 @c @item modern style tab clef (glyph: @code{clefs-tab})
5097 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
5099 @emph{Modern style} means ``as is typeset in contemporary editions of
5100 transcribed mensural music''.
5102 @emph{Petrucci style} means ``inspired by printings published by the
5103 famous engraver Petrucci (1466-1539)''.
5105 @emph{Historic style} means ``as was typeset or written in historic
5106 editions (other than those of Petrucci)''.
5108 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5110 Petrucci used C clefs with differently balanced left-side vertical
5111 beams, depending on which staff line it is printed.
5115 In this manual: for the percussion clef, see @ref{Percussion staves}.
5116 For the @code{TAB} clef, see @ref{Tablatures}.
5118 Internals: for modern clefs, see @ref{Clef}.
5122 The mensural g clef is temporarily mapped to the Petrucci g clef,
5123 until a new mensural g clef will have been implemented.
5128 @subsection Ancient flags
5134 Use the @code{flag-style} property of grob @internalsref{Stem} to
5135 select ancient flags. Besides the @code{default} flag style,
5136 only @code{mensural} style is supported:
5138 @lilypond[fragment,raggedright,verbatim]
5139 \override Stem #'flag-style = #'mensural
5140 \override Stem #'thickness = #1.0
5141 \override NoteHead #'style = #'mensural
5143 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
5144 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5147 Note that the innermost flare of each mensural flag always is
5148 vertically aligned with a staff line. If you do not like this
5149 behavior, you can set the @code{adjust-if-on-staffline} property of
5150 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5151 of the end of each flare is different between notes on staff lines and
5152 notes between staff lines:
5154 @lilypond[fragment,raggedright]
5155 \override Stem #'flag-style = #'mensural
5156 \override Stem #'thickness = #1.0
5157 \override Stem #'adjust-if-on-staffline = ##f
5158 \override NoteHead #'style = #'mensural
5160 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
5161 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5164 There is no particular flag style for neo-mensural notation. Hence,
5165 when typesetting e.g. the incipit of a transcribed piece of mensural
5166 music, the default flag style should be used. There are no flags in
5167 Gregorian Chant notation.
5170 @node Ancient time signatures
5171 @subsection Ancient time signatures
5173 @cindex time signatures
5177 There is limited support for mensural time signatures. The
5178 glyphs are hard-wired to particular time fractions. In other words,
5179 to get a particular mensural signature glyph with the @code{\time n/m}
5180 command, @code{n} and @code{m} have to be chosen according to the
5186 \set Score.timing = ##f
5187 \set Score.barAlways = ##t
5188 s_\markup { "$\\backslash$time 4/4" }
5189 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5191 s_\markup { "$\\backslash$time 2/2" }
5192 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5194 s_\markup { "$\\backslash$time 6/4" }
5195 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5197 s_\markup { "$\\backslash$time 6/8" }
5198 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5200 s_\markup { "$\\backslash$time 3/2" }
5201 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5203 s_\markup { "$\\backslash$time 3/4" }
5204 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5206 s_\markup { "$\\backslash$time 9/4" }
5207 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5209 s_\markup { "$\\backslash$time 9/8" }
5210 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5212 s_\markup { "$\\backslash$time 4/8" }
5213 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5215 s_\markup { "$\\backslash$time 2/4" }
5216 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5224 \remove Staff_symbol_engraver
5225 \remove Clef_engraver
5226 \remove Time_signature_engraver
5232 Use the @code{style} property of grob @internalsref{TimeSignature} to
5233 select ancient time signatures. Supported styles are
5234 @code{neo_mensural} and @code{mensural}. The above table uses the
5235 @code{neo_mensural} style. This style is appropriate e.g. for the
5236 incipit of transcriptions of mensural pieces. The @code{mensural}
5237 style mimics the look of historical printings of the 16th century.
5239 @inputfileref{input/test,time.ly} gives an overview over all available
5240 ancient and modern styles.
5244 Internals: @ref{Time signature} gives a general introduction into the use of time
5249 Mensural signature glyphs are mapped to time fractions in a
5250 hard-wired way. This mapping is sensible, but still arbitrary: given
5251 a mensural time signature, the time fraction represents a modern meter
5252 that usually will be a good choice when transcribing a mensural piece
5253 of music. For a particular piece of mensural music, however, the
5254 mapping may be unsatisfactory. In particular, the mapping assumes a
5255 fixed transcription of durations (e.g. brevis = half note in 2/2,
5256 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5257 are not at all accessible through the @code{\time} command.
5259 Mensural time signatures are supported typographically, but not yet
5260 musically. The internal representation of durations is
5261 based on a purely binary system; a ternary division such as 1 brevis =
5262 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5263 prolatione maiori) is not correctly handled: event times in ternary
5264 modes will be badly computed, resulting e.g. in horizontally
5265 misaligned note heads, and bar checks are likely to erroneously fail.
5267 The syntax and semantics of the @code{\time} command for mensural
5268 music is subject to change.
5271 @subsection Custodes
5276 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5277 symbol that appears at the end of a staff. It anticipates the pitch
5278 of the first note(s) of the following line and thus helps the player
5279 or singer to manage line breaks during performance, thus enhancing
5280 readability of a score.
5282 Custodes were frequently used in music notation until the 17th
5283 century. Nowadays, they have survived only in a few particular forms
5284 of musical notation such as contemporary editions of Gregorian chant
5285 like the @emph{editio vaticana}. There are different custos glyphs
5286 used in different flavors of notational style.
5290 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5291 @internalsref{Staff} context when declaring the @code{\paper} block,
5292 as shown in the following example:
5298 \consists Custos_engraver
5299 Custos \override #'style = #'mensural
5304 The result looks like this:
5310 \override Staff.Custos #'style = #'mensural
5317 \consists Custos_engraver
5324 The custos glyph is selected by the @code{style} property. The styles
5325 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5326 @code{mensural}. They are demonstrated in the following fragment:
5336 { " " \musicglyph #"custodes-vaticana-u0" }
5340 { " " \musicglyph #"custodes-medicaea-u0" }
5344 { " " \musicglyph #"custodes-hufnagel-u0" }
5348 { " " \musicglyph #"custodes-mensural-u0" }
5357 \remove "Bar_number_engraver"
5361 \remove "Clef_engraver"
5362 \remove "Key_engraver"
5363 \remove "Time_signature_engraver"
5364 \remove "Staff_symbol_engraver"
5365 minimumVerticalExtent = ##f
5371 If the boolean property @code{adjust-if-on-staffline} is set to
5372 @code{#t} (which it is by default), lily typesets slightly different
5373 variants of the custos glyph, depending on whether the custos, is
5374 typeset on or between staff lines. The glyph will
5375 optically fit well into the staff, with the appendage on the right of
5376 the custos always ending at the same vertical position between two
5377 staff lines regardless of the pitch. If you set
5378 @code{adjust-if-on-staffline} to @code{#f}, then
5379 a compromise between both forms is used.
5381 Just like stems can be attached to note heads in two directions
5382 @emph{up} and @emph{down}, each custos glyph is available with its
5383 appendage pointing either up or down. If the pitch of a custos is
5384 above a selectable position, the appendage will point downwards; if
5385 the pitch is below this position, the appendage will point upwards.
5386 Use property @code{neutral-position} to select this position. By
5387 default, it is set to @code{0}, such that the neutral position is the
5388 center of the staff. Use property @code{neutral-direction} to control
5389 what happens if a custos is typeset on the neutral position itself.
5390 By default, this property is set to @code{-1}, such that the appendage
5391 will point downwards. If set to @code{1}, the appendage will point
5392 upwards. Other values such as @code{0} are reserved for future
5393 extensions and should not be used.
5397 Internals: @internalsref{Custos}.
5399 Examples: @inputfileref{input/regression,custos.ly}.
5403 @subsection Divisiones
5409 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5410 `division') is a staff context symbol that is used to structure
5411 Gregorian music into phrases and sections. The musical meaning of
5412 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5413 can be characterized as short, medium and long pause, somewhat like
5414 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5415 a chant, but is also frequently used within a single
5416 antiphonal/responsorial chant to mark the end of each section.
5420 To use divisiones, include the file @code{gregorian-init.ly}. It
5421 contains definitions that you can apply by just inserting
5422 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5423 and @code{\finalis} at proper places in the input. Some editions use
5424 @emph{virgula} or @emph{caesura} instead of divisio minima.
5425 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5428 @lilypondfile[]{divisiones.ly}
5432 @cindex @code{\virgula}
5434 @cindex @code{\caesura}
5436 @cindex @code{\divisioMinima}
5437 @code{\divisioMinima},
5438 @cindex @code{\divisioMaior}
5439 @code{\divisioMaior},
5440 @cindex @code{\divisioMaxima}
5441 @code{\divisioMaxima},
5442 @cindex @code{\finalis}
5447 In this manual: @ref{Breath marks}.
5449 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5451 Examples: @inputfileref{input/test,divisiones.ly}.
5454 @subsection Ligatures
5458 @c TODO: Should double check if I recalled things correctly when I wrote
5459 @c down the following paragraph by heart.
5461 In musical terminology, a ligature is a coherent graphical symbol that
5462 represents at least two distinct notes. Ligatures originally appeared
5463 in the manuscripts of Gregorian chant notation roughly since the 9th
5464 century as an allusion to the accent symbols of Greek lyric poetry to
5465 denote ascending or descending sequences of notes. Both, the shape
5466 and the exact meaning of ligatures changed tremendously during the
5467 following centuries: In early notation, ligatures were used for
5468 monophonic tunes (Gregorian chant) and very soon denoted also the way
5469 of performance in the sense of articulation. With upcoming
5470 multiphony, the need for a metric system arised, since multiple voices
5471 of a piece have to be synchronized some way. New notation systems
5472 were invented that used the manifold shapes of ligatures to now denote
5473 rhythmical patterns (e.g. black mensural notation, mannered notation,
5474 ars nova). With the invention of the metric system of the white
5475 mensural notation, the need for ligatures to denote such patterns
5476 disappeared. Nevertheless, ligatures were still in use in the
5477 mensural system for a couple of decades until they finally disappeared
5478 during the late 16th / early 17th century. Still, ligatures have
5479 survived in contemporary editions of Gregorian chant such as the
5480 Editio Vaticana from 1905/08.
5484 Syntactically, ligatures are simply enclosed by @code{\[} and
5485 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5486 additional input syntax specific for this particular type of ligature.
5487 By default, the @internalsref{LigatureBracket} engraver just puts a
5488 square bracket above the ligature:
5490 @lilypond[raggedright,verbatim]
5492 \notes \transpose c c' {
5500 To select a specific style of ligatures, a proper ligature engraver
5501 has to be added to the @internalsref{Voice} context, as explained in
5502 the following subsections. Only white mensural ligatures
5503 are supported with certain limitations. Support for Editio Vaticana
5504 will be added in the future.
5507 * White mensural ligatures::
5508 * Gregorian square neumes ligatures::
5511 @node White mensural ligatures
5512 @subsubsection White mensural ligatures
5514 @cindex Mensural ligatures
5515 @cindex White mensural ligatures
5517 There is limited support for white mensural ligatures. The
5518 implementation is still experimental; it may output strange
5519 warnings or even crash in some cases or produce weird results on more
5524 To engrave white mensural ligatures, in the paper block the
5525 @internalsref{Mensural_ligature_engraver} has to be put into the
5526 @internalsref{Voice} context, and remove the
5527 @internalsref{Ligature_bracket_engraver}:
5533 \remove Ligature_bracket_engraver
5534 \consists Mensural_ligature_engraver
5539 There is no additional input language to describe the shape of a
5540 white mensural ligature. The shape is rather determined solely from
5541 the pitch and duration of the enclosed notes. While this approach may
5542 take a new user a while to get accustomed, it has the great advantage
5543 that the full musical information of the ligature is known internally.
5544 This is not only required for correct MIDI output, but also allows for
5545 automatic transcription of the ligatures.
5550 \set Score.timing = ##f
5551 \set Score.defaultBarType = "empty"
5552 \override NoteHead #'style = #'neo_mensural
5553 \override Staff.TimeSignature #'style = #'neo_mensural
5555 \[ g\longa c\breve a\breve f\breve d'\longa \]
5557 \[ e1 f1 a\breve g\longa \]
5559 @lilypond[raggedright]
5561 \notes \transpose c c' {
5562 \set Score.timing = ##f
5563 \set Score.defaultBarType = "empty"
5564 \override NoteHead #'style = #'neo_mensural
5565 \override Staff.TimeSignature #'style = #'neo_mensural
5567 \[ g\longa c\breve a\breve f\breve d'\longa \]
5569 \[ e1 f1 a\breve g\longa \]
5574 \remove Ligature_bracket_engraver
5575 \consists Mensural_ligature_engraver
5581 Without replacing @internalsref{Ligature_bracket_engraver} with
5582 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5585 @lilypond[raggedright]
5587 \notes \transpose c c' {
5588 \set Score.timing = ##f
5589 \set Score.defaultBarType = "empty"
5590 \override NoteHead #'style = #'neo_mensural
5591 \override Staff.TimeSignature #'style = #'neo_mensural
5593 \[ g\longa c\breve a\breve f\breve d'\longa \]
5595 \[ e1 f1 a\breve g\longa \]
5601 @node Gregorian square neumes ligatures
5602 @subsubsection Gregorian square neumes ligatures
5604 @cindex Square neumes ligatures
5605 @cindex Gregorian square neumes ligatures
5607 Gregorian square neumes notation (following the style of the Editio
5608 Vaticana) is under heavy development, but not yet really usable for
5609 production purposes. Core ligatures can already be typeset, but
5610 essential issues for serious typesetting are still under development,
5611 such as (among others) horizontal alignment of multiple ligatures,
5612 lyrics alignment and proper accidentals handling. Still, this section
5613 gives a sneak preview of what Gregorian chant may look like once it
5616 The following table contains the extended neumes table of the 2nd
5617 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5618 1983 by the monks of Solesmes.
5620 @multitable @columnfractions .4 .2 .2 .2
5623 @b{Neuma aut@*Neumarum Elementa} @tab
5624 @b{Figurae@*Rectae} @tab
5625 @b{Figurae@*Liquescentes Auctae} @tab
5626 @b{Figurae@*Liquescentes Deminutae}
5628 @c TODO: \paper block is identical in all of the below examples.
5629 @c Therefore, it should somehow be included rather than duplicated all
5632 @c why not make identifiers in ly/engraver-init.ly? --hwn
5634 @c Because it's just used to typeset plain notes without
5635 @c a staff for demonstration purposes rather than something
5636 @c special of Gregorian chant notation. --jr
5641 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5642 \include "gregorian-init.ly"
5644 \notes \transpose c c' {
5647 \noBreak s^\markup {"a"} \noBreak
5649 % Punctum Inclinatum
5651 \noBreak s^\markup {"b"}
5657 \remove "Bar_number_engraver"
5661 \remove "Clef_engraver"
5662 \remove "Key_engraver"
5663 \override StaffSymbol #'transparent = ##t
5664 \remove "Time_signature_engraver"
5665 \remove "Bar_engraver"
5666 minimumVerticalExtent = ##f
5670 \remove Ligature_bracket_engraver
5671 \consists Vaticana_ligature_engraver
5672 \override NoteHead #'style = #'vaticana_punctum
5673 \override Stem #'transparent = ##t
5679 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5680 \include "gregorian-init.ly"
5682 \notes \transpose c c' {
5683 % Punctum Auctum Ascendens
5684 \[ \auctum \ascendens b \]
5685 \noBreak s^\markup {"c"} \noBreak
5687 % Punctum Auctum Descendens
5688 \[ \auctum \descendens b \]
5689 \noBreak s^\markup {"d"} \noBreak
5691 % Punctum Inclinatum Auctum
5692 \[ \inclinatum \auctum b \]
5693 \noBreak s^\markup {"e"}
5699 \remove "Bar_number_engraver"
5703 \remove "Clef_engraver"
5704 \remove "Key_engraver"
5705 \override StaffSymbol #'transparent = ##t
5706 \remove "Time_signature_engraver"
5707 \remove "Bar_engraver"
5708 minimumVerticalExtent = ##f
5712 \remove Ligature_bracket_engraver
5713 \consists Vaticana_ligature_engraver
5714 \override NoteHead #'style = #'vaticana_punctum
5715 \override Stem #'transparent = ##t
5721 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5722 \include "gregorian-init.ly"
5724 \notes \transpose c c' {
5725 % Punctum Inclinatum Parvum
5726 \[ \inclinatum \deminutum b \]
5727 \noBreak s^\markup {"f"}
5733 \remove "Bar_number_engraver"
5737 \remove "Clef_engraver"
5738 \remove "Key_engraver"
5739 \override StaffSymbol #'transparent = ##t
5740 \remove "Time_signature_engraver"
5741 \remove "Bar_engraver"
5742 minimumVerticalExtent = ##f
5746 \remove Ligature_bracket_engraver
5747 \consists Vaticana_ligature_engraver
5748 \override NoteHead #'style = #'vaticana_punctum
5749 \override Stem #'transparent = ##t
5758 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5759 \include "gregorian-init.ly"
5761 \notes \transpose c c' {
5764 \noBreak s^\markup {"g"}
5770 \remove "Bar_number_engraver"
5774 \remove "Clef_engraver"
5775 \remove "Key_engraver"
5776 \override StaffSymbol #'transparent = ##t
5777 \remove "Time_signature_engraver"
5778 \remove "Bar_engraver"
5779 minimumVerticalExtent = ##f
5783 \remove Ligature_bracket_engraver
5784 \consists Vaticana_ligature_engraver
5785 \override NoteHead #'style = #'vaticana_punctum
5786 \override Stem #'transparent = ##t
5795 @code{3. Apostropha vel Stropha}
5797 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5798 \include "gregorian-init.ly"
5800 \notes \transpose c c' {
5803 \noBreak s^\markup {"h"}
5809 \remove "Bar_number_engraver"
5813 \remove "Clef_engraver"
5814 \remove "Key_engraver"
5815 \override StaffSymbol #'transparent = ##t
5816 \remove "Time_signature_engraver"
5817 \remove "Bar_engraver"
5818 minimumVerticalExtent = ##f
5822 \remove Ligature_bracket_engraver
5823 \consists Vaticana_ligature_engraver
5824 \override NoteHead #'style = #'vaticana_punctum
5825 \override Stem #'transparent = ##t
5831 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5832 \include "gregorian-init.ly"
5834 \notes \transpose c c' {
5836 \[ \stropha \auctum b \]
5837 \noBreak s^\markup {"i"}
5843 \remove "Bar_number_engraver"
5847 \remove "Clef_engraver"
5848 \remove "Key_engraver"
5849 \override StaffSymbol #'transparent = ##t
5850 \remove "Time_signature_engraver"
5851 \remove "Bar_engraver"
5852 minimumVerticalExtent = ##f
5856 \remove Ligature_bracket_engraver
5857 \consists Vaticana_ligature_engraver
5858 \override NoteHead #'style = #'vaticana_punctum
5859 \override Stem #'transparent = ##t
5869 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5870 \include "gregorian-init.ly"
5872 \notes \transpose c c' {
5875 \noBreak s^\markup {"j"}
5881 \remove "Bar_number_engraver"
5885 \remove "Clef_engraver"
5886 \remove "Key_engraver"
5887 \override StaffSymbol #'transparent = ##t
5888 \remove "Time_signature_engraver"
5889 \remove "Bar_engraver"
5890 minimumVerticalExtent = ##f
5894 \remove Ligature_bracket_engraver
5895 \consists Vaticana_ligature_engraver
5896 \override NoteHead #'style = #'vaticana_punctum
5897 \override Stem #'transparent = ##t
5906 @code{5. Clivis vel Flexa}
5908 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5909 \include "gregorian-init.ly"
5911 \notes \transpose c c' {
5920 \remove "Bar_number_engraver"
5924 \remove "Clef_engraver"
5925 \remove "Key_engraver"
5926 \override StaffSymbol #'transparent = ##t
5927 \remove "Time_signature_engraver"
5928 \remove "Bar_engraver"
5929 minimumVerticalExtent = ##f
5933 \remove Ligature_bracket_engraver
5934 \consists Vaticana_ligature_engraver
5935 \override NoteHead #'style = #'vaticana_punctum
5936 \override Stem #'transparent = ##t
5942 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5943 \include "gregorian-init.ly"
5945 \notes \transpose c c' {
5946 % Clivis Aucta Descendens
5947 \[ b \flexa \auctum \descendens g \]
5948 \noBreak s^\markup {"l"} \noBreak
5950 % Clivis Aucta Ascendens
5951 \[ b \flexa \auctum \ascendens g \]
5952 \noBreak s^\markup {"m"}
5958 \remove "Bar_number_engraver"
5962 \remove "Clef_engraver"
5963 \remove "Key_engraver"
5964 \override StaffSymbol #'transparent = ##t
5965 \remove "Time_signature_engraver"
5966 \remove "Bar_engraver"
5967 minimumVerticalExtent = ##f
5971 \remove Ligature_bracket_engraver
5972 \consists Vaticana_ligature_engraver
5973 \override NoteHead #'style = #'vaticana_punctum
5974 \override Stem #'transparent = ##t
5980 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5981 \include "gregorian-init.ly"
5983 \notes \transpose c c' {
5985 \[ b \flexa \deminutum g \]
5992 \remove "Bar_number_engraver"
5996 \remove "Clef_engraver"
5997 \remove "Key_engraver"
5998 \override StaffSymbol #'transparent = ##t
5999 \remove "Time_signature_engraver"
6000 \remove "Bar_engraver"
6001 minimumVerticalExtent = ##f
6005 \remove Ligature_bracket_engraver
6006 \consists Vaticana_ligature_engraver
6007 \override NoteHead #'style = #'vaticana_punctum
6008 \override Stem #'transparent = ##t
6015 @code{6. Podatus vel Pes}
6017 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6018 \include "gregorian-init.ly"
6020 \notes \transpose c c' {
6029 \remove "Bar_number_engraver"
6033 \remove "Clef_engraver"
6034 \remove "Key_engraver"
6035 \override StaffSymbol #'transparent = ##t
6036 \remove "Time_signature_engraver"
6037 \remove "Bar_engraver"
6038 minimumVerticalExtent = ##f
6042 \remove Ligature_bracket_engraver
6043 \consists Vaticana_ligature_engraver
6044 \override NoteHead #'style = #'vaticana_punctum
6045 \override Stem #'transparent = ##t
6051 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6052 \include "gregorian-init.ly"
6054 \notes \transpose c c' {
6055 % Pes Auctus Descendens
6056 \[ g \pes \auctum \descendens b \]
6057 \noBreak s^\markup {"p"} \noBreak
6059 % Pes Auctus Ascendens
6060 \[ g \pes \auctum \ascendens b \]
6061 \noBreak s^\markup {"q"}
6067 \remove "Bar_number_engraver"
6071 \remove "Clef_engraver"
6072 \remove "Key_engraver"
6073 \override StaffSymbol #'transparent = ##t
6074 \remove "Time_signature_engraver"
6075 \remove "Bar_engraver"
6076 minimumVerticalExtent = ##f
6080 \remove Ligature_bracket_engraver
6081 \consists Vaticana_ligature_engraver
6082 \override NoteHead #'style = #'vaticana_punctum
6083 \override Stem #'transparent = ##t
6089 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6090 \include "gregorian-init.ly"
6092 \notes \transpose c c' {
6094 \[ g \pes \deminutum b \]
6101 \remove "Bar_number_engraver"
6105 \remove "Clef_engraver"
6106 \remove "Key_engraver"
6107 \override StaffSymbol #'transparent = ##t
6108 \remove "Time_signature_engraver"
6109 \remove "Bar_engraver"
6110 minimumVerticalExtent = ##f
6114 \remove Ligature_bracket_engraver
6115 \consists Vaticana_ligature_engraver
6116 \override NoteHead #'style = #'vaticana_punctum
6117 \override Stem #'transparent = ##t
6124 @code{7. Pes Quassus}
6126 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6127 \include "gregorian-init.ly"
6129 \notes \transpose c c' {
6131 \[ \oriscus g \pes \virga b \]
6138 \remove "Bar_number_engraver"
6142 \remove "Clef_engraver"
6143 \remove "Key_engraver"
6144 \override StaffSymbol #'transparent = ##t
6145 \remove "Time_signature_engraver"
6146 \remove "Bar_engraver"
6147 minimumVerticalExtent = ##f
6151 \remove Ligature_bracket_engraver
6152 \consists Vaticana_ligature_engraver
6153 \override NoteHead #'style = #'vaticana_punctum
6154 \override Stem #'transparent = ##t
6160 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6161 \include "gregorian-init.ly"
6163 \notes \transpose c c' {
6164 % Pes Quassus Auctus Descendens
6165 \[ \oriscus g \pes \auctum \descendens b \]
6172 \remove "Bar_number_engraver"
6176 \remove "Clef_engraver"
6177 \remove "Key_engraver"
6178 \override StaffSymbol #'transparent = ##t
6179 \remove "Time_signature_engraver"
6180 \remove "Bar_engraver"
6181 minimumVerticalExtent = ##f
6185 \remove Ligature_bracket_engraver
6186 \consists Vaticana_ligature_engraver
6187 \override NoteHead #'style = #'vaticana_punctum
6188 \override Stem #'transparent = ##t
6196 @code{8. Quilisma Pes}
6198 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6199 \include "gregorian-init.ly"
6201 \notes \transpose c c' {
6203 \[ \quilisma g \pes b \]
6210 \remove "Bar_number_engraver"
6214 \remove "Clef_engraver"
6215 \remove "Key_engraver"
6216 \override StaffSymbol #'transparent = ##t
6217 \remove "Time_signature_engraver"
6218 \remove "Bar_engraver"
6219 minimumVerticalExtent = ##f
6223 \remove Ligature_bracket_engraver
6224 \consists Vaticana_ligature_engraver
6225 \override NoteHead #'style = #'vaticana_punctum
6226 \override Stem #'transparent = ##t
6232 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6233 \include "gregorian-init.ly"
6235 \notes \transpose c c' {
6236 % Quilisma Pes Auctus Descendens
6237 \[ \quilisma g \pes \auctum \descendens b \]
6244 \remove "Bar_number_engraver"
6248 \remove "Clef_engraver"
6249 \remove "Key_engraver"
6250 \override StaffSymbol #'transparent = ##t
6251 \remove "Time_signature_engraver"
6252 \remove "Bar_engraver"
6253 minimumVerticalExtent = ##f
6257 \remove Ligature_bracket_engraver
6258 \consists Vaticana_ligature_engraver
6259 \override NoteHead #'style = #'vaticana_punctum
6260 \override Stem #'transparent = ##t
6268 @code{9. Podatus Initio Debilis}
6270 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6271 \include "gregorian-init.ly"
6273 \notes \transpose c c' {
6274 % Pes Initio Debilis
6275 \[ \deminutum g \pes b \]
6282 \remove "Bar_number_engraver"
6286 \remove "Clef_engraver"
6287 \remove "Key_engraver"
6288 \override StaffSymbol #'transparent = ##t
6289 \remove "Time_signature_engraver"
6290 \remove "Bar_engraver"
6291 minimumVerticalExtent = ##f
6295 \remove Ligature_bracket_engraver
6296 \consists Vaticana_ligature_engraver
6297 \override NoteHead #'style = #'vaticana_punctum
6298 \override Stem #'transparent = ##t
6304 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6305 \include "gregorian-init.ly"
6307 \notes \transpose c c' {
6308 % Pes Auctus Descendens Initio Debilis
6309 \[ \deminutum g \pes \auctum \descendens b \]
6316 \remove "Bar_number_engraver"
6320 \remove "Clef_engraver"
6321 \remove "Key_engraver"
6322 \override StaffSymbol #'transparent = ##t
6323 \remove "Time_signature_engraver"
6324 \remove "Bar_engraver"
6325 minimumVerticalExtent = ##f
6329 \remove Ligature_bracket_engraver
6330 \consists Vaticana_ligature_engraver
6331 \override NoteHead #'style = #'vaticana_punctum
6332 \override Stem #'transparent = ##t
6342 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6343 \include "gregorian-init.ly"
6345 \notes \transpose c c' {
6347 \[ a \pes b \flexa g \]
6354 \remove "Bar_number_engraver"
6358 \remove "Clef_engraver"
6359 \remove "Key_engraver"
6360 \override StaffSymbol #'transparent = ##t
6361 \remove "Time_signature_engraver"
6362 \remove "Bar_engraver"
6363 minimumVerticalExtent = ##f
6367 \remove Ligature_bracket_engraver
6368 \consists Vaticana_ligature_engraver
6369 \override NoteHead #'style = #'vaticana_punctum
6370 \override Stem #'transparent = ##t
6376 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6377 \include "gregorian-init.ly"
6379 \notes \transpose c c' {
6380 % Torculus Auctus Descendens
6381 \[ a \pes b \flexa \auctum \descendens g \]
6388 \remove "Bar_number_engraver"
6392 \remove "Clef_engraver"
6393 \remove "Key_engraver"
6394 \override StaffSymbol #'transparent = ##t
6395 \remove "Time_signature_engraver"
6396 \remove "Bar_engraver"
6397 minimumVerticalExtent = ##f
6401 \remove Ligature_bracket_engraver
6402 \consists Vaticana_ligature_engraver
6403 \override NoteHead #'style = #'vaticana_punctum
6404 \override Stem #'transparent = ##t
6410 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6411 \include "gregorian-init.ly"
6413 \notes \transpose c c' {
6414 % Torculus Deminutus
6415 \[ a \pes b \flexa \deminutum g \]
6422 \remove "Bar_number_engraver"
6426 \remove "Clef_engraver"
6427 \remove "Key_engraver"
6428 \override StaffSymbol #'transparent = ##t
6429 \remove "Time_signature_engraver"
6430 \remove "Bar_engraver"
6431 minimumVerticalExtent = ##f
6435 \remove Ligature_bracket_engraver
6436 \consists Vaticana_ligature_engraver
6437 \override NoteHead #'style = #'vaticana_punctum
6438 \override Stem #'transparent = ##t
6445 @code{11. Torculus Initio Debilis}
6447 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6448 \include "gregorian-init.ly"
6450 \notes \transpose c c' {
6451 % Torculus Initio Debilis
6452 \[ \deminutum a \pes b \flexa g \]
6459 \remove "Bar_number_engraver"
6463 \remove "Clef_engraver"
6464 \remove "Key_engraver"
6465 \override StaffSymbol #'transparent = ##t
6466 \remove "Time_signature_engraver"
6467 \remove "Bar_engraver"
6468 minimumVerticalExtent = ##f
6472 \remove Ligature_bracket_engraver
6473 \consists Vaticana_ligature_engraver
6474 \override NoteHead #'style = #'vaticana_punctum
6475 \override Stem #'transparent = ##t
6481 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6482 \include "gregorian-init.ly"
6484 \notes \transpose c c' {
6485 % Torculus Auctus Descendens Initio Debilis
6486 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6493 \remove "Bar_number_engraver"
6497 \remove "Clef_engraver"
6498 \remove "Key_engraver"
6499 \override StaffSymbol #'transparent = ##t
6500 \remove "Time_signature_engraver"
6501 \remove "Bar_engraver"
6502 minimumVerticalExtent = ##f
6506 \remove Ligature_bracket_engraver
6507 \consists Vaticana_ligature_engraver
6508 \override NoteHead #'style = #'vaticana_punctum
6509 \override Stem #'transparent = ##t
6515 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6516 \include "gregorian-init.ly"
6518 \notes \transpose c c' {
6519 % Torculus Deminutus Initio Debilis
6520 \[ \deminutum a \pes b \flexa \deminutum g \]
6527 \remove "Bar_number_engraver"
6531 \remove "Clef_engraver"
6532 \remove "Key_engraver"
6533 \override StaffSymbol #'transparent = ##t
6534 \remove "Time_signature_engraver"
6535 \remove "Bar_engraver"
6536 minimumVerticalExtent = ##f
6540 \remove Ligature_bracket_engraver
6541 \consists Vaticana_ligature_engraver
6542 \override NoteHead #'style = #'vaticana_punctum
6543 \override Stem #'transparent = ##t
6550 @code{12. Porrectus}
6552 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6553 \include "gregorian-init.ly"
6555 \notes \transpose c c' {
6557 \[ a \flexa g \pes b \]
6564 \remove "Bar_number_engraver"
6568 \remove "Clef_engraver"
6569 \remove "Key_engraver"
6570 \override StaffSymbol #'transparent = ##t
6571 \remove "Time_signature_engraver"
6572 \remove "Bar_engraver"
6573 minimumVerticalExtent = ##f
6577 \remove Ligature_bracket_engraver
6578 \consists Vaticana_ligature_engraver
6579 \override NoteHead #'style = #'vaticana_punctum
6580 \override Stem #'transparent = ##t
6586 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6587 \include "gregorian-init.ly"
6589 \notes \transpose c c' {
6590 % Porrectus Auctus Descendens
6591 \[ a \flexa g \pes \auctum \descendens b \]
6598 \remove "Bar_number_engraver"
6602 \remove "Clef_engraver"
6603 \remove "Key_engraver"
6604 \override StaffSymbol #'transparent = ##t
6605 \remove "Time_signature_engraver"
6606 \remove "Bar_engraver"
6607 minimumVerticalExtent = ##f
6611 \remove Ligature_bracket_engraver
6612 \consists Vaticana_ligature_engraver
6613 \override NoteHead #'style = #'vaticana_punctum
6614 \override Stem #'transparent = ##t
6620 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6621 \include "gregorian-init.ly"
6623 \notes \transpose c c' {
6624 % Porrectus Deminutus
6625 \[ a \flexa g \pes \deminutum b \]
6632 \remove "Bar_number_engraver"
6636 \remove "Clef_engraver"
6637 \remove "Key_engraver"
6638 \override StaffSymbol #'transparent = ##t
6639 \remove "Time_signature_engraver"
6640 \remove "Bar_engraver"
6641 minimumVerticalExtent = ##f
6645 \remove Ligature_bracket_engraver
6646 \consists Vaticana_ligature_engraver
6647 \override NoteHead #'style = #'vaticana_punctum
6648 \override Stem #'transparent = ##t
6657 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6658 \include "gregorian-init.ly"
6660 \notes \transpose c c' {
6662 \[ \virga b \inclinatum a \inclinatum g \]
6669 \remove "Bar_number_engraver"
6673 \remove "Clef_engraver"
6674 \remove "Key_engraver"
6675 \override StaffSymbol #'transparent = ##t
6676 \remove "Time_signature_engraver"
6677 \remove "Bar_engraver"
6678 minimumVerticalExtent = ##f
6682 \remove Ligature_bracket_engraver
6683 \consists Vaticana_ligature_engraver
6684 \override NoteHead #'style = #'vaticana_punctum
6685 \override Stem #'transparent = ##t
6691 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6692 \include "gregorian-init.ly"
6694 \notes \transpose c c' {
6696 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6703 \remove "Bar_number_engraver"
6707 \remove "Clef_engraver"
6708 \remove "Key_engraver"
6709 \override StaffSymbol #'transparent = ##t
6710 \remove "Time_signature_engraver"
6711 \remove "Bar_engraver"
6712 minimumVerticalExtent = ##f
6716 \remove Ligature_bracket_engraver
6717 \consists Vaticana_ligature_engraver
6718 \override NoteHead #'style = #'vaticana_punctum
6719 \override Stem #'transparent = ##t
6725 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6726 \include "gregorian-init.ly"
6728 \notes \transpose c c' {
6729 % Climacus Deminutus
6730 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6737 \remove "Bar_number_engraver"
6741 \remove "Clef_engraver"
6742 \remove "Key_engraver"
6743 \override StaffSymbol #'transparent = ##t
6744 \remove "Time_signature_engraver"
6745 \remove "Bar_engraver"
6746 minimumVerticalExtent = ##f
6750 \remove Ligature_bracket_engraver
6751 \consists Vaticana_ligature_engraver
6752 \override NoteHead #'style = #'vaticana_punctum
6753 \override Stem #'transparent = ##t
6760 @code{14. Scandicus}
6762 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6763 \include "gregorian-init.ly"
6765 \notes \transpose c c' {
6767 \[ g \pes a \virga b \]
6774 \remove "Bar_number_engraver"
6778 \remove "Clef_engraver"
6779 \remove "Key_engraver"
6780 \override StaffSymbol #'transparent = ##t
6781 \remove "Time_signature_engraver"
6782 \remove "Bar_engraver"
6783 minimumVerticalExtent = ##f
6787 \remove Ligature_bracket_engraver
6788 \consists Vaticana_ligature_engraver
6789 \override NoteHead #'style = #'vaticana_punctum
6790 \override Stem #'transparent = ##t
6796 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6797 \include "gregorian-init.ly"
6799 \notes \transpose c c' {
6800 % Scandicus Auctus Descendens
6801 \[ g \pes a \pes \auctum \descendens b \]
6808 \remove "Bar_number_engraver"
6812 \remove "Clef_engraver"
6813 \remove "Key_engraver"
6814 \override StaffSymbol #'transparent = ##t
6815 \remove "Time_signature_engraver"
6816 \remove "Bar_engraver"
6817 minimumVerticalExtent = ##f
6821 \remove Ligature_bracket_engraver
6822 \consists Vaticana_ligature_engraver
6823 \override NoteHead #'style = #'vaticana_punctum
6824 \override Stem #'transparent = ##t
6830 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6831 \include "gregorian-init.ly"
6833 \notes \transpose c c' {
6834 % Scandicus Deminutus
6835 \[ g \pes a \pes \deminutum b \]
6842 \remove "Bar_number_engraver"
6846 \remove "Clef_engraver"
6847 \remove "Key_engraver"
6848 \override StaffSymbol #'transparent = ##t
6849 \remove "Time_signature_engraver"
6850 \remove "Bar_engraver"
6851 minimumVerticalExtent = ##f
6855 \remove Ligature_bracket_engraver
6856 \consists Vaticana_ligature_engraver
6857 \override NoteHead #'style = #'vaticana_punctum
6858 \override Stem #'transparent = ##t
6867 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6868 \include "gregorian-init.ly"
6870 \notes \transpose c c' {
6872 \[ g \oriscus a \pes \virga b \]
6879 \remove "Bar_number_engraver"
6883 \remove "Clef_engraver"
6884 \remove "Key_engraver"
6885 \override StaffSymbol #'transparent = ##t
6886 \remove "Time_signature_engraver"
6887 \remove "Bar_engraver"
6888 minimumVerticalExtent = ##f
6892 \remove Ligature_bracket_engraver
6893 \consists Vaticana_ligature_engraver
6894 \override NoteHead #'style = #'vaticana_punctum
6895 \override Stem #'transparent = ##t
6901 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6902 \include "gregorian-init.ly"
6904 \notes \transpose c c' {
6905 % Salicus Auctus Descendens
6906 \[ g \oriscus a \pes \auctum \descendens b \]
6913 \remove "Bar_number_engraver"
6917 \remove "Clef_engraver"
6918 \remove "Key_engraver"
6919 \override StaffSymbol #'transparent = ##t
6920 \remove "Time_signature_engraver"
6921 \remove "Bar_engraver"
6922 minimumVerticalExtent = ##f
6926 \remove Ligature_bracket_engraver
6927 \consists Vaticana_ligature_engraver
6928 \override NoteHead #'style = #'vaticana_punctum
6929 \override Stem #'transparent = ##t
6939 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6940 \include "gregorian-init.ly"
6942 \notes \transpose c c' {
6944 \[ \stropha b \stropha b \stropha a \]
6951 \remove "Bar_number_engraver"
6955 \remove "Clef_engraver"
6956 \remove "Key_engraver"
6957 \override StaffSymbol #'transparent = ##t
6958 \remove "Time_signature_engraver"
6959 \remove "Bar_engraver"
6960 minimumVerticalExtent = ##f
6964 \remove Ligature_bracket_engraver
6965 \consists Vaticana_ligature_engraver
6966 \override NoteHead #'style = #'vaticana_punctum
6967 \override Stem #'transparent = ##t
6979 Unlike most other neumes notation systems, the input language for
6980 neumes does not necessarily reflect directly the typographical
6981 appearance, but is designed to solely focuse on musical meaning. For
6982 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6983 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6984 a Porrectus with a curved flexa shape and only a single Punctum head.
6985 There is no command to explicitly typeset the curved flexa shape; the
6986 decision of when to typeset a curved flexa shape is purely taken from
6987 the musical input. The idea of this approach is to separate the
6988 musical aspects of the input from the notation style of the output.
6989 This way, the same input can be reused to typeset the same music in a
6990 different style of Gregorian chant notation such as Hufnagel (also
6991 known as German gothic neumes) or Medicaea (kind of a very simple
6992 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6993 engraver and Medicaea ligature engraver will have been implemented, it
6994 will be as simple as replacing the ligature engraver in the
6995 @internalsref{Voice} context to get the desired notation style from
6998 The following table shows the code fragments that produce the
6999 ligatures in the above neumes table. The letter in the first column
7000 in each line of the below table indicates to which ligature in the
7001 above table it refers. The second column gives the name of the
7002 ligature. The third column shows the code fragment that produces this
7003 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7005 @multitable @columnfractions .1 .4 .5
7019 Punctum Inclinatum @tab
7020 @code{\[ \inclinatum b \]}
7024 Punctum Auctum Ascendens @tab
7025 @code{\[ \auctum \ascendens b \]}
7029 Punctum Auctum Descendens @tab
7030 @code{\[ \auctum \descendens b \]}
7034 Punctum Inclinatum Auctum @tab
7035 @code{\[ \inclinatum \auctum b \]}
7039 Punctum Inclinatum Parvum @tab
7040 @code{\[ \inclinatum \deminutum b \]}
7045 @code{\[ \virga b \]}
7050 @code{\[ \stropha b \]}
7055 @code{\[ \stropha \auctum b \]}
7060 @code{\[ \oriscus b \]}
7064 Clivis vel Flexa @tab
7065 @code{\[ b \flexa g \]}
7069 Clivis Aucta Descendens @tab
7070 @code{\[ b \flexa \auctum \descendens g \]}
7074 Clivis Aucta Ascendens @tab
7075 @code{\[ b \flexa \auctum \ascendens g \]}
7080 @code{\[ b \flexa \deminutum g \]}
7084 Podatus vel Pes @tab
7085 @code{\[ g \pes b \]}
7089 Pes Auctus Descendens @tab
7090 @code{\[ g \pes \auctum \descendens b \]}
7094 Pes Auctus Ascendens @tab
7095 @code{\[ g \pes \auctum \ascendens b \]}
7100 @code{\[ g \pes \deminutum b \]}
7105 @code{\[ \oriscus g \pes \virga b \]}
7109 Pes Quassus Auctus Descendens @tab
7110 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7115 @code{\[ \quilisma g \pes b \]}
7119 Quilisma Pes Auctus Descendens @tab
7120 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7124 Pes Initio Debilis @tab
7125 @code{\[ \deminutum g \pes b \]}
7129 Pes Auctus Descendens Initio Debilis @tab
7130 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7135 @code{\[ a \pes b \flexa g \]}
7139 Torculus Auctus Descendens @tab
7140 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7144 Torculus Deminutus @tab
7145 @code{\[ a \pes b \flexa \deminutum g \]}
7149 Torculus Initio Debilis @tab
7150 @code{\[ \deminutum a \pes b \flexa g \]}
7154 Torculus Auctus Descendens Initio Debilis @tab
7155 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7159 Torculus Deminutus Initio Debilis @tab
7160 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7165 @code{\[ a \flexa g \pes b \]}
7169 Porrectus Auctus Descendens @tab
7170 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7174 Porrectus Deminutus @tab
7175 @code{\[ a \flexa g \pes \deminutum b \]}
7180 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7184 Climacus Auctus @tab
7185 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7189 Climacus Deminutus @tab
7190 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7195 @code{\[ g \pes a \virga b \]}
7199 Scandicus Auctus Descendens @tab
7200 @code{\[ g \pes a \pes \auctum \descendens b \]}
7204 Scandicus Deminutus @tab
7205 @code{\[ g \pes a \pes \deminutum b \]}
7210 @code{\[ g \oriscus a \pes \virga b \]}
7214 Salicus Auctus Descendens @tab
7215 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7220 @code{\[ \stropha b \stropha b \stropha a \]}
7226 The following head prefixes are supported:
7228 @cindex @code{\virga}
7230 @cindex @code{\stropha}
7232 @cindex @code{\inclinatum}
7234 @cindex @code{\auctum}
7236 @cindex @code{\descendens}
7238 @cindex @code{\ascendens}
7240 @cindex @code{\oriscus}
7242 @cindex @code{\quilisma}
7244 @cindex @code{\deminutum}
7247 Head prefixes can be accumulated, though restrictions apply. For
7248 example, either @code{\descendens} or @code{\ascendens} can be applied
7249 to a head, but not both to the same head.
7252 @cindex @code{\flexa}
7253 Two adjacent heads can be tied together with the @code{\pes} and
7254 @code{\flexa} infix commands for a rising and falling line of melody,
7259 Trigonus: apply equal spacing, regardless of pitch.
7262 @subsection Figured bass
7264 @cindex Basso continuo
7266 @c TODO: musicological blurb about FB
7270 LilyPond has limited support for figured bass:
7272 @lilypond[verbatim,fragment]
7274 \context Voice \notes { \clef bass dis4 c d ais}
7275 \context FiguredBass
7277 < 6 >4 < 7 >8 < 6+ [_!] >
7283 The support for figured bass consists of two parts: there is an input
7284 mode, introduced by @code{\figures}, where you can enter bass figures
7285 as numbers, and there is a context called @internalsref{FiguredBass} that
7286 takes care of making @internalsref{BassFigure} objects.
7288 In figures input mode, a group of bass figures is delimited by
7289 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7294 \context FiguredBass
7298 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7305 \context FiguredBass
7306 \figures { <4- 6+ 7!> }
7309 Spaces or dashes may be inserted by using @code{_}. Brackets are
7310 introduced with @code{[} and @code{]}:
7316 \context FiguredBass
7317 \figures { < [4 6] 8 [_! 12]> }
7320 Although the support for figured bass may superficially resemble chord
7321 support, it works much simpler. The @code{\figures} mode simply
7322 stores the numbers , and @internalsref{FiguredBass} context prints
7323 them as entered. There is no conversion to pitches, and no
7324 realizations of the bass are played in the MIDI file.
7326 Internally, the code produces markup texts. You can use any of the
7327 markup text properties to override formatting. For example, the
7328 vertical spacing of the figures may be set with @code{baseline-skip}.
7332 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7333 and @internalsref{FiguredBass} context.
7337 Slash notation for alterations is not supported.
7340 @node Vaticana style contexts
7341 @subsection Vaticana style contexts
7343 @cindex VaticanaVoiceContext
7344 @cindex VaticanaStaffContext
7346 The predefined @code{VaticanaVoiceContext} and
7347 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7348 Gregorian Chant in the style of the Editio Vaticana. These contexts
7349 initialize all relevant context properties and grob properties to
7350 proper values. With these contexts, you can immediately go ahead
7351 entering the chant, as the following short excerpt demonstrates:
7353 @lilypond[raggedright,verbatim,noindent]
7354 \include "gregorian-init.ly"
7357 \context VaticanaVoice = "cantus" {
7358 \override Score.BarNumber #'transparent = ##t
7360 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7361 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7362 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7365 \lyricsto "cantus" \new Lyrics \lyrics {
7366 San- ctus, San- ctus, San- ctus
7373 @node Contemporary notation
7374 @section Contemporary notation
7376 In the 20th century, composers have greatly expanded the musical
7377 vocabulary. With this expansion, many innovations in musical notation
7378 have been tried. The book by Stone (1980) gives a comprehensive
7379 overview (see @ref{Literature list}). In general, the use of new,
7380 innovative notation makes a piece harder to understand and perform and
7381 its use should therefore be avoided if possible. For this reason,
7382 support for contemporary notation in LilyPond is limited.
7391 @subsection Clusters
7395 In musical terminology, a @emph{cluster} denotes a range of
7396 simultaneously sounding pitches that may change over time. The set of
7397 available pitches to apply usually depends on the acoustic source.
7398 Thus, in piano music, a cluster typically consists of a continuous range
7399 of the semitones as provided by the piano's fixed set of a chromatic
7400 scale. In choral music, each singer of the choir typically may sing an
7401 arbitrary pitch within the cluster's range that is not bound to any
7402 diatonic, chromatic or other scale. In electronic music, a cluster
7403 (theoretically) may even cover a continuous range of pitches, thus
7404 resulting in colored noise, such as pink noise.
7406 Clusters can be denoted in the context of ordinary staff notation by
7407 engraving simple geometrical shapes that replace ordinary notation of
7408 notes. Ordinary notes as musical events specify starting time and
7409 duration of pitches; however, the duration of a note is expressed by the
7410 shape of the note head rather than by the horizontal graphical extent of
7411 the note symbol. In contrast, the shape of a cluster geometrically
7412 describes the development of a range of pitches (vertical extent) over
7413 time (horizontal extent). Still, the geometrical shape of a cluster
7414 covers the area in which any single pitch contained in the cluster would
7415 be notated as an ordinary note. From this point of view, it is
7416 reasonable to specify a cluster as the envelope of a set of notes.
7420 A cluster is engraved as the envelope of a set of
7421 cluster-notes. Cluster notes are created by applying the function
7422 @code{notes-to-clusters} to a sequence of chords, e.g.
7424 @lilypond[relative=1,verbatim]
7425 \apply #notes-to-clusters { <c e > <b f'> }
7428 The following example (from
7429 @inputfileref{input/regression,cluster.ly}) shows what the result
7432 @lilypondfile[]{cluster.ly}
7434 By default, @internalsref{Cluster_spanner_engraver} is in the
7435 @internalsref{Voice} context. This allows putting ordinary notes and
7436 clusters together in the same staff, even simultaneously. In such a
7437 case no attempt is made to automatically avoid collisions between
7438 ordinary notes and clusters.
7442 Internals: @internalsref{ClusterSpanner},
7443 @internalsref{ClusterSpannerBeacon},
7444 @internalsref{Cluster_spanner_engraver}, and
7445 @internalsref{ClusterNoteEvent}.
7447 Examples: @inputfileref{input/regression,cluster.ly}.
7451 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7452 accurately. Use @code{<g a>8 <e a>8} instead.
7457 @subsection Fermatas
7463 Contemporary music notation frequently uses special fermata symbols to
7464 indicate fermatas of differing lengths.
7468 The following are supported
7470 @lilypond[raggedright]
7472 << \addlyrics \notes {
7492 \context Lyrics \lyrics {
7493 "shortfermata" "fermata" "longfermata" "verylongfermata"
7498 See @ref{Articulations} for general instructions how to apply scripts
7499 such as fermatas to a @code{\notes@{@}} block.
7502 @node Special notation
7503 @section Special notation
7507 * Easy Notation note heads::
7511 @subsection Balloon help
7513 Elements of notation can be marked and named with the help of a square
7514 balloon. The primary purpose of this feature is to explain notation.
7516 The following example demonstrates its use.
7518 @lilypond[verbatim,fragment,raggedright,relative=1]
7521 #(add-balloon-text 'NoteHead "heads, or tails?"
7527 The function @code{add-balloon-text} takes the name of a grob, the
7528 label to print and where to put the label relative to the object. In
7529 the above example, the text ``heads or tails?'' ends 3 spaces below
7533 @cindex notation, explaining
7537 Internals: @internalsref{text-balloon-interface}.
7539 Examples: @inputfileref{input/regression,balloon.ly}.
7541 @node Easy Notation note heads
7542 @subsection Easy Notation note heads
7544 @cindex easy notation
7547 The `easy play' note head includes a note name inside the head. It is
7548 used in music aimed at beginners:
7550 @lilypond[raggedright,verbatim,staffsize=26]
7552 \notes { c'2 e'4 f' | g'1 }
7553 \paper { \translator { \EasyNotation } }
7557 The @code{EasyNotation} variable overrides a @internalsref{Score} @c
7558 context. To make the letters readable, it has to be printed in a
7559 large font size. To print with a larger font, see @ref{Font Size}.
7564 If you view the result with Xdvi, then staff lines may show through
7565 the letters. Printing the PostScript file obtained does produce the
7573 Entered music can also be converted to MIDI output. The performance
7574 is good enough for proof-hearing the music for errors.
7576 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7577 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7578 marks translate to a fixed fraction of the available MIDI volume
7579 range, crescendi and decrescendi make the volume vary linearly between
7580 their two extremities. The fractions can be adjusted by
7581 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7582 For each type of MIDI instrument, a volume range can be defined. This
7583 gives a basic equalizer control, which can enhance the quality of
7584 the MIDI output remarkably. The equalizer can be controlled by
7585 setting @code{instrumentEqualizer}.
7589 Many musically interesting effects, such as swing, articulation,
7590 slurring, etc., are not translated to MIDI.
7592 The MIDI output allocates a channel for each Staff, and one for global
7593 settings. Hence, the MIDI file should not have more than 15 staves
7594 (or 14 if you do not use drums).
7599 * MIDI instrument names::
7604 @subsection MIDI block
7608 The MIDI block is analogous to the paper block, but it is somewhat
7609 simpler. The @code{\midi} block can contain:
7613 @item a @code{\tempo} definition, and
7614 @item context definitions.
7617 Assignments in the @code{\midi} block are not allowed.
7619 A number followed by a period is interpreted as a real number, so
7620 for setting the tempo for dotted notes, an extra space should be
7621 inserted, for example:
7624 \midi @{ \tempo 4 . = 120 @}
7628 @cindex context definition
7630 Context definitions follow precisely the same syntax as within the
7631 \paper block. Translation modules for sound are called performers.
7632 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7635 @node MIDI instrument names
7636 @subsection MIDI instrument names
7638 @cindex instrument names
7639 @cindex @code{Staff.midiInstrument}
7641 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7642 property. The instrument name should be chosen from the list in
7643 @ref{MIDI instruments}.
7647 If the selected string does not exactly match, then the default is
7648 used, which is the Grand Piano.