1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users who are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
32 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements like notes, rests, and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
66 A note is printed by specifying its pitch and then its duration,
68 @lilypond[quote,verbatim,raggedright]
69 { cis'4 d'8 e'16 c'16 }
77 @cindex Note specification
79 @cindex entering notes
81 The most common syntax for pitch entry is used for standard notes and
82 @code{\chordmode} modes. In these modes, pitches may be designated by
83 names. The notes are specified by the letters @code{a} through
84 @code{g}. The octave is formed with notes ranging from @code{c}
85 to @code{b}. The pitch @code{c} is an octave below middle C and the
86 letters span the octave above that C
88 @lilypond[quote,fragment,verbatim]
90 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
93 @cindex note names, Dutch
95 A sharp is formed by adding @code{-is} to the end of a pitch name and
96 a flat is formed by adding @code{-es}. Double sharps and double flats
97 are obtained by adding @code{-isis} or @code{-eses}. These
98 names are the Dutch note names. In Dutch, @code{aes} is contracted to
99 @code{as}, but both forms are accepted. Similarly, both
100 @code{es} and @code{ees} are accepted
102 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
110 In accordance with standard typsetting rules, a natural sign is printed
111 before a sharp or flat if a previous accidental needs to be
112 cancelled. To change this behaviour, use
113 @code{\set Staff.extraNatural = ##f}
115 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
117 \set Staff.extraNatural = ##f
121 There are predefined sets of note names for various other languages.
122 To use them, include the language specific init file. For
123 example: @code{\include "english.ly"}. The available language files
124 and the note names they define are
129 Note Names sharp flat
130 nederlands.ly c d e f g a bes b -is -es
131 english.ly c d e f g a bf b -s/-sharp -f/-flat
133 deutsch.ly c d e f g a b h -is -es
134 norsk.ly c d e f g a b h -iss/-is -ess/-es
135 svenska.ly c d e f g a b h -iss -ess
136 italiano.ly do re mi fa sol la sib si -d -b
137 catalan.ly do re mi fa sol la sib si -d/-s -b
138 espanol.ly do re mi fa sol la sib si -s -b
146 The optional octave specification takes the form of a series of
147 single quote (`@code{'}') characters or a series of comma
148 (`@code{,}') characters. Each @code{'} raises the pitch by one
149 octave; each @code{,} lowers the pitch by an octave
151 @lilypond[quote,raggedright,fragment,verbatim]
152 c' c'' es' g' as' gisis' ais'
155 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
157 Notes can be hidden and unhidden with the following commands
159 @cindex @code{\hideNotes}
161 @cindex @code{\unHideNotes}
167 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
171 @node Chromatic alterations
172 @subsection Chromatic alterations
174 Normally accidentals are printed automatically, but you may also
175 print them manually. A reminder accidental
176 @cindex reminder accidental
178 can be forced by adding an exclamation mark @code{!}
179 after the pitch. A cautionary accidental
180 @cindex cautionary accidental
181 @cindex parenthesized accidental
182 (i.e., an accidental within parentheses) can be obtained by adding the
183 question mark `@code{?}' after the pitch.
185 @lilypond[quote,raggedright,fragment,verbatim]
186 cis' cis' cis'! cis'?
192 The automatic production of accidentals can be tuned in many
193 ways. For more information, refer to @ref{Automatic accidentals}.
198 @subsection Micro tones
200 Half-flats and half-sharps are formed by adding @code{-eh} and
201 @code{-ih}; the following is a series of Cs with increasing pitches
203 @cindex quarter tones
204 @cindex semi-flats, semi-sharps
206 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
207 { ceseh ceh cih cisih }
210 Micro tones are also exported to the MIDI file
215 There are no generally accepted standards for denoting three quarter
216 flats, so LilyPond's symbol does not conform to any standard.
221 A chord is formed by a enclosing a set of pitches in @code{<} and
222 @code{>}. A chord may be followed by a duration, and a set of
223 articulations, just like simple notes
225 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
237 Rests are entered like notes, with the note name @code{r}
239 @lilypond[fragment,quote,raggedright,verbatim]
243 Whole bar rests, centered in middle of the bar,
244 must be done with multi-measure rests. They are discussed in
245 @ref{Multi measure rests}.
248 A rest's vertical position may be explicitly specified by entering a
249 note with the @code{\rest} keyword appended, the rest will be placed at
250 the note's place. This makes manual formatting in polyphonic music
251 easier. Automatic rest collision formatting will leave these rests
254 @lilypond[fragment,quote,raggedright,verbatim]
260 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
267 @cindex Invisible rest
272 An invisible rest (also called a `skip') can be entered like a note
273 with note name `@code{s}' or with @code{\skip @var{duration}}
275 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
276 a4 a4 s4 a4 \skip 1 a4
279 The @code{s} syntax is only available in note mode and chord mode. In
280 other situations, for example, when entering lyrics, you should use
281 the @code{\skip} command
283 @lilypond[quote,raggedright,verbatim]
286 \new Lyrics \lyricmode { \skip 2 bla1 }
290 The skip command is merely an empty musical placeholder. It does not
291 produce any output, not even transparent output.
293 The @code{s} skip command does create @internalsref{Staff} and
294 @internalsref{Voice} when necessary, similar to note and rest
295 commands. For example, the following results in an empty staff.
297 @lilypond[quote,raggedright,verbatim]
301 The fragment @code{@{ \skip 4 @} } would produce an empty page.
305 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
310 @subsection Durations
314 @cindex @code{\longa}
315 @cindex @code{\breve}
316 @cindex @code{\maxima}
319 In Note, Chord, and Lyrics mode, durations are designated by numbers and
320 dots: durations are entered as their reciprocal values. For example, a
321 quarter note is entered using a @code{4} (since it is a 1/4 note), while
322 a half note is entered using a @code{2} (since it is a 1/2 note). For
323 notes longer than a whole you must use the variables @code{\longa} and
328 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
330 r1 r2 r4 r8 r16 r32 r64 r64
336 a\breve*1/2 \autoBeamOff
337 a1 a2 a4 a8 a16 a32 a64 a64
340 r\longa*1/4 r\breve *1/2
341 r1 r2 r4 r8 r16 r32 r64 r64
347 \remove "Clef_engraver"
348 \override StaffSymbol #'transparent = ##t
349 \override TimeSignature #'transparent = ##t
350 \override BarLine #'transparent = ##t
351 \consists "Pitch_squash_engraver"
357 If the duration is omitted then it is set to the previously entered
358 duration. The default for the first note is a quarter note.
360 @lilypond[quote,raggedright,verbatim,fragment]
361 { a a a2 a a4 a a1 a }
366 @node Augmentation dots
367 @subsection Augmentation dots
370 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
371 the number. Double-dotted notes are produced in a similar way.
373 @lilypond[quote,raggedright,fragment,verbatim]
374 a'4 b' c''4. b'8 a'4. b'4.. c''8.
379 Dots are normally moved up to avoid staff lines, except in polyphonic
380 situations. The following commands may be used to force a particular
383 @cindex @code{\dotsUp}
385 @cindex @code{\dotsDown}
387 @cindex @code{\dotsNeutral}
392 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
394 @node Scaling durations
395 @subsection Scaling durations
397 You can alter the length of duration by a fraction @var{N/M}
398 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
399 will not affect the appearance of the notes or rests produced.
401 In the following example, the first three notes take up exactly two
402 beats, but no triplet bracket is printed.
403 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
405 a4*2/3 gis4*2/3 a4*2/3
413 This manual: @ref{Tuplets}
416 @c TODO: I'm not certain that Stems belong here in the manual. -gp
420 Whenever a note is found, a @internalsref{Stem} object is created
421 automatically. For whole notes and rests, they are also created but
426 @cindex @code{\stemUp}
428 @cindex @code{\stemDown}
430 @cindex @code{\stemNeutral}
441 A tie connects two adjacent note heads of the same pitch. The tie in
442 effect extends the length of a note. Ties should not be confused with
443 slurs, which indicate articulation, or phrasing slurs, which indicate
444 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
446 @lilypond[quote,raggedright,fragment,verbatim]
447 e' ~ e' <c' e' g'> ~ <c' e' g'>
450 When a tie is applied to a chord, all note heads whose pitches match
451 are connected. When no note heads match, no ties will be created.
453 A tie is just a way of extending a note duration, similar to the
454 augmentation dot. The following example shows two ways of notating
455 exactly the same concept
457 @lilypond[quote,fragment,raggedright]
458 \time 3/4 c'2. c'2 ~ c'4
462 Ties are used either when the note crosses a bar line, or when dots
463 cannot be used to denote the rhythm. When using ties, larger note
464 values should be aligned to subdivisions of the measure, eg.
466 @lilypond[fragment,quote,raggedright]
468 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
472 If you need to tie a lot of notes over bars, it may be easier to use
473 automatic note splitting (see @ref{Automatic note splitting}). This
474 mechanism automatically splits long notes, and ties them across bar
480 @cindex @code{\tieUp}
482 @cindex @code{\tieDown}
484 @cindex @code{\tieNeutral}
486 @cindex @code{\tieDotted}
488 @cindex @code{\tieSolid}
493 In this manual: @ref{Automatic note splitting}.
495 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
500 Switching staves when a tie is active will not produce a slanted tie.
502 Formatting of ties is a difficult subject. The results are often not
510 @cindex @code{\times}
512 Tuplets are made out of a music expression by multiplying all durations
515 @cindex @code{\times}
517 \times @var{fraction} @var{musicexpr}
521 The duration of @var{musicexpr} will be multiplied by the fraction.
522 The fraction's denominator will be printed over the notes, optionally
523 with a bracket. The most common tuplet is the triplet in which 3
524 notes have the length of 2, so the notes are 2/3 of their written
527 @lilypond[quote,raggedright,fragment,verbatim]
528 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
531 The property @code{tupletSpannerDuration} specifies how long each
532 bracket should last. With this, you can make lots of tuplets while
533 typing @code{\times} only once, thus saving lots of typing. In the next
534 example, there are two triplets shown, while @code{\times} was only
537 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
538 \set tupletSpannerDuration = #(ly:make-moment 1 4)
539 \times 2/3 { c'8 c c c c c }
542 The format of the number is determined by the property
543 @code{tupletNumberFormatFunction}. The default prints only the
544 denominator, but if it is set to the Scheme function
545 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
549 @cindex @code{tupletNumberFormatFunction}
550 @cindex tuplet formatting
555 @cindex @code{\tupletUp}
557 @cindex @code{\tupletDown}
559 @cindex @code{\tupletNeutral}
560 @code{\tupletNeutral}.
564 User manual: @ref{Changing context properties on the fly} for the
568 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
570 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
574 Nested tuplets are not formatted automatically. In this case, outer
575 tuplet brackets should be moved manually, which is demonstrated in
576 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
580 @node Easier music entry
581 @section Easier music entry
584 This section deals with tricks and features of the input language that
585 were added solely to help entering music and finding and correcting
586 mistakes. There are also external tools that make debugging easier.
587 See @ref{Point and click} for more information.
589 It is also possible to enter and edit music using other programs, such as
590 GUI interfaces or MIDI sequencers. Refer to the LilyPond
591 website for more information.
598 * Skipping corrected music::
599 * Automatic note splitting::
605 @node Relative octaves
606 @subsection Relative octaves
608 @cindex relative octave specification
610 Octaves are specified by adding @code{'} and @code{,} to pitch names.
611 When you copy existing music, it is easy to accidentally put a pitch
612 in the wrong octave and hard to find such an error. The relative
613 octave mode prevents these errors by making the mistakes much
614 larger: a single error puts the rest of the piece off by one octave
616 @cindex @code{\relative}
618 \relative @var{startpitch} @var{musicexpr}
625 \relative @var{musicexpr}
628 The octave of notes that appear in @var{musicexpr} are calculated as
629 follows: if no octave changing marks are used, the basic interval
630 between this and the last note is always taken to be a fourth or
631 less. This distance is determined without regarding alterations; a
632 @code{fisis} following a @code{ceses} will be put above the
633 @code{ceses}. In other words, a doubly-augmented fourth is considered
634 a smaller interval than a diminshed fifth, even though the fourth is
635 seven semitones while the fifth is only six semitones.
637 The octave changing marks @code{'} and @code{,} can be added to raise
638 or lower the pitch by an extra octave. Upon entering relative mode,
639 an absolute starting pitch can be specified that will act as the
640 predecessor of the first note of @var{musicexpr}. If no starting pitch
641 is specified, then middle C is used as a start.
643 Here is the relative mode shown in action
644 @lilypond[quote,fragment,raggedright,verbatim]
650 Octave changing marks are used for intervals greater than a fourth
651 @lilypond[quote,raggedright,fragment,verbatim]
657 If the preceding item is a chord, the first note of the chord is used
658 to determine the first note of the next chord
660 @lilypond[quote,raggedright,fragment,verbatim]
668 The pitch after the @code{\relative} contains a note name.
671 The relative conversion will not affect @code{\transpose},
672 @code{\chordmode} or @code{\relative} sections in its argument. To use
673 relative within transposed music, an additional @code{\relative} must
674 be placed inside @code{\transpose}.
677 @subsection Octave check
680 Octave checks make octave errors easier to correct: a note may be
681 followed by @code{=}@var{quotes} which indicates what its absolute
682 octave should be. In the following example,
684 \relative c'' @{ c='' b=' d,='' @}
688 @c take care with @code, adds confusing quotes.
689 the @code{d} will generate a warning, because a @code{d''} is expected
690 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
691 found. In the output, the octave is corrected to be a @code{d''} and
692 the next note is calculated relative to @code{d''} instead of @code{d'}.
696 There is also a syntax that is separate from the notes. The syntax
702 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
703 quotes) in \relative mode. If not, a warning is printed, and the
706 In the example below, the first check passes without incident, since
707 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
708 the second check produces a warning, since the @code{e} is not within
709 a fifth of @code{b'}. The warning message is printed, and the octave
710 is adjusted so that the following notes are in the correct octave
722 The octave of a note following an octave check is determined with
723 respect to the note preceding it. In the next fragment, the last note
724 is a @code{a'}, above middle C. That means that the @code{\octave}
725 check passes successfully, so the check could be deleted without changing
726 the output of the piece.
728 @lilypond[quote,raggedright,verbatim,fragment]
737 @subsection Bar check
741 @cindex @code{barCheckSynchronize}
744 Bar checks help detect errors in the durations. A bar check is
745 entered using the bar symbol, `@code{|}'. Whenever it is encountered
746 during interpretation, it should fall on a measure boundary. If it
747 does not, a warning is printed. In the next example, the second bar
748 check will signal an error
750 \time 3/4 c2 e4 | g2 |
753 Bar checks can also be used in lyrics, for example
758 Twin -- kle | Twin -- kle
763 @cindex @code{skipTypesetting}
765 Failed bar checks are caused by entering incorrect
766 durations. Incorrect durations often completely garble up the score,
767 especially if the score is polyphonic, so a good place to start correcting
768 input is by scanning for failed bar checks and incorrect durations. To
769 speed up this process, the @code{skipTypesetting} feature may be
770 used. It is described in the next section.
773 @cindex @code{pipeSymbol}
775 It is also possible to redefine the meaning of @code{|}. This is done
776 by assigning a music expression to @code{pipeSymbol},
778 @lilypond[quote,raggedright,verbatim]
779 pipeSymbol = \bar "||"
785 @node Skipping corrected music
786 @subsection Skipping corrected music
788 The property @code{Score.skipTypesetting} can be used to switch on and
789 off typesetting completely during the interpretation phase. When
790 typesetting is switched off, the music is processed much more
791 quickly. This can be used to skip over the parts of a score that
792 have already been checked for errors
794 @lilypond[quote,fragment,raggedright,verbatim]
797 \set Score.skipTypesetting = ##t
799 \set Score.skipTypesetting = ##f
803 In polyphonic music, @code{Score.skipTypesetting} will affect all
804 voices and staves, saving even more time.
806 @node Automatic note splitting
807 @subsection Automatic note splitting
809 Long notes can be converted automatically to tied notes. This is done
810 by replacing the @internalsref{Note_heads_engraver} by the
811 @internalsref{Completion_heads_engraver}.
812 In the following examples, notes crossing the bar line are split and tied.
815 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
817 \remove "Note_heads_engraver"
818 \consists "Completion_heads_engraver"
820 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
824 This engraver splits all running notes at the bar line, and inserts
825 ties. One of its uses is to debug complex scores: if the measures are
826 not entirely filled, then the ties exactly show how much each measure
831 Not all durations (especially those containing tuplets) can be
832 represented exactly with normal notes and dots, but the engraver will
837 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
841 Program reference: @internalsref{Completion_heads_engraver}.
845 @section Staff notation
847 This section describes music notation that occurs on staff level,
848 such as key signatures, clefs and time signatures.
850 @cindex Staff notation
861 * Time administration::
862 * Controlling formatting of prefatory matter::
866 @subsection Staff symbol
868 @cindex adjusting staff symbol
870 Notes, dynamic signs, etc., are grouped
871 with a set of horizontal lines, into a staff (plural `staves'). In our
872 system, these lines are drawn using a separate layout object called
876 @cindex staff lines, setting number of
877 @cindex staff lines, setting thickness of
878 @cindex thickness of staff lines, setting
879 @cindex number of staff lines, setting
883 Program reference: @internalsref{StaffSymbol}.
885 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
886 @inputfileref{input/@/test,staff@/-size@/.ly}.
890 If a staff is ended halfway a piece, the staff symbol may not end
891 exactly on the bar line.
895 @subsection Key signature
896 @cindex Key signature
900 The key signature indicates the tonality in which a piece is played. It
901 is denoted by a set of alterations (flats or sharps) at the start of the
905 Setting or changing the key signature is done with the @code{\key}
908 @code{\key} @var{pitch} @var{type}
911 @cindex @code{\minor}
912 @cindex @code{\major}
913 @cindex @code{\minor}
914 @cindex @code{\ionian}
915 @cindex @code{\locrian}
916 @cindex @code{\aeolian}
917 @cindex @code{\mixolydian}
918 @cindex @code{\lydian}
919 @cindex @code{\phrygian}
920 @cindex @code{\dorian}
922 Here, @var{type} should be @code{\major} or @code{\minor} to get
923 @var{pitch}-major or @var{pitch}-minor, respectively.
924 The standard mode names @code{\ionian},
925 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
926 @code{\phrygian}, and @code{\dorian} are also defined.
928 This command sets the context property
929 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
930 can be specified by setting this property directly.
932 A natural sign is printed to cancel any previous accidentals. This
933 can be suppressed by setting the @code{Staff.printKeyCancellation}
936 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
942 \set Staff.printKeyCancellation = ##f
950 Accidentals and key signatures often confuse new users, because
951 unaltered notes get natural signs depending on the key signature. For
952 more information, see @ref{More about pitches}.
956 Program reference: @internalsref{KeyChangeEvent},
957 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
959 @cindex @code{keySignature}
966 The clef indicates which lines of the staff correspond to which
970 The clef can be set with the @code{\clef} command
971 @lilypond[quote,raggedright,fragment,verbatim]
972 { c''2 \clef alto g'2 }
975 Supported clef-names include
976 @c Moved standard clefs to the top /MB
980 @item treble, violin, G, G2
993 G clef on 1st line, so-called French violin clef
998 @cindex mezzosoprano clef
1001 @cindex baritone clef
1004 @cindex varbaritone clef
1007 @cindex subbass clef
1015 By adding @code{_8} or @code{^8} to the clef name, the clef is
1016 transposed one octave down or up, respectively, and @code{_15} and
1017 @code{^15} transposes by two octaves. The argument @var{clefname}
1018 must be enclosed in quotes when it contains underscores or digits. For
1022 @cindex choral tenor clef
1023 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
1027 This command is equivalent to setting @code{clefGlyph},
1028 @code{clefPosition} (which controls the Y position of the clef),
1029 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1030 when any of these properties are changed. The following example shows
1031 possibilities when setting properties manually.
1034 should to be fixed very quickly -gp
1036 @lilypond[quote,raggedright,verbatim]
1038 \set Staff.clefGlyph = #"clefs.F"
1039 \set Staff.clefPosition = #2
1041 \set Staff.clefGlyph = #"clefs.G"
1043 \set Staff.clefGlyph = #"clefs.C"
1045 \set Staff.clefOctavation = #7
1047 \set Staff.clefOctavation = #0
1048 \set Staff.clefPosition = #0
1052 \set Staff.middleCPosition = #4
1061 Program reference: @internalsref{Clef}.
1065 @node Ottava brackets
1066 @subsection Ottava brackets
1068 `Ottava' brackets introduce an extra transposition of an octave for
1069 the staff. They are created by invoking the function
1070 @code{set-octavation}
1076 @lilypond[quote,raggedright,verbatim,fragment]
1086 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1087 (for 15ma) as arguments. Internally the function sets the properties
1088 @code{ottavation} (e.g., to @code{"8va"}) and
1089 @code{centralCPosition}. For overriding the text of the bracket, set
1090 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1092 @lilypond[quote,raggedright,verbatim]
1095 \set Staff.ottavation = #"8"
1102 Program reference: @internalsref{OttavaBracket}.
1104 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1105 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1109 @code{set-octavation} will get confused when clef changes happen
1110 during an octavation bracket.
1115 @node Time signature
1116 @subsection Time signature
1117 @cindex Time signature
1119 @cindex @code{\time}
1121 Time signature indicates the metrum of a piece: a regular pattern of
1122 strong and weak beats. It is denoted by a fraction at the start of the
1126 The time signature is set or changed by the @code{\time}
1128 @lilypond[quote,raggedright,fragment,verbatim]
1129 \time 2/4 c'2 \time 3/4 c'2.
1132 The symbol that is printed can be customized with the @code{style}
1133 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1136 @lilypond[fragment,quote,raggedright,verbatim]
1139 \override Staff.TimeSignature #'style = #'()
1146 There are many more options for its layout. See @ref{Ancient time
1147 signatures} for more examples.
1150 This command sets the property @code{timeSignatureFraction},
1151 @code{beatLength} and @code{measureLength} in the @code{Timing}
1152 context, which is normally aliased to @internalsref{Score}. The
1153 property @code{measureLength} determines where bar lines should be
1154 inserted, and how automatic beams should be generated. Changing the
1155 value of @code{timeSignatureFraction} also causes the symbol to be
1158 More options are available through the Scheme function
1159 @code{set-time-signature}. In combination with the
1160 @internalsref{Measure_grouping_engraver}, it will create
1161 @internalsref{MeasureGrouping} signs. Such signs ease reading
1162 rhythmically complex modern music. In the following example, the 9/8
1163 measure is subdivided in 2, 2, 2 and 3. This is passed to
1164 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1166 @lilypond[quote,raggedright,verbatim]
1169 #(set-time-signature 9 8 '(2 2 2 3))
1170 g8[ g] d[ d] g[ g] a8[( bes g]) |
1171 #(set-time-signature 5 8 '(3 2))
1177 \consists "Measure_grouping_engraver"
1185 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1190 Automatic beaming does not use the measure grouping specified with
1191 @code{set-time-signature}.
1193 @node Partial measures
1194 @subsection Partial measures
1197 @cindex partial measure
1198 @cindex measure, partial
1199 @cindex shorten measures
1200 @cindex @code{\partial}
1202 Partial measures, for example in upsteps, are entered using the
1203 @code{\partial} command
1204 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1205 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1208 The syntax for this command is
1210 \partial @var{duration}
1212 This is internally translated into
1214 \set Timing.measurePosition = -@var{length of duration}
1217 The property @code{measurePosition} contains a rational number
1218 indicating how much of the measure has passed at this point.
1222 This command does not take into account grace notes at the start of
1223 the music. When a piece starts with graces notes in the pickup, then
1224 the @code{\partial} should follow the grace notes
1226 @lilypond[verbatim,quote,raggedright,relative,fragment]
1236 @node Unmetered music
1237 @subsection Unmetered music
1241 Bar lines and bar numbers are calculated automatically. For unmetered
1242 music (cadenzas, for example), this is not desirable. By setting
1243 @code{Score.timing} to false, this automatic timing can be switched
1244 off. Empty bar lines,
1251 indicate where line breaks can occur.
1255 @cindex @code{\cadenzaOn}
1257 @cindex @code{\cadenzaOff}
1264 @subsection Bar lines
1268 @cindex measure lines
1272 Bar lines delimit measures, but are also used to indicate repeats.
1273 Normally, they are inserted automatically. Line breaks may only
1274 happen on bar lines.
1276 Special types of bar lines can be forced with the @code{\bar} command
1278 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1282 The following bar types are available
1283 @lilypondfile[raggedright,quote]{bar-lines.ly}
1285 For allowing line breaks, there is a special command,
1289 This will insert an invisible bar line, and allow line breaks at this
1292 In scores with many staves, a @code{\bar} command in one staff is
1293 automatically applied to all staves. The resulting bar lines are
1294 connected between different staves of a @internalsref{StaffGroup}
1296 @lilypond[quote,raggedright,fragment,verbatim]
1298 \context StaffGroup <<
1304 \new Staff { \clef bass c4 g e g }
1306 \new Staff { \clef bass c2 c2 }
1311 The command @code{\bar }@var{bartype} is a short cut for doing
1312 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1313 is set to a string, a bar line of that type is created.
1315 A bar line is created whenever the @code{whichBar} property is set.
1316 At the start of a measure it is set to the contents of
1317 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1318 to override default measure bars.
1320 @cindex @code{whichBar}
1321 @cindex @code{repeatCommands}
1322 @cindex @code{defaultBarType}
1324 You are encouraged to use @code{\repeat} for repetitions. See
1331 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1334 Program reference: @internalsref{BarLine} (created at
1335 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1337 @cindex bar lines at start of system
1338 @cindex start of system
1342 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1345 @node Time administration
1346 @subsection Time administration
1348 Time is administered by the @internalsref{Time_signature_engraver},
1349 which usually lives in the @internalsref{Score} context.
1350 The bookkeeping deals with the following variables
1353 @item currentBarNumber
1357 The length of the measures in the current time signature. For a 4/4
1358 time this is@tie{}1, and for 6/8 it is 3/4.
1360 @item measurePosition
1361 The point within the measure where we currently are. This quantity
1362 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1363 happens, @code{currentBarNumber} is incremented.
1366 If set to true, the above variables are updated for every time
1367 step. When set to false, the engraver stays in the current measure
1371 Timing can be changed by setting any of these variables explicitly.
1372 In the next example, the 4/4 time signature is printed, but
1373 @code{measureLength} is set to 5/4. After a while, the measure is
1374 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1375 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1376 3/8 arises because 5/4 normally has 10/8, but we have manually
1377 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1379 @lilypond[quote,raggedright,verbatim,relative,fragment]
1380 \set Score.measureLength = #(ly:make-moment 5 4)
1384 \set Score.measurePosition = #(ly:make-moment 7 8)
1390 @node Controlling formatting of prefatory matter
1391 @subsection Controlling formatting of prefatory matter
1393 @c This section will be moved to somewhere else soon. -gp
1394 This example demonstrates how to place prefatory matter
1395 (such as the clef and key signature) at the end of a line.
1397 @lilypond[quote,verbatim]
1399 \override Staff.Clef
1400 #'break-visibility = #end-of-line-visible
1401 \override Staff.KeySignature
1402 #'break-visibility = #end-of-line-visible
1403 \set Staff.explicitClefVisibility = #end-of-line-visible
1404 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1406 % We want the time sig to take space, otherwise there is not
1407 % enough white at the start of the line.
1409 \override Staff.TimeSignature #'transparent = ##t
1410 \set Score.defaultBarType = #"empty"
1430 Polyphony in music refers to having more than one voice occuring in
1431 a piece of music. Polyphony in LilyPond refers to having more than
1432 one voice on the same staff.
1435 * Writing polyphonic music::
1438 @node Writing polyphonic music
1439 @subsection Writing polyphonic music
1442 The easiest way to enter fragments with more than one voice on a staff
1443 is to split chords using the separator @code{\\}. You can use it for
1444 small, short-lived voices or for single chords
1448 @lilypond[quote,raggedright,verbatim,fragment]
1449 \context Staff \relative c'' {
1450 c4 << { f d e } \\ { b c2 } >>
1451 c4 << g' \\ b, \\ f' \\ d >>
1455 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1456 voices are sometimes called ``layers'' in other notation packages}
1458 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1459 each of these contexts, vertical direction of slurs, stems, etc., is set
1460 appropriately. Specifically,
1463 << \upper \\ \lower >>
1471 \context Voice = "1" @{ \voiceOne \upper @}
1472 \context Voice = "2" @{ \voiceTwo \lower @}
1476 @cindex @code{\voiceOne}
1477 @cindex @code{\voiceFour}
1479 This can also be done by instantiating @internalsref{Voice} contexts
1480 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1481 a stem directions and horizontal shift for each part
1484 @lilypond[quote,raggedright,verbatim]
1487 \new Voice { \voiceOne cis2 b }
1488 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1489 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1493 The command @code{\oneVoice} will revert back to the normal setting.
1494 @cindex @code{\oneVoice}
1497 Normally, note heads with a different number of dots are not merged, but
1498 when the object property @code{merge-differently-dotted} is set in
1499 the @internalsref{NoteCollision} object, they are merged
1500 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1503 \override Staff.NoteCollision
1504 #'merge-differently-dotted = ##t
1506 } \\ { g8.[ f16] g8.[ f16] } >>
1509 Similarly, you can merge half note heads with eighth notes, by setting
1510 @code{merge-differently-headed}
1511 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1514 \override Staff.NoteCollision
1515 #'merge-differently-headed = ##t
1516 c8 c4. } \\ { c2 c2 } >>
1519 LilyPond also vertically shifts rests that are opposite of a stem,
1522 @lilypond[quote,raggedright,fragment,verbatim]
1523 \context Voice << c''4 \\ r4 >>
1531 @cindex @code{\oneVoice}
1533 @cindex @code{\voiceOne}
1535 @cindex @code{\voiceTwo}
1537 @cindex @code{\voiceThree}
1539 @cindex @code{\voiceFour}
1544 @cindex @code{\shiftOn}
1546 @cindex @code{\shiftOnn}
1548 @cindex @code{\shiftOnnn}
1550 @cindex @code{\shiftOff}
1551 @code{\shiftOff}: these commands specify in what chords of the current
1552 voice should be shifted. The outer voices (normally: voice one and
1553 two) have @code{\shiftOff}, while the inner voices (three and four)
1554 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1555 further shift levels.
1558 When LilyPond cannot cope, the @code{force-hshift}
1559 property of the @internalsref{NoteColumn} object and pitched rests can
1560 be used to override typesetting decisions.
1562 @lilypond[quote,verbatim,raggedright]
1569 \once \override NoteColumn #'force-hshift = #1.7
1578 Program reference: the objects responsible for resolving collisions are
1579 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1582 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1583 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1584 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1585 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1586 @inputfileref{input/@/regression,collisions@/.ly}.
1592 When using @code{merge-differently-headed} with an upstem eighth or a
1593 shorter note, and a downstem half note, the eighth note gets the wrong
1596 There is no support for clusters where the same note occurs with
1597 different accidentals in the same chord. In this case, it is
1598 recommended to use enharmonic transcription, or to use special cluster
1599 notation (see @ref{Clusters}).
1604 Beams are used to group short notes into chunks that are aligned with
1605 the metrum. LilyPond normally inserts beams automatically, but if you
1606 wish you may control them manually or changed how beams are automatically
1609 @cindex Automatic beams
1613 * Setting automatic beam behavior::
1617 @node Automatic beams
1618 @subsection Automatic beams
1620 LilyPond inserts beams automatically
1622 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1623 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1626 When these automatic decisions are not good enough, beaming can be
1627 entered explicitly. It is also possible to define beaming patterns
1628 that differ from the defaults.
1630 Individual notes may be marked with @code{\noBeam}, to prevent them
1633 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1634 \time 2/4 c8 c\noBeam c c
1640 Program reference: @internalsref{Beam}.
1644 @subsection Manual beams
1645 @cindex beams, manual
1649 In some cases it may be necessary to override the automatic beaming
1650 algorithm. For example, the autobeamer will not put beams over rests
1651 or bar lines. Such beams are specified manually by marking the begin
1652 and end point with @code{[} and @code{]}
1654 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1656 r4 r8[ g' a r8] r8 g[ | a] r8
1660 @cindex @code{stemLeftBeamCount}
1662 Normally, beaming patterns within a beam are determined automatically.
1663 If necessary, the properties @code{stemLeftBeamCount} and
1664 @code{stemRightBeamCount} can be used to override the defaults. If
1665 either property is set, its value will be used only once, and then it
1668 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1673 \set stemLeftBeamCount = #1
1677 @cindex @code{stemRightBeamCount}
1680 The property @code{subdivideBeams} can be set in order to subdivide
1681 all 16th or shorter beams at beat positions, as defined by the
1682 @code{beatLength} property.
1685 @lilypond[fragment,quote,relative=2,verbatim]
1687 \set subdivideBeams = ##t
1689 \set Score.beatLength = #(ly:make-moment 1 8)
1692 @cindex @code{subdivideBeams}
1694 Normally, line breaks are forbidden when beams cross bar lines. This
1695 behavior can be changed by setting @code{allowBeamBreak}.
1697 @cindex @code{allowBeamBreak}
1698 @cindex beams and line breaks
1700 @cindex beams, kneed
1702 @cindex auto-knee-gap
1707 User manual: @ref{Changing context properties on the fly} for the
1713 @cindex Frenched staves
1714 Kneed beams are inserted automatically, when a large gap is detected
1715 between the note heads. This behavior can be tuned through the object.
1718 Automatically kneed cross-staff beams cannot be used together with
1719 hidden staves. See @ref{Hiding staves}.
1721 Beams do not avoid collisions with symbols around the notes, such as
1722 texts and accidentals.
1727 @node Setting automatic beam behavior
1728 @subsection Setting automatic beam behavior
1730 @cindex @code{autoBeamSettings}
1731 @cindex @code{(end * * * *)}
1732 @cindex @code{(begin * * * *)}
1733 @cindex automatic beams, tuning
1734 @cindex tuning automatic beaming
1736 @c [TODO: use \applycontext]
1738 In normal time signatures, automatic beams can start on any note but can
1739 only end in a few positions within the measure: beams can end on a beat,
1740 or at durations specified by the properties in
1741 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1742 are defined in @file{scm/@/auto@/-beam@/.scm}.
1744 The value of @code{autoBeamSettings} is changed with three functions,
1746 #(override-auto-beam-setting
1747 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1749 #(score-override-auto-beam-setting
1750 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
1751 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
1754 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1755 @var{context} is an optional context (default: @code{'Voice}). It
1756 determines whether the rule applies to begin or end-points. The
1757 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1758 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1759 to a time signature (wildcards `@code{* *}' may be entered to
1760 designate all time signatures), @var{a}/@var{b} is a duration. By
1761 default, this command changes settings for the current voice. It is
1762 also possible to adjust settings at higher contexts, by adding a
1763 @var{context} argument. @code{score-override-auto-beam-setting} is
1764 equal to @code{override-auto-beam-setting} with the argument
1765 @var{context} set to @code{'Score}.
1767 For example, if automatic beams should end on every quarter note, use
1770 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1772 Since the duration of a quarter note is 1/4 of a whole note, it is
1773 entered as @code{(ly:make-moment 1 4)}.
1775 The same syntax can be used to specify beam starting points. In this
1776 example, automatic beams can only end on a dotted quarter note
1778 #(override-auto-beam-setting '(end * * * *) 3 8)
1780 In 4/4 time signature, this means that automatic beams could end only on
1781 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1782 3/8, has passed within the measure).
1784 Rules can also be restricted to specific time signatures. A rule that
1785 should only be applied in @var{N}/@var{M} time signature is formed by
1786 replacing the second asterisks by @var{N} and @var{M}. For example, a
1787 rule for 6/8 time exclusively looks like
1789 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1792 If a rule should be to applied only to certain types of beams, use the
1793 first pair of asterisks. Beams are classified according to the
1794 shortest note they contain. For a beam ending rule that only applies
1795 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1798 @cindex automatic beam generation
1800 @cindex @code{autoBeaming}
1803 If beams are used to indicate melismata in songs, then automatic
1804 beaming should be switched off. This is done by setting
1805 @code{autoBeaming} to @code{#f}.
1809 @cindex @code{\autoBeamOff}
1810 @code{\autoBeamOff},
1811 @cindex @code{\autoBeamOn}
1817 If a score ends while an automatic beam has not been ended and is
1818 still accepting notes, this last beam will not be typeset at all. The
1819 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1820 >>}. If a polyphonic voice ends while an automatic beam is still
1821 accepting notes, it is not typeset.
1823 The rules for ending a beam depend on the shortest note in a beam.
1824 So, while it is possible to have different ending rules for eight
1825 beams and sixteenth beams, a beam that contains both eight and
1826 sixteenth notes will use the rules for the sixteenth beam.
1828 In the example below, the autobeamer makes eighth beams and sixteenth
1829 end at three eighths. The third beam can only be corrected by
1830 specifying manual beaming.
1832 @lilypond[quote,raggedright,fragment,relative=1]
1833 #(override-auto-beam-setting '(end * * * *) 3 8)
1834 % rather show case where it goes wrong
1835 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1836 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1838 It is not possible to specify beaming parameters that act differently in
1839 different parts of a measure. This means that it is not possible to use
1840 automatic beaming in irregular meters such as @code{5/8}.
1842 @node Beam formatting
1843 @subsection Beam formatting
1846 When a beam falls in the middle of the staff, the beams point normally
1847 down. However, this behaviour can be altered with the
1848 @code{neutral-direction} property.
1851 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1854 \override Beam #'neutral-direction = #-1
1856 \override Beam #'neutral-direction = #1
1863 @section Accidentals
1865 This section describes how to change the way that accidentals are
1866 inserted automatically before notes.
1869 * Automatic accidentals::
1872 @node Automatic accidentals
1873 @subsection Automatic accidentals
1874 @cindex Automatic accidentals
1876 Common rules for typesetting accidentals have been placed in a
1877 function. This function is called as follows
1879 @cindex @code{set-accidental-style}
1881 #(set-accidental-style 'STYLE #('CONTEXT#))
1884 The function can take two arguments: the name of the accidental style,
1885 and an optional argument that denotes the context that should be
1886 changed. If no context name is supplied, @code{Staff} is the default,
1887 but you may wish to apply the accidental style to a single @code{Voice}
1890 The following accidental styles are supported
1893 This is the default typesetting behavior. It corresponds
1894 to 18th century common practice: Accidentals are
1895 remembered to the end of the measure in which they occur and
1896 only on their own octave.
1899 The normal behavior is to remember the accidentals on
1900 Staff-level. This variable, however, typesets accidentals
1901 individually for each voice. Apart from that, the rule is similar to
1904 As a result, accidentals from one voice do not get canceled in other
1905 voices, which is often an unwanted result
1907 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1909 #(set-accidental-style 'voice)
1916 The @code{voice} option should be used if the voices
1917 are to be read solely by individual musicians. If the staff is to be
1918 used by one musician (e.g., a conductor) then
1919 @code{modern} or @code{modern-cautionary}
1920 should be used instead.
1923 @cindex @code{modern} style accidentals
1924 This rule corresponds to the common practice in the 20th century. This rule
1925 prints the same accidentals as @code{default}, but temporary
1926 accidentals also are canceled in other octaves. Furthermore,
1927 in the same octave, they also get canceled in the following
1930 @lilypond[quote,raggedright,fragment,verbatim]
1931 #(set-accidental-style 'modern)
1932 cis' c'' cis'2 | c'' c'
1935 @item @code{modern-cautionary}
1936 @cindex @code{modern-cautionary}
1937 This rule is similar to @code{modern}, but the ``extra'' accidentals
1938 (the ones not typeset by @code{default}) are typeset as cautionary
1939 accidentals. They are printed in reduced size or with parentheses
1940 @lilypond[quote,raggedright,fragment,verbatim]
1941 #(set-accidental-style 'modern-cautionary)
1942 cis' c'' cis'2 | c'' c'
1945 @cindex @code{modern-voice}
1947 This rule is used for multivoice accidentals to be read both by musicians
1948 playing one voice and musicians playing all voices. Accidentals are
1949 typeset for each voice, but they @emph{are} canceled across voices in
1950 the same @internalsref{Staff}.
1952 @cindex @code{modern-voice-cautionary}
1953 @item modern-voice-cautionary
1954 This rule is the same as @code{modern-voice}, but with the extra
1955 accidentals (the ones not typeset by @code{voice}) typeset
1956 as cautionaries. Even though all accidentals typeset by
1957 @code{default} @emph{are} typeset by this variable,
1958 some of them are typeset as cautionaries.
1961 @cindex @code{piano} accidentals
1962 This rule reflects 20th century practice for piano notation. Very similar to
1963 @code{modern} but accidentals also get canceled
1964 across the staves in the same @internalsref{GrandStaff} or
1965 @internalsref{PianoStaff}.
1967 @item piano-cautionary
1968 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1969 Same as @code{#(set-accidental-style 'piano)} but with the extra
1970 accidentals typeset as cautionaries.
1973 @cindex @code{no-reset} accidental style
1974 This is the same as @code{default} but with accidentals lasting
1975 ``forever'' and not only until the next measure
1976 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1977 #(set-accidental-style 'no-reset)
1982 This is sort of the opposite of @code{no-reset}: Accidentals
1983 are not remembered at all---and hence all accidentals are
1984 typeset relative to the key signature, regardless of what was
1987 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1988 #(set-accidental-style 'forget)
1989 \key d\major c4 c cis cis d d dis dis
1996 Program reference: @internalsref{Accidental_engraver},
1997 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2002 Simultaneous notes are considered to be entered in sequential
2003 mode. This means that in a chord the accidentals are typeset as if the
2004 notes in the chord happened once at a time - in the order in which
2005 they appear in the input file.
2007 This is a problem when accidentals in a chord depend on each other,
2008 which does not happen for the default accidental style. The problem
2009 can be solved by manually inserting @code{!} and @code{?} for the
2013 @node Expressive marks
2014 @section Expressive marks
2017 @c todo: should change ordering
2018 @c where to put text spanners, metronome marks,
2021 Expressive marks help musicians to bring more to the music than simple
2031 * Analysis brackets::
2034 * Fingering instructions::
2044 A slur indicates that notes are to be played bound or @emph{legato}.
2046 They are entered using parentheses
2047 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2048 f( g a) a8 b( a4 g2 f4)
2052 The direction of a slur can be set with the
2056 \override Slur #'direction = #UP
2057 \slurUp % shortcut for the previous line
2061 However, there is a convenient shorthand for forcing slur
2062 directions. By adding @code{_} or @code{^} before the opening
2063 parentheses, the direction is also set. For example,
2065 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2069 Some composers write two slurs when they want legato chords. This can
2070 be achieved in LilyPond by setting @code{doubleSlurs},
2072 @lilypond[verbatim,raggedright,relative,fragment,quote]
2073 \set doubleSlurs = ##t
2074 <c e>4 ( <d f> <c e> <d f> )
2081 @cindex @code{\slurUp}
2083 @cindex @code{\slurDown}
2085 @cindex @code{\slurNeutral}
2086 @code{\slurNeutral},
2087 @cindex @code{\slurDotted}
2089 @cindex @code{\slurSolid}
2094 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2097 @node Phrasing slurs
2098 @subsection Phrasing slurs
2100 @cindex phrasing slurs
2101 @cindex phrasing marks
2103 A phrasing slur (or phrasing mark) connects chords and is used to
2104 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2107 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2108 \time 6/4 c'\( d( e) f( e) d\)
2111 Typographically, the phrasing slur behaves almost exactly like a
2112 normal slur. However, they are treated as different objects. A
2113 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2114 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2115 @code{\phrasingSlurNeutral}.
2117 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2118 will only affect normal slurs and not phrasing slurs.
2122 @cindex @code{\phrasingSlurUp}
2123 @code{\phrasingSlurUp},
2124 @cindex @code{\phrasingSlurDown}
2125 @code{\phrasingSlurDown},
2126 @cindex @code{\phrasingSlurNeutral}
2127 @code{\phrasingSlurNeutral}.
2131 Program reference: see also @internalsref{PhrasingSlur}, and
2132 @internalsref{PhrasingSlurEvent}.
2136 Putting phrasing slurs over rests leads to spurious warnings.
2139 @subsection Breath marks
2141 Breath marks are entered using @code{\breathe}
2144 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2148 The glyph of the breath mark can be tuned by overriding the
2149 @code{text} property of the @code{BreathingSign} layout object with
2150 any markup text. For example,
2151 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2153 \override BreathingSign #'text
2154 = #(make-musicglyph-markup "scripts-rvarcomma")
2161 Program reference: @internalsref{BreathingSign},
2162 @internalsref{BreathingSignEvent}.
2164 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2167 @node Metronome marks
2168 @subsection Metronome marks
2171 @cindex beats per minute
2172 @cindex metronome marking
2174 Metronome settings can be entered as follows
2176 \tempo @var{duration} = @var{per-minute}
2179 In the MIDI output, they are interpreted as a tempo change. In the
2180 layout output, a metronome marking is printed
2181 @cindex @code{\tempo}
2182 @lilypond[quote,raggedright,verbatim,fragment]
2188 Program reference: @internalsref{MetronomeChangeEvent}.
2192 @subsection Text scripts
2193 @cindex Text scripts
2195 @cindex text items, non-empty
2196 @cindex non-empty texts
2198 It is possible to place arbitrary strings of text or markup text (see
2199 @ref{Text markup}) above or below notes by using a string
2200 @code{c^"text"}. By default, these indications do not influence the
2201 note spacing, but by using the command @code{\fatText}, the widths
2202 will be taken into account
2204 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2205 c4^"longtext" \fatText c4_"longlongtext" c4
2208 More complex formatting may also be added to a note by using the
2210 @lilypond[fragment,raggedright,verbatim,quote]
2211 c'4^\markup { bla \bold bla }
2214 The @code{\markup} is described in more detail in
2220 @cindex @code{\fatText}
2222 @cindex @code{\emptyText}
2227 In this manual: @ref{Text markup}.
2229 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2233 @subsection Text spanners
2234 @cindex Text spanners
2236 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
2237 are written as text and are extended over many measures with dotted
2238 lines. Such texts are created using text spanners; attach
2239 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2240 notes of the spanner.
2242 The string to be printed, as well as the style, is set through object
2245 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2247 \override TextSpanner #'direction = #-1
2248 \override TextSpanner #'edge-text = #'("rall " . "")
2249 c2\startTextSpan b c\stopTextSpan a
2255 Internals @internalsref{TextSpanEvent},
2256 @internalsref{TextSpanner}.
2258 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
2261 @node Analysis brackets
2262 @subsection Analysis brackets
2264 @cindex phrasing brackets
2265 @cindex musicological analysis
2266 @cindex note grouping bracket
2268 Brackets are used in musical analysis to indicate structure in musical
2269 pieces. LilyPond supports a simple form of nested horizontal
2270 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2271 to @internalsref{Staff} context. A bracket is started with
2272 @code{\startGroup} and closed with @code{\stopGroup}
2274 @lilypond[quote,raggedright,verbatim]
2277 c4\startGroup\startGroup
2280 c4\stopGroup\stopGroup
2284 \Staff \consists "Horizontal_bracket_engraver"
2290 Program reference: @internalsref{HorizontalBracket},
2291 @internalsref{NoteGroupingEvent}.
2293 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2297 @subsection Articulations
2298 @cindex Articulations
2300 @cindex articulations
2304 A variety of symbols can appear above and below notes to indicate
2305 different characteristics of the performance. They are added to a note
2306 by adding a dash and the character signifying the
2307 articulation. They are demonstrated here
2309 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2311 The meanings of these shorthands can be changed. See
2312 @file{ly/@/script@/-init@/.ly} for examples.
2315 The script is automatically placed, but the direction can be forced as
2316 well. Like other pieces of LilyPond code, @code{_} will place them
2317 below the staff, and @code{^} will place them above.
2320 @lilypond[quote,raggedright,fragment,verbatim]
2324 Other symbols can be added using the syntax
2325 @var{note}@code{\}@var{name}. Again, they
2326 can be forced up or down using @code{^} and @code{_},
2329 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2330 c\fermata c^\fermata c_\fermata
2337 @cindex staccatissimo
2347 @cindex organ pedal marks
2356 @cindex prallmordent
2360 @cindex thumb marking
2365 Here is a chart showing all scripts available,
2367 @lilypondfile[raggedright,quote]{script-chart.ly}
2370 The vertical ordering of scripts is controlled with the
2371 @code{script-priority} property. The lower this number, the closer it
2372 will be put to the note. In this example, the
2373 @internalsref{TextScript} (the sharp symbol) first has the lowest
2374 priority, so it is put lowest in the first example. In the second, the
2375 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2376 inside. When two objects have the same priority, the order in which
2377 they are entered decides which one comes first.
2380 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2381 \once \override TextScript #'script-priority = #-100
2382 a4^\prall^\markup { \sharp }
2384 \once \override Script #'script-priority = #-100
2385 a4^\prall^\markup { \sharp }
2393 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2397 These signs appear in the printed output but have no effect on the
2398 MIDI rendering of the music.
2402 @node Running trills
2403 @subsection Running trills
2405 Long running trills are made with @code{\startTrillSpan} and
2406 @code{\stopTrillSpan},
2409 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2411 << { c1 \startTrillSpan }
2412 { s2. \grace { d16[\stopTrillSpan e] } } >>
2418 @code{\startTrillSpan},
2419 @cindex @code{\startTrillSpan}
2420 @code{\stopTrillSpan}.
2421 @cindex @code{\stopTrillSpan}
2425 Program reference: @internalsref{TrillSpanner},
2426 @internalsref{TrillSpanEvent}.
2428 @node Fingering instructions
2429 @subsection Fingering instructions
2433 Fingering instructions can be entered using
2435 @var{note}-@var{digit}
2437 For finger changes, use markup texts
2439 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2441 c^\markup { \finger "2-3" }
2444 @cindex finger change
2449 You can use the thumb-script to indicate that a note should be
2450 played with the thumb (e.g., in cello music)
2451 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2452 <a_\thumb a'-3>8 <b_\thumb b'-3>
2455 Fingerings for chords can also be added to individual notes
2456 of the chord by adding them after the pitches
2457 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2458 < c-1 e-2 g-3 b-5 >4
2462 In this case, setting @code{fingeringOrientations} will put fingerings next
2465 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2466 \set fingeringOrientations = #'(left down)
2467 <c-1 es-2 g-4 bes-5 > 4
2468 \set fingeringOrientations = #'(up right down)
2469 <c-1 es-2 g-4 bes-5 > 4
2472 Using this feature, it is also possible to put fingering instructions
2473 very close to note heads in monophonic music,
2475 @lilypond[verbatim,raggedright,quote,fragment]
2476 \set fingeringOrientations = #'(right)
2483 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2485 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2491 @subsection Grace notes
2494 @c should have blurb about accaciatura / appogiatura
2496 @cindex @code{\grace}
2500 Grace notes are ornaments that are written out. The most common ones
2501 are acciaccatura, which should be played as very short. It is denoted
2502 by a slurred small note with a slashed stem. The appoggiatura is a
2503 grace note that takes a fixed fraction of the main note, and is
2504 denoted as a slurred note in small print without a slash. They
2505 are entered with the commands @code{\acciaccatura} and
2506 @code{\appoggiatura}, as demonstrated in the following example
2509 @cindex appoggiatura
2510 @cindex acciaccatura
2512 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2513 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2514 \acciaccatura { g16[ f] } e4
2517 Both are special forms of the @code{\grace} command. By prefixing this
2518 keyword to a music expression, a new one is formed, which will be
2519 printed in a smaller font and takes up no logical time in a measure.
2521 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2523 \grace { c16[ d16] } c2 c4
2527 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2528 @code{\grace} command does not start a slur.
2530 Internally, timing for grace notes is done using a second, `grace'
2531 timing. Every point in time consists of two rational numbers: one
2532 denotes the logical time, one denotes the grace timing. The above
2533 example is shown here with timing tuples
2535 @lilypond[quote,raggedright]
2538 c4 \grace c16 c4 \grace {
2541 \new Lyrics \lyricmode {
2542 \override LyricText #'font-family = #'typewriter
2546 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2547 \markup { (\fraction 1 4 , 0 ) } 4
2549 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2550 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2552 \markup { ( \fraction 2 4 , 0 ) }
2558 The placement of grace notes is synchronized between different staves.
2559 In the following example, there are two sixteenth grace notes for
2560 every eighth grace note
2562 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2563 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2564 \new Staff { c4 \grace { g8[ b] } c4 } >>
2569 If you want to end a note with a grace, use the @code{\afterGrace}
2570 command. It takes two arguments: the main note, and the grace notes
2571 following the main note.
2573 @lilypond[raggedright, verbatim,relative=2,fragment]
2574 c1 \afterGrace d1 { c16[ d] } c4
2577 This will put the grace notes after a ``space'' lasting 3/4 of the
2578 length of the main note. The fraction 3/4 can be changed by setting
2579 @code{afterGraceFraction}, ie.
2582 afterGraceFraction = #(cons 7 8)
2586 will put the grace note at 7/8 of the main note.
2589 The same effect can be achieved manually by doing
2592 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2595 { s2 \grace { c16[ d] } } >>
2601 By adjusting the duration of the skip note (here it is a half-note),
2602 the space between the main-note and the grace is adjusted.
2607 A @code{\grace} section will introduce special typesetting settings,
2608 for example, to produce smaller type, and set directions. Hence, when
2609 introducing layout tweaks, they should be inside the grace section,
2611 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2623 The overrides should also be reverted inside the grace section.
2625 The layout of grace sections can be changed throughout the music using
2626 the function @code{add-grace-property}. The following example
2627 undefines the Stem direction for this grace, so stems do not always
2632 #(add-grace-property 'Voice 'Stem 'direction '())
2638 Another option is to change the variables @code{startGraceMusic},
2639 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2640 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2641 @code{stopAppoggiaturaMusic}. More information is in the file
2642 @file{ly/@/grace@/-init@/.ly}.
2647 Program reference: @internalsref{GraceMusic}.
2651 A score that starts with a @code{\grace} section needs an explicit
2652 @code{\context Voice} declaration, otherwise the main note and the grace
2653 note end up on different staves.
2655 Grace note synchronization can also lead to surprises. Staff notation,
2656 such as key signatures, bar lines, etc., are also synchronized. Take
2657 care when you mix staves with grace notes and staves without, for example,
2659 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2660 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2661 \new Staff { c4 \bar "|:" d4 } >>
2665 This can be remedied by inserting grace skips, for the above example
2668 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2671 Grace sections should only be used within sequential music
2672 expressions. Nesting or juxtaposing grace sections is not supported,
2673 and might produce crashes or other errors.
2677 @subsection Glissando
2680 @cindex @code{\glissando}
2682 A glissando is a smooth change in pitch. It is denoted by a line or a
2683 wavy line between two notes. It is requested by attaching
2684 @code{\glissando} to a note
2686 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2692 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2694 Example files: @file{input/@/regression/@/glissando@/.ly}.
2700 Printing text over the line (such as @emph{gliss.}) is not supported.
2704 @subsection Dynamics
2717 @cindex @code{\ffff}
2727 Absolute dynamic marks are specified using a command after a note
2728 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2729 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2730 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2731 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2733 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2734 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2735 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2744 A crescendo mark is started with @code{\<} and terminated with
2745 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2746 with @code{\!}. Because these marks are bound to notes, you must
2747 use spacer notes if multiple marks are needed during one note
2749 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2751 << f1 { s4 s4\< s4\! \> s4\! } >>
2753 This may give rise to very short hairpins. Use @code{minimum-length}
2754 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2758 \override Staff.Hairpin #'minimum-length = #5
2761 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2762 is an example how to do it
2764 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2778 You can also supply your own texts
2779 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2780 \set crescendoText = \markup { \italic "cresc. poco" }
2781 \set crescendoSpanner = #'dashed-line
2787 To create new dynamic marks or text that should be aligned
2788 with dynamics, see @ref{New dynamic marks}.
2793 @cindex @code{\dynamicUp}
2795 @cindex @code{\dynamicDown}
2796 @code{\dynamicDown},
2797 @cindex @code{\dynamicNeutral}
2798 @code{\dynamicNeutral}.
2800 @cindex direction, of dynamics
2804 Program reference: @internalsref{CrescendoEvent},
2805 @internalsref{DecrescendoEvent}, and
2806 @internalsref{AbsoluteDynamicEvent}.
2808 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2809 objects. Vertical positioning of these symbols is handled by the
2810 @internalsref{DynamicLineSpanner} object.
2816 Repetition is a central concept in music, and multiple notations exist
2822 * Repeats and MIDI::
2823 * Manual repeat commands::
2825 * Tremolo subdivisions::
2830 @subsection Repeat types
2833 @cindex @code{\repeat}
2835 The following types of repetition are supported
2839 Repeated music is fully written (played) out. This is useful when
2840 entering repetitious music. This is the only kind of repeat that
2841 is included in MIDI output.
2844 Repeats are not written out, but alternative endings (volte) are
2845 printed, left to right with brackets. This is the standard notation
2846 for repeats with alternatives. These are not played in MIDI output by default.
2850 Alternative endings are written stacked. This has limited use but may be
2851 used to typeset two lines of lyrics in songs with repeats, see
2852 @inputfileref{input,star-spangled-banner@/.ly}.
2857 Make tremolo beams. These are not played in MIDI output by default.
2860 Make beat or measure repeats. These look like percent signs. These
2861 are not played in MIDI output by default.
2866 @subsection Repeat syntax
2869 LilyPond has one syntactic construct for specifying different types of
2870 repeats. The syntax is
2873 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2876 If you have alternative endings, you may add
2877 @cindex @code{\alternative}
2879 \alternative @{ @var{alternative1}
2881 @var{alternative3} @dots{} @}
2883 where each @var{alternative} is a music expression. If you do not
2884 give enough alternatives for all of the repeats, the first alternative
2885 is assumed to be played more than once.
2887 Standard repeats are used like this
2888 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2890 \repeat volta 2 { c4 d e f }
2891 \repeat volta 2 { f e d c }
2894 With alternative endings
2895 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2897 \repeat volta 2 {c4 d e f}
2898 \alternative { {d2 d} {f f,} }
2902 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2905 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2906 \alternative { { g4 g g } { a | a a a a | b2. } }
2910 It is possible to shorten volta brackets
2911 by setting @code{voltaSpannerDuration}. In the next example, the
2912 bracket only lasts one measure, which is a duration of 3/4.
2916 @lilypond[verbatim,raggedright,quote]
2920 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2921 \repeat "volta" 5 { d d d }
2922 \alternative { { e e e f f f }
2932 Brackets for the repeat are normally only printed over the topmost
2933 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2934 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2937 @c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
2942 A nested repeat like
2951 is ambiguous, since it is is not clear to which @code{\repeat} the
2952 @code{\alternative} belongs. This ambiguity is resolved by always
2953 having the @code{\alternative} belong to the inner @code{\repeat}.
2954 For clarity, it is advisable to use braces in such situations.
2959 Timing information is not remembered at the start of an alternative,
2960 so after a repeat timing information must be reset by hand, for
2961 example by setting @code{Score.measurePosition} or entering
2962 @code{\partial}. Similarly, slurs or ties are also not repeated.
2967 @node Repeats and MIDI
2968 @subsection Repeats and MIDI
2970 @cindex expanding repeats
2972 With a little bit of tweaking, all types of repeats can be present
2973 in the MIDI output. This is achieved by applying the
2974 @code{\unfoldrepeats} music function. This functions changes all
2975 repeats to unfold repeats.
2977 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2979 \repeat tremolo 8 {c'32 e' }
2980 \repeat percent 2 { c''8 d'' }
2981 \repeat volta 2 {c'4 d' e' f'}
2990 When creating a score file using @code{\unfoldrepeats} for midi, then
2991 it is necessary to make two @code{\score} blocks. One for MIDI (with
2992 unfolded repeats) and one for notation (with volta, tremolo, and
2993 percent repeats). For example,
3001 \unfoldrepeats @var{..music..}
3006 @node Manual repeat commands
3007 @subsection Manual repeat commands
3009 @cindex @code{repeatCommands}
3011 The property @code{repeatCommands} can be used to control the layout of
3012 repeats. Its value is a Scheme list of repeat commands.
3015 @item @code{start-repeat}
3016 Print a @code{|:} bar line.
3018 @item @code{end-repeat}
3019 Print a @code{:|} bar line.
3021 @item @code{(volta @var{text})}
3022 Print a volta bracket saying @var{text}: The text can be specified as
3023 a text string or as a markup text, see @ref{Text markup}. Do not
3024 forget to change the font, as the default number font does not contain
3025 alphabetic characters;
3027 @item @code{(volta #f)}
3028 Stop a running volta bracket.
3031 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
3033 \set Score.repeatCommands = #'((volta "93") end-repeat)
3035 \set Score.repeatCommands = #'((volta #f))
3043 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
3044 @internalsref{VoltaRepeatedMusic},
3045 @internalsref{UnfoldedRepeatedMusic}, and
3046 @internalsref{FoldedRepeatedMusic}.
3048 @node Tremolo repeats
3049 @subsection Tremolo repeats
3050 @cindex tremolo beams
3052 To place tremolo marks between notes, use @code{\repeat} with tremolo
3054 @lilypond[quote,verbatim,raggedright]
3055 \new Voice \relative c' {
3056 \repeat "tremolo" 8 { c16 d16 }
3057 \repeat "tremolo" 4 { c16 d16 }
3058 \repeat "tremolo" 2 { c16 d16 }
3062 Tremolo marks can also be put on a single note. In this case, the
3063 note should not be surrounded by braces.
3064 @lilypond[quote,verbatim,raggedright]
3065 \repeat "tremolo" 4 c'16
3068 Similar output is obtained using the tremolo subdivision, described in
3069 @ref{Tremolo subdivisions}.
3073 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3075 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
3076 tremolos are @internalsref{StemTremolo} objects. The music expression is
3077 @internalsref{TremoloEvent}.
3079 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3080 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3082 @node Tremolo subdivisions
3083 @subsection Tremolo subdivisions
3084 @cindex tremolo marks
3085 @cindex @code{tremoloFlags}
3087 Tremolo marks can be printed on a single note by adding
3088 `@code{:}[@var{number}]' after the note. The number indicates the
3089 duration of the subdivision, and it must be at least 8. A
3090 @var{length} value of 8 gives one line across the note stem. If the
3091 length is omitted, the last value (stored in @code{tremoloFlags}) is
3094 @lilypond[quote,raggedright,verbatim,fragment]
3095 c'2:8 c':32 | c': c': |
3098 @c [TODO: stok is te kort bij 32en]
3099 @c somebody want to translate that into English?
3100 @c `Stem is too short for 32nds' (wl)
3104 Tremolos entered in this way do not carry over into the MIDI output.
3108 In this manual: @ref{Tremolo repeats}.
3110 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3112 @node Measure repeats
3113 @subsection Measure repeats
3115 @cindex percent repeats
3116 @cindex measure repeats
3118 In the @code{percent} style, a note pattern can be repeated. It is
3119 printed once, and then the pattern is replaced with a special sign.
3120 Patterns of one and two measures are replaced by percent-like signs,
3121 patterns that divide the measure length are replaced by slashes
3123 @lilypond[quote,verbatim,raggedright]
3124 \new Voice \relative c' {
3125 \repeat "percent" 4 { c4 }
3126 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3132 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3133 @internalsref{PercentRepeatedMusic}, and
3134 @internalsref{DoublePercentRepeat}.
3138 @node Rhythmic music
3139 @section Rhythmic music
3141 Rhythmic music is primarily used for percussion and drum notation, but it can
3142 also be used to show the rhythms of melodies.
3145 * Showing melody rhythms::
3146 * Entering percussion::
3147 * Percussion staves::
3151 @node Showing melody rhythms
3152 @subsection Showing melody rhythms
3154 Sometimes you might want to show only the rhythm of a melody. This
3155 can be done with the rhythmic staff. All pitches of notes on such a
3156 staff are squashed, and the staff itself has a single line
3158 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3159 \context RhythmicStaff {
3161 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3167 Program reference: @internalsref{RhythmicStaff}.
3169 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
3172 @node Entering percussion
3173 @subsection Entering percussion
3179 Percussion notes may be entered in @code{\drummode} mode, which is
3180 similar to the standard mode for entering notes. Each piece of
3181 percussion has a full name and an abbreviated name, and both can be used
3184 @lilypond[quote,raggedright,verbatim]
3186 hihat hh bassdrum bd
3190 The complete list of drum names is in the init file
3191 @file{ly/@/drumpitch@/-init@/.ly}.
3192 @c TODO: properly document this.
3196 Program reference: @internalsref{DrumNoteEvent}.
3198 @node Percussion staves
3199 @subsection Percussion staves
3203 A percussion part for more than one instrument typically uses a
3204 multiline staff where each position in the staff refers to one piece
3208 To typeset the music, the notes must be interpreted in a
3209 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3211 @lilypond[quote,raggedright,verbatim]
3212 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3213 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3215 \new DrumVoice { \voiceOne \up }
3216 \new DrumVoice { \voiceTwo \down }
3220 The above example shows verbose polyphonic notation. The short
3221 polyphonic notation, described in @ref{Polyphony}, can also be used if
3222 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3224 @lilypond[quote,raggedright,fragment,verbatim]
3226 \context DrumVoice = "1" { s1 *2 }
3227 \context DrumVoice = "2" { s1 *2 }
3231 { \repeat unfold 16 hh16 }
3240 There are also other layout possibilities. To use these, set the
3241 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3242 The following variables have been predefined
3246 This is the default. It typesets a typical drum kit on a five-line staff
3248 @lilypond[quote,linewidth=10.0\cm]
3250 cymc cyms cymr hh hhc hho hhho hhp
3251 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
3253 cymc cyms cymr hh hhc hho hhho hhp \break
3254 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3256 << \new DrumStaff \with {
3257 \remove Bar_engraver
3258 \remove Time_signature_engraver
3259 \override Stem #'transparent = ##t
3260 \override Stem #'Y-extent-callback = ##f
3261 minimumVerticalExtent = #'(-4.0 . 5.0)
3263 \context Lyrics \nam
3268 \override LyricText #'font-family = #'typewriter
3269 \override BarNumber #'transparent =##T
3275 The drum scheme supports six different toms. When there are fewer toms,
3276 simply select the toms that produce the desired result, i.e., to get toms
3277 on the three middle lines you use @code{tommh}, @code{tomml}, and
3280 @item timbales-style
3281 This typesets timbales on a two line staff
3283 @lilypond[quote,raggedright]
3284 nam = \lyricmode { timh ssh timl ssl cb }
3285 mus = \drummode { timh ssh timl ssl cb s16 }
3288 \context DrumStaff \with {
3289 \remove Bar_engraver
3290 \remove Time_signature_engraver
3291 \override Stem #'transparent = ##t
3292 \override Stem #'Y-extent-callback = ##f
3293 \override StaffSymbol #'line-count = #2
3294 \override StaffSymbol #'staff-space = #2
3295 minimumVerticalExtent = #'(-3.0 . 4.0)
3296 drumStyleTable = #timbales-style
3299 \override LyricText #'font-family = #'typewriter
3306 This typesets congas on a two line staff
3308 @lilypond[quote,raggedright]
3309 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3310 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3313 \context DrumStaff \with {
3314 \remove Bar_engraver
3315 \remove Time_signature_engraver
3316 drumStyleTable = #congas-style
3317 \override StaffSymbol #'line-count = #2
3319 %% this sucks; it will lengthen stems.
3320 \override StaffSymbol #'staff-space = #2
3321 \override Stem #'transparent = ##t
3322 \override Stem #'Y-extent-callback = ##f
3325 \override LyricText #'font-family = #'typewriter
3332 This typesets bongos on a two line staff
3334 @lilypond[quote,raggedright]
3335 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3336 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3339 \context DrumStaff\with {
3340 \remove Bar_engraver
3341 \remove Time_signature_engraver
3342 \override StaffSymbol #'line-count = #2
3343 drumStyleTable = #bongos-style
3345 %% this sucks; it will lengthen stems.
3346 \override StaffSymbol #'staff-space = #2
3347 \override Stem #'transparent = ##t
3348 \override Stem #'Y-extent-callback = ##f
3351 \override LyricText #'font-family = #'typewriter
3357 @item percussion-style
3358 To typeset all kinds of simple percussion on one line staves.
3360 @lilypond[quote,raggedright]
3361 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3362 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3365 \context DrumStaff\with{
3366 \remove Bar_engraver
3367 drumStyleTable = #percussion-style
3368 \override StaffSymbol #'line-count = #1
3369 \remove Time_signature_engraver
3370 \override Stem #'transparent = ##t
3371 \override Stem #'Y-extent-callback = ##f
3374 \override LyricText #'font-family = #'typewriter
3381 If you do not like any of the predefined lists you can define your own
3382 list at the top of your file
3384 @lilypond[quote,raggedright,verbatim]
3386 (bassdrum default #f -1)
3387 (snare default #f 0)
3389 (pedalhihat xcircle "stopped" 2)
3390 (lowtom diamond #f 3)))
3391 up = \drummode { hh8 hh hh hh hhp4 hhp }
3392 down = \drummode { bd4 sn bd toml8 toml }
3395 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
3396 \new DrumVoice { \voiceOne \up }
3397 \new DrumVoice { \voiceTwo \down }
3404 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
3406 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3410 Because general MIDI does not contain rim shots, the sidestick is used
3411 for this purpose instead.
3414 @section Piano music
3416 Piano staves are two normal staves coupled with a brace. The staves
3417 are largely independent, but sometimes voices can cross between the
3418 two staves. The same notation is also used for harps and other key
3419 @c Is this `harp' or `harpsichord'?
3420 instruments. The @internalsref{PianoStaff} is especially built to
3421 handle this cross-staffing behavior. In this section we discuss the
3422 @internalsref{PianoStaff} and some other pianistic peculiarities.
3426 * Automatic staff changes::
3427 * Manual staff switches::
3430 * Staff switch lines::
3431 * Cross staff stems::
3436 Dynamics are not centered, but workarounds do exist. See the
3437 ``piano centered dynamics'' template in @ref{Piano templates}.
3439 @cindex cross staff stem
3440 @cindex stem, cross staff
3441 @cindex distance between staves in piano music
3443 The distance between the two staves is the same for all systems in the
3444 score. It is possible to override this per system, but it does require
3445 an arcane command incantation. See
3446 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
3449 @node Automatic staff changes
3450 @subsection Automatic staff changes
3451 @cindex Automatic staff changes
3453 Voices can be made to switch automatically between the top and the bottom
3454 staff. The syntax for this is
3458 \autochange @dots{}@var{music}@dots{}
3463 This will create two staves inside the current PianoStaff, called
3464 @code{up} and @code{down}. The lower staff will be in bass clef by
3467 A @code{\relative} section that is outside of @code{\autochange} has
3468 no effect on the pitches of @var{music}, so, if necessary, put
3469 @code{\relative} inside @code{\autochange} like
3473 \autochange \relative @dots{} @dots{}
3478 The autochanger switches on basis of the pitch (middle C is the turning
3479 point), and it looks ahead skipping over rests to switch in
3480 advance. Here is a practical example
3482 @lilypond[quote,verbatim,raggedright]
3484 \autochange \relative c'
3493 In this manual: @ref{Manual staff switches}.
3495 Program reference: @internalsref{AutoChangeMusic}.
3501 The staff switches may not end up in optimal places. For high
3502 quality output, staff switches should be specified manually.
3505 @code{\autochange} cannot be inside @code{\times}.
3507 Internally, the @code{\partcombine} interprets both arguments as
3508 @code{Voice}s named @code{one} and @code{two}, and then decides when
3509 the parts can be combined. Consequently, if the arguments switch to
3510 differently named @internalsref{Voice} contexts, the events in those
3514 @node Manual staff switches
3515 @subsection Manual staff switches
3517 @cindex manual staff switches
3518 @cindex staff switch, manual
3520 Voices can be switched between staves manually, using the command
3522 \change Staff = @var{staffname} @var{music}
3526 The string @var{staffname} is the name of the staff. It switches the
3527 current voice from its current staff to the Staff called
3528 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3529 @code{"down"}. The @context{Staff} referred to must already exist, so
3530 usually the setup for a score will start with a setup of the staves,
3534 \context Staff = up @{
3535 \skip 1 * 10 % @emph{keep staff alive}
3537 \context Staff = down @{
3538 \skip 1 * 10 % @emph{idem}
3544 and the @context{Voice} is inserted afterwards
3547 \context Staff = down
3548 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3556 Pianos have pedals that alter the way sound is produced. Generally, a
3557 piano has three pedals, sustain, una corda, and sostenuto.
3560 Piano pedal instruction can be expressed by attaching
3561 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3562 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3565 @lilypond[quote,raggedright,fragment,verbatim]
3566 c'4\sustainDown c'4\sustainUp
3569 What is printed can be modified by setting @code{pedal@var{X}Strings},
3570 where @var{X} is one of the pedal types: @code{Sustain},
3571 @code{Sostenuto} or @code{UnaCorda}. Refer to
3572 @internalsref{SustainPedal} in the program reference for more
3575 Pedals can also be indicated by a sequence of brackets, by setting the
3576 @code{pedalSustainStyle} property to bracket objects
3578 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3579 \set Staff.pedalSustainStyle = #'bracket
3581 b\sustainUp\sustainDown
3582 b g \sustainUp a \sustainDown \bar "|."
3585 A third style of pedal notation is a mixture of text and brackets,
3586 obtained by setting the @code{pedalSustainStyle} property to
3589 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3590 \set Staff.pedalSustainStyle = #'mixed
3592 b\sustainUp\sustainDown
3593 b g \sustainUp a \sustainDown \bar "|."
3596 The default `*Ped.' style for sustain and damper pedals corresponds to
3597 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3600 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3601 c\sostenutoDown d e c, f g a\sostenutoUp
3604 For fine-tuning the appearance of a pedal bracket, the properties
3605 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3606 @code{PianoPedalBracket} objects (see
3607 @internalsref{PianoPedalBracket} in the Program reference) can be
3608 modified. For example, the bracket may be extended to the right edge
3611 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3612 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3613 c\sostenutoDown d e c, f g a\sostenutoUp
3617 @subsection Arpeggio
3620 @cindex broken arpeggio
3621 @cindex @code{\arpeggio}
3623 You can specify an arpeggio sign on a chord by attaching an
3624 @code{\arpeggio} to a chord
3627 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3631 When an arpeggio crosses staves, you attach an arpeggio to the chords
3632 in both staves, and set
3633 @internalsref{PianoStaff}.@code{connectArpeggios}
3635 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3636 \context PianoStaff <<
3637 \set PianoStaff.connectArpeggios = ##t
3638 \new Staff { <c' e g c>\arpeggio }
3639 \new Staff { \clef bass <c,, e g>\arpeggio }
3643 The direction of the arpeggio is sometimes denoted by adding an
3644 arrowhead to the wiggly line
3646 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3655 A square bracket on the left indicates that the player should not
3656 arpeggiate the chord
3658 @c todo: ugh, lousy typography. Look for real example. --hwn
3660 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3667 @cindex @code{\arpeggio}
3669 @cindex @code{\arpeggioUp}
3671 @cindex @code{\arpeggioDown}
3672 @code{\arpeggioDown},
3673 @cindex @code{\arpeggioNeutral}
3674 @code{\arpeggioNeutral},
3675 @cindex @code{\arpeggioBracket}
3676 @code{\arpeggioBracket}.
3680 Program reference: @internalsref{ArpeggioEvent},
3681 @internalsref{Arpeggio}.
3685 It is not possible to mix connected arpeggios and unconnected
3686 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3688 @node Staff switch lines
3689 @subsection Staff switch lines
3692 @cindex follow voice
3693 @cindex staff switching
3696 @cindex @code{followVoice}
3698 Whenever a voice switches to another staff, a line connecting the notes
3699 can be printed automatically. This is switched on by setting
3700 @code{PianoStaff.followVoice} to true
3702 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3703 \context PianoStaff <<
3704 \set PianoStaff.followVoice = ##t
3705 \context Staff \context Voice {
3710 \context Staff=two { \clef bass \skip 1*2 }
3716 Program reference: @internalsref{VoiceFollower}.
3720 @cindex @code{\showStaffSwitch}
3721 @code{\showStaffSwitch},
3722 @cindex @code{\hideStaffSwitch}
3723 @code{\hideStaffSwitch}.
3726 @node Cross staff stems
3727 @subsection Cross staff stems
3729 Chords that cross staves may be produced by increasing the length
3730 of the stem in the lower staff, so it reaches the stem in the upper
3731 staff, or vice versa.
3733 @lilypond[raggedright,verbatim,quote]
3734 stemExtend = \once \override Stem #'length = #22
3735 noFlag = \once \override Stem #'flag-style = #'no-flag
3736 \context PianoStaff <<
3738 \stemDown \stemExtend
3752 @section Vocal music
3754 There are three different issues when printing vocal music
3758 Song texts must be entered as text, not notes. For example, the
3759 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
3763 Song texts must be printed as text, not as notes.
3766 Song texts must be aligned with the notes of their melody.
3769 The simplest solution for printing music uses the @code{\addlyrics}
3770 function to solve all these problems at once. However, these
3771 three functions can be controlled separately, which is necessary
3772 for complex vocal music.
3776 * Setting simple songs::
3778 * Hyphens and extenders::
3779 * The Lyrics context::
3780 * Flexibility in alignment::
3783 * Other vocal issues::
3786 @node Setting simple songs
3787 @subsection Setting simple songs
3789 The easiest way to add lyrics to a melody is to append
3792 \addlyrics @{ @var{the lyrics} @}
3796 to a melody. Here is an example,
3798 @lilypond[raggedright,verbatim,fragment,quote]
3800 \relative { c2 e4 g2. }
3801 \addlyrics { play the game }
3804 More stanzas can be added by adding more
3805 @code{\addlyrics} sections
3807 @lilypond[raggedright,verbatim,fragment,quote]
3809 \relative { c2 e4 g2. }
3810 \addlyrics { play the game }
3811 \addlyrics { speel het spel }
3812 \addlyrics { joue le jeu }
3815 @c TODO - this isn't such a great place for this note, but I can't
3816 @c find a better place without rearranging a lot of lyric stuff.
3817 @c It's yet another thing to look at post-3.0.
3819 The @code{\addlyrics} command is actually just a convienient way
3820 to write a more complicated LilyPond structure that sets up the
3821 lyrics. You should use @code{\addlyrics} unless you need to do
3822 fancy things, in which case you should investigate
3823 @code{\lyricsto} or @code{\lyricmode}.
3827 \addlyrics @{ LYRICS @}
3834 \context Voice = blah @{ music @}
3835 \lyricsto "blah" \new lyrics @{ LYRICS @}
3840 @code{\addlyrics} cannot handle polyphony.
3843 @node Entering lyrics
3844 @subsection Entering lyrics
3848 @cindex @code{\lyricmode}
3851 Lyrics are entered in a special input mode. This mode is introduced
3852 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3853 @code{lyricsto}. In this mode you can enter lyrics,
3854 with punctuation and accents, and the input @code{d} is not parsed as
3855 a pitch, but rather as a one letter syllable. Syllables are entered
3856 like notes, but with pitches replaced by text. For example,
3858 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3862 A word lyrics mode begins with an alphabetic character, and ends with
3863 any space or digit. The following characters can be any character
3864 that is not a digit or white space. One important consequence of this
3865 is that a word can end with @code{@}}. The following example is
3866 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3867 opening brace is not balanced
3869 \lyricmode @{ twinkle@}
3872 @cindex @code{\property}, in @code{\lyricmode}
3874 Similarly, a period which follows an alphabetic sequence is included in
3875 the resulting string. As a consequence, spaces must be inserted around
3878 \override Score . LyricText #'font-shape = #'italic
3882 @cindex spaces, in lyrics
3883 @cindex quotes, in lyrics
3885 Any @code{_} character that appears in an unquoted word is converted
3886 to a space. This provides a mechanism for introducing spaces into words
3887 without using quotes. Quoted words can also be used in Lyrics mode to
3888 specify words that cannot be written with the above rules. The
3889 following example incorporates double quotes
3892 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3895 This example is slightly academic, since it gives better looking
3896 results using single quotes, @code{``} and @code{''}
3898 \lyricmode @{ He said: ``Let my peo ple go'' @}
3902 The full definition of a word start in Lyrics mode is somewhat more
3905 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3906 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3907 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3908 any 8-bit character with ASCII code over 127, or a two-character
3909 combination of a backslash followed by one of @code{`}, @code{'},
3910 @code{"}, or @code{^}.
3916 Program reference: events @internalsref{LyricEvent}, and
3917 @internalsref{LyricText}.
3921 The definition of lyrics mode is too complex.
3923 @node Hyphens and extenders
3924 @subsection Hyphens and extenders
3928 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3929 The hyphen will have variable length depending on the space between
3930 the syllables and it will be centered between the syllables.
3935 When a lyric is sung over many notes (this is called a melisma), this is
3936 indicated with a horizontal line centered between a syllable and the
3937 next one. Such a line is called an extender line, and it is entered as
3941 FIXME: check that this compiles and displays correctly. I don't want
3942 to commit this part blindly.
3944 In tighly engraved music, hyphens can be removed. In some languages
3945 (e.g. German and Hungarian), hyphens should not disappear, since
3946 spelling depends on hyphenation. For that purpose, hyphens can be
3947 forced to remain by overriding @code{minimum-length} of
3948 the @code{LyricHyphen} grob.
3952 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
3959 \lyrics \new Lyrics \with {
3960 % Otherwise lyrics are so far apart that hyphens don't disappear
3961 \override SeparationItem #'padding = #0.0
3962 }{ bla -- bla -- bla -- bla --
3963 bla -- bla -- bla -- bla --
3965 \override LyricHyphen #'minimum-length = #0.7
3966 \override LyricHyphen #'spacing-procedure =
3967 #Hyphen_spanner::set_spacing_rods
3969 bla -- bla -- bla -- bla
3976 \StaffContext \remove "Time_signature_engraver"
3987 Program reference: @internalsref{HyphenEvent},
3988 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3989 @internalsref{LyricExtender}
3993 @node The Lyrics context
3994 @subsection The Lyrics context
3997 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3999 \context Lyrics \lyricmode @dots{}
4002 @cindex automatic syllable durations
4003 @cindex @code{\lyricsto}
4004 @cindex lyrics and melodies
4006 This will place the lyrics according to the durations that were
4007 entered. The lyrics can also be aligned under a given melody
4008 automatically. In this case, it is no longer necessary to enter the
4009 correct duration for each syllable. This is achieved by combining the
4010 melody and the lyrics with the @code{\lyricsto} expression
4012 \lyricsto @var{name} \new Lyrics @dots{}
4015 This aligns the lyrics to the
4016 notes of the @internalsref{Voice} context called @var{name}, which has
4017 to exist. Therefore, normally the @code{Voice} is specified first, and
4018 then the lyrics are specified with @code{\lyricsto}. The command
4019 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
4020 @code{\lyricmode} keyword may be omitted.
4022 For different or more complex orderings, the best way is to setup the
4023 hierarchy of staves and lyrics first, e.g.,
4025 \context ChoirStaff <<
4026 \context Lyrics = sopranoLyrics @{ s1 @}
4027 \context Voice = soprano @{ @emph{music} @}
4028 \context Lyrics = tenorLyrics @{ s1 @}
4029 \context Voice = tenor @{ @emph{music} @}
4032 and then combine the appropriate melodies and lyric lines
4034 \lyricsto "soprano" \context Lyrics = sopranoLyrics
4039 The final input would resemble
4042 <<\context ChoirStaff << @emph{setup the music} >>
4043 \lyricsto "soprano" @emph{etc}
4044 \lyricsto "alto" @emph{etc}
4050 The @code{\lyricsto} command detects melismata: it only puts one
4051 syllable under a tied or slurred group of notes. If you want to force
4052 an unslurred group of notes to be a melisma, insert @code{\melisma}
4053 after the first note of the group, and @code{\melismaEnd} after the
4056 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
4058 \context Voice = "lala" {
4066 \lyricsto "lala" \new Lyrics {
4072 In addition, notes are considered a melisma if they are manually
4073 beamed, and automatic beaming (see @ref{Setting automatic beam
4074 behavior}) is switched off.
4080 The criteria for deciding melismata can
4081 be tuned with the property @code{melismaBusyProperties}. See
4082 @internalsref{Melisma_translator} in the program reference for more
4087 Lyrics can also be entered without @code{\lyricsto}. In this case the
4088 duration of each syllable must be entered explicitly, for example,
4095 The alignment to a melody can be specified with the
4096 @code{associatedVoice} property,
4099 \set associatedVoice = #"lala"
4103 The value of the property (here: @code{"lala"}) should be the name of
4104 a @internalsref{Voice} context. Without this setting, extender lines
4105 will not be formatted properly.
4107 Here is an example demonstrating manual lyric durations,
4109 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
4110 << \context Voice = melody {
4114 \new Lyrics \lyricmode {
4115 \set associatedVoice = #"melody"
4121 @cindex choral score
4123 A complete example of a SATB score setup is in section
4124 @ref{Vocal ensembles}.
4129 @code{\melisma}, @code{\melismaEnd}
4130 @cindex @code{\melismaEnd}
4131 @cindex @code{\melisma}
4135 Program reference: @internalsref{LyricCombineMusic},
4136 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
4139 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
4140 @c TODO: make separate section for melismata
4142 @c I can't find these examples in 2.0 or 2.2; remove. -gp
4143 @c @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
4144 @c @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
4148 Melismata are not detected automatically, and extender lines must be
4152 @c TODO: document \new Staff << Voice \lyricsto >> bug
4154 @node Flexibility in alignment
4155 @subsection Flexibility in alignment
4158 Often, different stanzas of one song are put to one melody in slightly
4159 differing ways. Such variations can still be captured with
4162 One possibility is that the text has a melisma in one stanza, but
4163 multiple syllables in another one. One solution is to make the faster
4164 voice ignore the melisma. This is done by setting
4165 @code{ignoreMelismata} in the Lyrics context.
4167 There has one tricky aspect. The setting for @code{ignoreMelismata}
4168 must be set one syllable @emph{before} the non-melismatic syllable
4169 in the text, as shown here,
4171 @lilypond[verbatim,raggedright,quote]
4173 \relative \context Voice = "lahlah" {
4174 \set Staff.autoBeaming = ##f
4180 \new Lyrics \lyricsto "lahlah" {
4183 \new Lyrics \lyricsto "lahlah" {
4184 \set ignoreMelismata = ##t % applies to "fas"
4186 \unset ignoreMelismata
4193 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4194 should be entered before ``go''.
4196 The reverse is also possible: making a lyric line slower than the
4197 standard. This can be achieved by insert @code{\skip}s into the
4198 lyrics. For every @code{\skip}, the text will be delayed another note.
4201 @lilypond[verbatim,raggedright,quote]
4202 \relative { c c g' }
4209 More complex variations in text underlay are possible. It is possible
4210 to switch the melody for a line of lyrics during the text. This is
4211 done by setting the @code{associatedVoice} property. In the example
4213 @lilypond[raggedright,quote]
4215 \relative \context Voice = "lahlah" {
4216 \set Staff.autoBeaming = ##f
4219 \context Voice = alternative {
4222 % show associations clearly.
4223 \override NoteColumn #'force-hshift = #-3
4234 \new Lyrics \lyricsto "lahlah" {
4235 Ju -- ras -- sic Park
4237 \new Lyrics \lyricsto "lahlah" {
4238 % Tricky: need to set associatedVoice
4239 % one syllable too soon!
4240 \set associatedVoice = alternative % applies to "ran"
4244 \set associatedVoice = lahlah % applies to "rus"
4250 the text for the first stanza is set to a melody called ``lahlah'',
4253 \new Lyrics \lyricsto "lahlah" @{
4254 Ju -- ras -- sic Park
4259 The second stanza initially is set to the @code{lahlah} context, but
4260 for the syllable ``ran'', it switches to a different melody.
4261 This is achieved with
4263 \set associatedVoice = alternative
4267 Here, @code{alternative} is the name of the @code{Voice} context
4268 containing the triplet.
4270 Again, the command must be one syllable too early, before ``Ty'' in
4274 \new Lyrics \lyricsto "lahlah" @{
4275 \set associatedVoice = alternative % applies to "ran"
4279 \set associatedVoice = lahlah % applies to "rus"
4285 The underlay is switched back to the starting situation by assigning
4286 @code{lahlah} to @code{associatedVoice}.
4292 @subsection More stanzas
4294 @cindex phrasing, in lyrics
4297 @cindex stanza number
4298 @cindex singer's names
4299 @cindex name of singer
4301 Stanza numbers can be added by setting @code{stanza}, e.g.,
4303 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4305 \time 3/4 g2 e4 a2 f4 g2.
4308 Hi, my name is Bert.
4311 Oh, che -- ri, je t'aime
4315 These numbers are put just before the start of first syllable.
4317 Names of singers can also be added. They are printed at the start of
4318 the line, just like instrument names. They are created by setting
4319 @code{vocalName}. A short version may be entered as @code{vocNam}.
4322 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4324 \time 3/4 g2 e4 a2 f4 g2.
4326 \set vocalName = "Bert "
4327 Hi, my name is Bert.
4329 \set vocalName = "Ernie "
4330 Oh, che -- ri, je t'aime
4336 Program reference: Layout objects @internalsref{LyricText} and
4337 @internalsref{VocalName}. Music expressions
4338 @internalsref{LyricEvent}.
4346 The term @emph{ambitus} denotes a range of pitches for a given voice
4347 in a part of music. It may also denote the pitch range that a musical
4348 instrument is capable of playing. Ambits are printed on vocal parts,
4349 so performers can easily determine it meets their capabilities.
4351 Ambits are denoted at the beginning of a piece near the initial clef.
4352 The range is graphically specified by two note heads that represent the
4353 minimum and maximum pitch. To print such ambits, add the
4354 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4361 \consists Ambitus_engraver
4366 This results in the following output
4368 @lilypond[quote,raggedright]
4372 \consists Ambitus_engraver
4376 \relative \new Staff {
4381 If you have multiple voices in a single staff and you want a single
4382 ambitus per staff rather than per each voice, add the
4383 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4384 rather than to the @internalsref{Voice} context. Here is an example,
4386 @lilypond[verbatim,raggedright,quote]
4388 \consists "Ambitus_engraver"
4392 \remove "Ambitus_engraver"
4394 \override Ambitus #'X-offset-callbacks
4395 = #(list (lambda (grob axis) -1.0))
4400 \remove "Ambitus_engraver"
4409 This example uses one advanced feature,
4412 \override Ambitus #'X-offset-callbacks
4413 = #(list (lambda (grob axis) -1.0))
4417 This code moves the ambitus to the left. The same effect could have
4418 been achieved with @code{extra-offset}, but then the formatting system
4419 would not reserve space for the moved object.
4423 Program reference: @internalsref{Ambitus},
4424 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4425 @internalsref{AmbitusAccidental}.
4427 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
4431 There is no collision handling in the case of multiple per-voice
4434 @node Other vocal issues
4435 @subsection Other vocal issue
4438 yeah, I'm giving up somewhat by stuffing a bunch of things in
4439 here. But at least they're in the manual now; it's easier to
4440 move them around in the manual once they're already here.
4442 Besides, if users complain about everything stuffed in here, I
4443 can ask them for specific instructions about where to move these
4444 examples, and that might get them more involved in the docs. -gp
4447 You can display alternate (or divisi) lyrics by naming voice
4448 contexts and attaching lyrics to those specific contexts.
4450 @lilypond[verbatim,raggedright,quote]
4452 \context Voice = "melody" {
4457 \context Voice = splitpart { \voiceTwo c4 }
4462 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
4463 \new Lyrics \lyricsto "splitpart" { shall }
4468 You can use this trick to display different lyrics for a repeated
4471 @lilypond[verbatim,raggedright,quote]
4473 \context Voice = melody \relative c' {
4475 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
4477 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
4480 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
4482 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
4483 dodo rere mimi fafa solsol }
4489 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4490 @section Other instrument specific notation
4492 This section includes extra information for writing string music, and may
4493 include extra information for other instruments in the future.
4499 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4500 @subsection Harmonic notes
4502 @cindex artificial harmonics
4505 Artificial harmonics are notated with a different notehead style. They
4506 are entered by marking the harmonic pitch with @code{\harmonic}.
4508 @lilypond[raggedright,verbatim,quote,fragment]
4513 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4517 @cindex guitar tablature
4519 Tablature notation is used for notating music for plucked string
4520 instruments. Pitches are not denoted with note heads, but by
4521 indicating on which string and fret a note must be played. LilyPond
4522 offers limited support for tablature.
4525 * Tablatures basic::
4526 * Non-guitar tablatures::
4529 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4530 @subsection Tablatures basic
4531 @cindex Tablatures basic
4533 The string number associated to a note is given as a backslash
4534 followed by a number, e.g., @code{c4\3} for a C quarter on the third
4535 string. By default, string 1 is the highest one, and the tuning
4536 defaults to the standard guitar tuning (with 6 strings). The notes
4537 are printed as tablature, by using @internalsref{TabStaff} and
4538 @internalsref{TabVoice} contexts
4540 @lilypond[quote,raggedright,fragment,verbatim]
4547 @cindex @code{minimumFret}
4550 When no string is specified, the first string that does not give a
4551 fret number less than @code{minimumFret} is selected. The default
4552 value for @code{minimumFret} is 0
4557 \set TabStaff.minimumFret = #8
4560 @lilypond[quote,raggedright]
4564 \set TabStaff.minimumFret = #8
4567 \context StaffGroup <<
4568 \context Staff { \clef "G_8" \frag }
4569 \context TabStaff { \frag }
4575 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4576 @internalsref{StringNumberEvent}.
4580 Chords are not handled in a special way, and hence the automatic
4581 string selector may easily select the same string to two notes in a
4585 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4586 @subsection Non-guitar tablatures
4587 @cindex Non-guitar tablatures
4589 You can change the number of strings, by setting the number of lines
4590 in the @internalsref{TabStaff}.
4592 You can change the tuning of the strings. A string tuning is given as
4593 a Scheme list with one integer number for each string, the number
4594 being the pitch (measured in semitones relative to middle C) of an
4595 open string. The numbers specified for @code{stringTuning} are the
4596 numbers of semitones to subtract or add, starting the specified pitch
4597 by default middle C, in string order. In the next example,
4598 @code{stringTunings} is set for the pitches e, a, d, and g
4600 @lilypond[quote,raggedright,fragment,verbatim]
4601 \context TabStaff <<
4602 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4604 a,4 c' a e' e c' a e'
4611 No guitar special effects have been implemented.
4615 Program reference: @internalsref{Tab_note_heads_engraver}.
4618 @node Popular music, Orchestral music, Tablatures, Notation manual
4619 @section Popular music
4621 This section discusses issues that arise when writing popular music.
4626 * Printing chord names::
4631 @node Chord names, Chords mode, Popular music, Popular music
4632 @subsection Chord names
4635 LilyPond has support for printing chord names. Chords may be entered
4636 in musical chord notation, i.e., @code{< .. >}, but they can also be
4637 entered by name. Internally, the chords are represented as a set of
4638 pitches, so they can be transposed
4641 @lilypond[quote,raggedright,verbatim,raggedright]
4642 twoWays = \transpose c c' {
4651 << \context ChordNames \twoWays
4652 \context Voice \twoWays >>
4655 This example also shows that the chord printing routines do not try to
4656 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4659 @c this menu isn't needed.
4663 * Printing chord names::
4668 @subsection Chords mode
4671 In chord mode sets of pitches (chords) are entered with normal note
4672 names. A chord is entered by the root, which is entered like a
4675 @lilypond[quote,raggedright,fragment,verbatim]
4676 \chordmode { es4. d8 c2 }
4680 The mode is introduced by the keyword @code{\chordmode}.
4685 Other chords may be entered by suffixing a colon and introducing a
4686 modifier (which may include a number if desired)
4687 @lilypond[quote,fragment,verbatim]
4688 \chordmode { e1:m e1:7 e1:m7 }
4690 The first number following the root is taken to be the `type' of the
4691 chord, thirds are added to the root until it reaches the specified
4693 @lilypond[quote,fragment,verbatim]
4694 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4697 @cindex root of chord
4698 @cindex additions, in chords
4699 @cindex removals, in chords
4701 More complex chords may also be constructed adding separate steps
4702 to a chord. Additions are added after the number following
4703 the colon and are separated by dots
4704 @lilypond[quote,verbatim,fragment]
4705 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4707 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4709 @lilypond[quote,verbatim,fragment]
4710 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4712 Removals are specified similarly and are introduced by a caret. They
4713 must come after the additions
4714 @lilypond[quote,verbatim,fragment]
4715 \chordmode { c^3 c:7^5 c:9^3.5 }
4718 Modifiers can be used to change pitches. The following modifiers are
4723 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4726 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
4730 The augmented chord. This modifier raises the 5th step.
4733 The major 7th chord. This modifier raises the 7th step if present.
4736 The suspended 4th or 2nd. This modifier removes the 3rd
4737 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4741 Modifiers can be mixed with additions
4742 @lilypond[quote,verbatim,fragment]
4743 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4746 @cindex modifiers, in chords.
4753 Since an unaltered 11 does not sound good when combined with an
4754 unaltered 3, the 11 is removed in this case (unless it is added
4756 @lilypond[quote,raggedright,fragment,verbatim]
4757 \chordmode { c:13 c:13.11 c:m13 }
4762 An inversion (putting one pitch of the chord on the bottom), as well
4763 as bass notes, can be specified by appending
4764 @code{/}@var{pitch} to the chord
4765 @lilypond[quote,raggedright,fragment,verbatim]
4766 \chordmode { c1 c/g c/f }
4770 A bass note can be added instead transposed out of the chord,
4771 by using @code{/+}@var{pitch}.
4773 @lilypond[quote,raggedright,fragment,verbatim]
4774 \chordmode { c1 c/+g c/+f }
4777 Chords is a mode similar to @code{\lyricmode}, etc. Most
4778 of the commands continue to work, for example, @code{r} and
4779 @code{\skip} can be used to insert rests and spaces, and property
4780 commands may be used to change various settings.
4786 Each step can only be present in a chord once. The following
4787 simply produces the augmented chord, since @code{5+} is interpreted
4790 @lilypond[quote,raggedright,verbatim,fragment]
4791 \chordmode { c:5.5-.5+ }
4795 @node Printing chord names
4796 @subsection Printing chord names
4798 @cindex printing chord names
4802 For displaying printed chord names, use the @internalsref{ChordNames} context.
4803 The chords may be entered either using the notation
4804 described above, or directly using @code{<} and @code{>}
4806 @lilypond[quote,verbatim,raggedright]
4808 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4811 \context ChordNames \harmonies
4812 \context Staff \harmonies
4816 You can make the chord changes stand out by setting
4817 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4818 display chord names when there is a change in the chords scheme and at
4819 the start of a new line
4821 @lilypond[quote,verbatim,raggedright]
4822 harmonies = \chordmode {
4823 c1:m c:m \break c:m c:m d
4826 \context ChordNames {
4827 \set chordChanges = ##t
4829 \context Staff \transpose c c' \harmonies
4833 The previous examples all show chords over a staff. This is not
4834 necessary. Chords may also be printed separately. It may be necessary
4835 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4836 for showing repeats.
4838 @lilypond[raggedright,verbatim]
4839 \new ChordNames \with {
4840 \override BarLine #'bar-size = #4
4841 voltaOnThisStaff = ##t
4842 \consists Bar_engraver
4843 \consists "Volta_engraver"
4845 \repeat volta 2 \chordmode {
4854 The default chord name layout is a system for Jazz music, proposed by
4855 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4856 following properties
4859 @cindex @code{chordNameExceptions}
4860 @item chordNameExceptions
4861 This is a list that contains the chords that have special formatting.
4863 The exceptions list should be encoded as
4865 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
4868 To get this information into @code{chordNameExceptions} takes a little
4869 manoeuvring. The following code transforms @code{chExceptionMusic}
4870 (which is a sequential music) into a list of exceptions.
4872 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4877 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4880 adds the new exceptions to the default ones, which are defined in
4881 @file{ly/@/chord@/-modifier@/-init@/.ly}.
4883 For an example of tuning this property, see also
4884 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
4885 @cindex exceptions, chord names.
4888 @cindex @code{majorSevenSymbol}
4889 @item majorSevenSymbol
4890 This property contains the markup object used for the 7th step, when
4891 it is major. Predefined options are @code{whiteTriangleMarkup} and
4892 @code{blackTriangleMarkup}. See
4893 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
4895 @cindex @code{chordNameSeparator}
4896 @item chordNameSeparator
4897 Different parts of a chord name are normally separated by a
4898 slash. By setting @code{chordNameSeparator}, you can specify other
4900 @lilypond[quote,raggedright,fragment,verbatim]
4901 \context ChordNames \chordmode {
4903 \set chordNameSeparator
4904 = \markup { \typewriter "|" }
4909 @cindex @code{chordRootNamer}
4910 @item chordRootNamer
4911 The root of a chord is usually printed as a letter with an optional
4912 alteration. The transformation from pitch to letter is done by this
4913 function. Special note names (for example, the German ``H'' for a
4914 B-chord) can be produced by storing a new function in this property.
4916 @cindex @code{chordNoteNamer}
4917 @item chordNoteNamer
4918 The default is to print single pitch, e.g., the bass note, using the
4919 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4920 to a specialized function to change this behavior. For example, the
4921 base can be printed in lower case.
4925 The predefined variables @code{\germanChords},
4926 @code{\semiGermanChords} set these variables. The effect is
4929 @lilypondfile[raggedright]{chord-names-german.ly}
4931 There are also two other chord name schemes implemented: an alternate
4932 Jazz chord notation, and a systematic scheme called Banter chords. The
4933 alternate Jazz notation is also shown on the chart in @ref{Chord name
4934 chart}. Turning on these styles is described in the input file
4935 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4939 @cindex chords, jazz
4944 @cindex @code{\germanChords}
4945 @code{\germanChords},
4946 @cindex @code{\semiGermanChords}
4947 @code{\semiGermanChords}.
4954 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
4955 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
4956 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4959 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
4960 @file{scm/@/chord@/-entry@/.scm}.
4965 Chord names are determined solely from the list of pitches. Chord
4966 inversions are not identified, and neither are added bass notes. This
4967 may result in strange chord names when chords are entered with the
4968 @code{< .. >} syntax.
4972 @subsection Fret diagrams
4973 @cindex fret diagrams
4974 @cindex chord diagrams
4976 Fret diagrams can be added to music as a markup to the desired note. The
4977 markup contains information about the desired fret diagram, as shown in the
4980 @lilypond[verbatim, raggedright, quote]
4982 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4984 fis' ^\markup \override #'(size . 0.75) {
4985 \override #'(finger-code . below-string) {
4986 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4987 (place-fret 5 4 3) (place-fret 4 4 4)
4988 (place-fret 3 3 2) (place-fret 2 2 1)
4993 c' ^\markup \override #'(dot-radius . 0.35) {
4994 \override #'(finger-code . in-dot) {
4995 \override #'(dot-color . white) {
4996 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
5005 There are three different fret-diagram markup interfaces: standard, terse,
5006 and verbose. The three interfaces produce equivalent markups, but have
5007 varying amounts of information in the markup string. Details about the
5008 markup interfaces are found at @ref{Overview of text markup commands}.
5010 You can set a number of graphical properties according to your preference.
5011 Details about the property interface to fret diagrams are found at
5012 @internalsref{fret-diagram-interface}.
5017 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
5021 @subsection Improvisation
5023 Improvisation is sometimes denoted with slashed note heads. Such note
5024 heads can be created by adding a @internalsref{Pitch_squash_engraver}
5025 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
5029 \set squashedPosition = #0
5030 \override NoteHead #'style = #'slash
5034 switches on the slashes.
5036 There are shortcuts @code{\improvisationOn} (and an accompanying
5037 @code{\improvisationOff}) for this command sequence. They are used in
5038 the following example
5040 @lilypond[verbatim,raggedright,quote]
5042 \consists Pitch_squash_engraver
5044 e8 e g a a16(bes)(a8) g \improvisationOn
5047 ~fis2 \improvisationOff a16(bes) a8 g e
5053 @node Orchestral music
5054 @section Orchestral music
5056 @cindex Writing parts
5058 Orchestral music involves some special notation, both in the full
5059 score and the individual parts. This section explains how to tackle
5060 some common problems in orchestral music.
5065 * System start delimiters::
5066 * Aligning to cadenzas::
5069 * Instrument names::
5071 * Instrument transpositions::
5072 * Multi measure rests::
5073 * Automatic part combining::
5075 * Different editions from one source::
5076 * Quoting other voices::
5077 * Formatting cue notes::
5080 @node System start delimiters
5081 @subsection System start delimiters
5083 Polyphonic scores consist of many staves. These staves can be
5084 constructed in three different ways
5086 @item The group is started with a brace at the left, and bar lines are
5087 connected. This is done with the @internalsref{GrandStaff} context.
5089 @lilypond[verbatim,raggedright,quote]
5098 @item The group is started with a bracket, and bar lines are connected.
5099 This is done with the
5100 @internalsref{StaffGroup} context
5102 @lilypond[verbatim,raggedright,quote]
5111 @item The group is started with a vertical line. Bar lines are not
5112 connected. This is the default for the score.
5114 @lilypond[verbatim,raggedright,quote]
5123 @cindex Staff, multiple
5124 @cindex bracket, vertical
5125 @cindex brace, vertical
5132 The bar lines at the start of each system are
5133 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
5134 @internalsref{SystemStartBracket}. Only one of these types is created
5135 in every context, and that type is determined by the property
5136 @code{systemStartDelimiter}.
5138 @node Aligning to cadenzas
5139 @subsection Aligning to cadenzas
5142 In an orchestral context, cadenzas present a special problem:
5143 when constructing a score that includes a cadenza, all other
5144 instruments should skip just as many notes as the length of the
5145 cadenza, otherwise they will start too soon or too late.
5147 A solution to this problem are the functions @code{mmrest-of-length}
5148 and @code{skip-of-length}. These Scheme functions take a piece of music
5149 as argument, and generate a @code{\skip} or multi-rest, exactly as
5150 long as the piece. The use of @code{mmrest-of-length} is demonstrated
5151 in the following example.
5153 @lilypond[verbatim,raggedright,quote]
5154 cadenza = \relative c' {
5155 c4 d8 << { e f g } \\ { d4. } >>
5160 \new Staff { \cadenza c'4 }
5162 #(ly:export (mmrest-of-length cadenza))
5172 @node Rehearsal marks
5173 @subsection Rehearsal marks
5174 @cindex Rehearsal marks
5176 @cindex @code{\mark}
5178 To print a rehearsal mark, use the @code{\mark} command
5180 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
5189 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
5190 @c umm, is the manual the right place for feature requests? :) -gp
5191 @c FIXME - should make that tunable.
5193 The mark is incremented automatically if you use @code{\mark
5194 \default}, but you can also use an integer argument to set the mark
5195 manually. The value to use is stored in the property
5196 @code{rehearsalMark}.
5198 The style is defined by the property @code{markFormatter}. It is a
5199 function taking the current mark (an integer) and the current context
5200 as argument. It should return a markup object. In the following
5201 example, @code{markFormatter} is set to a canned procedure. After a
5202 few measures, it is set to function that produces a boxed number.
5204 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5205 \set Score.markFormatter = #format-mark-numbers
5208 \set Score.markFormatter = #format-mark-box-numbers
5214 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
5215 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
5216 @code{format-mark-letters} and @code{format-mark-box-letters}.
5217 These can be used as inspiration for other formatting functions.
5220 @cindex coda on bar line
5221 @cindex segno on bar line
5222 @cindex fermata on bar line
5223 @cindex bar lines, symbols on
5225 The @code{\mark} command can also be used to put signs like coda,
5226 segno, and fermata on a bar line. Use @code{\markup} to
5227 access the appropriate symbol
5229 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5230 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
5234 In the case of a line break, marks must also be printed at the end of
5235 the line, and not at the beginning. Use the following to force that
5238 \override Score.RehearsalMark
5239 #'break-visibility = #begin-of-line-invisible
5245 @cindex bar lines, putting symbols on
5249 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5251 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
5252 definition of @code{format-mark-numbers} and
5253 @code{format-mark-letters}. They can be used as inspiration for other
5254 formatting functions.
5256 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
5258 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
5262 @subsection Bar numbers
5266 @cindex measure numbers
5267 @cindex @code{currentBarNumber}
5269 Bar numbers are printed by default at the start of the line. The
5270 number itself is stored in the @code{currentBarNumber} property, which
5271 is normally updated automatically for every measure.
5273 Bar numbers can be typeset at regular intervals instead of at the
5274 beginning of each line. This is illustrated in the following example,
5275 whose source is available as
5276 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
5278 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5280 Bar numbers can be typeset manually by tweaking the
5281 @code{markFormatter} property
5283 @lilypond[verbatim,raggedright,quote]
5285 \set Score.markFormatter
5286 = #(lambda (mark context)
5289 (number->string (ly:context-property context
5290 'currentBarNumber)))))
5292 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
5296 Bar numbers can be manually changed by setting the
5297 @code{Staff.currentBarNumber} property
5299 @lilypond[verbatim,raggedright,quote]
5301 \repeat unfold 4 {c4 c c c} \break
5302 \set Score.currentBarNumber = #50
5303 \repeat unfold 4 {c4 c c c}
5309 Program reference: @internalsref{BarNumber}.
5312 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
5313 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
5317 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5318 there is one at the top. To solve this, the
5319 @code{padding} property of @internalsref{BarNumber} can be
5320 used to position the number correctly.
5322 @node Instrument names
5323 @subsection Instrument names
5325 In an orchestral score, instrument names are printed at the left side
5328 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5329 and @internalsref{Staff}.@code{instr}. This will print a string before
5330 the start of the staff. For the first staff, @code{instrument} is
5331 used, for the following ones, @code{instr} is used.
5333 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5334 \set Staff.instrument = "Ploink "
5335 \set Staff.instr = "Plk "
5341 You can also use markup texts to construct more complicated instrument
5344 @lilypond[quote,fragment,verbatim,raggedright]
5345 \set Staff.instrument = \markup {
5346 \column { "Clarinetti"
5347 \line { "in B" \smaller \flat } } }
5351 For longer instrument names, it may be useful to increase the
5352 @code{indent} setting in the @code{\layout} block.
5356 Program reference: @internalsref{InstrumentName}.
5360 When you put a name on a grand staff or piano staff, the width of the
5361 brace is not taken into account. You must add extra spaces to the end of
5362 the name to avoid a collision.
5365 @subsection Transpose
5367 @cindex transposition of pitches
5368 @cindex @code{\transpose}
5370 A music expression can be transposed with @code{\transpose}. The
5373 \transpose @var{from} @var{to} @var{musicexpr}
5376 This means that @var{musicexpr} is transposed by the interval between
5377 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5378 is changed to @code{to}.
5381 For example, consider a piece written in the key of D-major. If
5382 this piece is a little too low for its performer, it can be
5383 transposed up to E-major with
5385 \transpose d e @dots{}
5388 Consider a part written for violin (a C instrument). If
5389 this part is to be played on the A clarinet, the following
5390 transposition will produce the appropriate part
5393 \transpose a c @dots{}
5396 @code{\transpose} distinguishes between enharmonic pitches: both
5397 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5398 half a tone. The first version will print sharps and the second
5399 version will print flats
5401 @lilypond[quote,raggedright,verbatim]
5402 mus = { \key d \major cis d fis g }
5406 \transpose c g' \mus
5407 \transpose c f' \mus
5414 Program reference: @internalsref{TransposedMusic}, and
5415 @internalsref{UntransposableMusic}.
5419 If you want to use both @code{\transpose} and @code{\relative},
5420 you must put @code{\transpose} outside of @code{\relative}, since
5421 @code{\relative} will have no effect music that appears inside a
5424 @node Instrument transpositions
5425 @subsection Instrument transpositions
5427 The key of a transposing instrument can also be specified. This
5428 applies to many wind instruments, for example, clarinets (B-flat, A, and
5429 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
5431 The transposition is entered after the keyword @code{\transposition}
5434 \transposition bes %% B-flat clarinet
5438 This command sets the property @code{instrumentTransposition}. The value of
5439 this property is used for MIDI output and quotations. It does not
5440 affect how notes are printed in the current staff.
5442 The pitch to use for @code{\transposition} should correspond to the
5443 transposition of the notes. For example, when entering a score in
5444 concert pitch, typically all voices are entered in C, so
5445 they should be entered as
5458 The command @code{\transposition} should be used when the music is
5459 entered from a (transposed) orchestral part. For example, in
5460 classical horn parts, the tuning of the instrument is often changed
5461 during a piece. When copying the notes from the part, use
5462 @code{\transposition}, e.g.,
5475 @cindex transposition, MIDI
5476 @cindex transposition, instrument
5479 @node Multi measure rests
5480 @subsection Multi measure rests
5481 @cindex multi measure rests
5482 @cindex Rests, multi measure
5486 Multi-measure rests are entered using `@code{R}'. It is specifically
5487 meant for full bar rests and for entering parts: the rest can expand
5488 to fill a score with rests, or it can be printed as a single
5489 multi-measure rest. This expansion is controlled by the property
5490 @code{Score.skipBars}. If this is set to true, empty measures will not
5491 be expanded, and the appropriate number is added automatically
5493 @lilypond[quote,raggedright,fragment,verbatim]
5494 \time 4/4 r1 | R1 | R1*2
5495 \set Score.skipBars = ##t R1*17 R1*4
5498 The @code{1} in @code{R1} is similar to the duration notation used for
5499 notes. Hence, for time signatures other than 4/4, you must enter other
5500 durations. This can be done with augmentation dots or fractions
5502 @lilypond[quote,raggedright,fragment,verbatim]
5503 \set Score.skipBars = ##t
5512 An @code{R} spanning a single measure is printed as either a whole rest
5513 or a breve, centered in the measure regardless of the time signature.
5515 If there are only a few measures of rest, LilyPond prints ``church rests''
5516 (a series of rectangles) in the staff. To replace that with a simple
5517 rest, use @code{MultiMeasureRest.expand-limit}.
5519 @lilypond[quote,raggedright,fragment,verbatim]
5520 \set Score.skipBars = ##t
5522 \override MultiMeasureRest #'expand-limit = 1
5527 @cindex text on multi-measure rest
5528 @cindex script on multi-measure rest
5529 @cindex fermata on multi-measure rest
5531 Texts can be added to multi-measure rests by using the
5532 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5533 A variable (@code{\fermataMarkup}) is provided for
5536 @lilypond[quote,raggedright,verbatim,fragment]
5537 \set Score.skipBars = ##t
5539 R2.*10^\markup { \italic "ad lib." }
5543 If you want to have text on the left end of a multi-measure rest,
5544 attach the text to a zero-length skip note, i.e.,
5552 @cindex whole rests for a full measure
5556 Program reference: @internalsref{MultiMeasureRestEvent},
5557 @internalsref{MultiMeasureTextEvent},
5558 @internalsref{MultiMeasureRestMusicGroup}, and
5559 @internalsref{MultiMeasureRest}.
5561 The layout object @internalsref{MultiMeasureRestNumber} is for the
5562 default number, and @internalsref{MultiMeasureRestText} for user
5567 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
5568 over multi-measure rests. And the pitch of multi-measure rests (or
5569 staff-centered rests) can not be influenced.
5571 @cindex condensing rests
5573 There is no way to automatically condense multiple rests into a single
5574 multi-measure rest. Multi-measure rests do not take part in rest
5577 Be careful when entering multi-measure rests followed by whole
5578 notes. The following will enter two notes lasting four measures each
5582 When @code{skipBars} is set, the result will look OK, but the bar
5583 numbering will be off.
5585 @node Automatic part combining
5586 @subsection Automatic part combining
5587 @cindex automatic part combining
5588 @cindex part combiner
5591 Automatic part combining is used to merge two parts of music onto a
5592 staff. It is aimed at typesetting orchestral scores. When the two
5593 parts are identical for a period of time, only one is shown. In
5594 places where the two parts differ, they are typeset as separate
5595 voices, and stem directions are set automatically. Also, solo and
5596 @emph{a due} parts are identified and can be marked.
5598 The syntax for part combining is
5601 \partcombine @var{musicexpr1} @var{musicexpr2}
5606 The following example demonstrates the basic functionality of the part
5607 combiner: putting parts on one staff, and setting stem directions and
5610 @lilypond[quote,verbatim,raggedright,fragment]
5611 \new Staff \partcombine
5612 \relative g' { g g a( b) c c r r }
5613 \relative g' { g g r4 r e e g g }
5616 The first @code{g} appears only once, although it was
5617 specified twice (once in each part). Stem, slur, and tie directions are
5618 set automatically, depending whether there is a solo or unisono. The
5619 first part (with context called @code{one}) always gets up stems, and
5620 `Solo', while the second (called @code{two}) always gets down stems and
5623 If you just want the merging parts, and not the textual markings, you
5624 may set the property @code{printPartCombineTexts} to false
5626 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5628 \set Staff.printPartCombineTexts = ##f
5630 \relative g' { g a( b) r }
5631 \relative g' { g r4 r f }
5635 To change the text that is printed for solos or merging, you may
5636 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
5639 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5641 \set Score.soloText = #"ichi"
5642 \set Score.soloIIText = #"ni"
5643 \set Score.aDueText = #"tachi"
5645 \relative g' { g a( b) r }
5646 \relative g' { g r4 r f }
5650 Both arguments to @code{\partcombine} will be interpreted as
5651 @internalsref{Voice} contexts. If using relative octaves,
5652 @code{\relative} should be specified for both music expressions, i.e.,
5656 \relative @dots{} @var{musicexpr1}
5657 \relative @dots{} @var{musicexpr2}
5661 A @code{\relative} section that is outside of @code{\partcombine} has
5662 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5666 Program reference: @internalsref{PartCombineMusic},
5667 @internalsref{SoloOneEvent}, and
5668 @internalsref{SoloTwoEvent}, and
5669 @internalsref{UnisonoEvent}.
5673 When @code{printPartCombineTexts} is set, when the two voices play the
5674 same notes on and off, the part combiner may typeset @code{a2} more
5675 than once in a measure.
5677 @code{\partcombine} cannot be inside @code{\times}.
5679 @code{\partcombine} cannot be inside @code{\relative}.
5681 Internally, the @code{\partcombine} interprets both arguments as
5682 @code{Voice}s named @code{one} and @code{two}, and then decides when
5683 the parts can be combined. Consequently, if the arguments switch to
5684 differently named @internalsref{Voice} contexts, the events in those
5688 @subsection Hiding staves
5690 @cindex Frenched scores
5691 @cindex Hiding staves
5693 In orchestral scores, staff lines that only have rests are usually
5694 removed. This saves some space. This style is called `French Score'.
5695 For @internalsref{Lyrics},
5696 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5697 switched on by default. When the lines of these contexts turn out
5698 empty after the line-breaking process, they are removed.
5700 For normal staves, a specialized @internalsref{Staff} context is
5701 available, which does the same: staves containing nothing (or only
5702 multi-measure rests) are removed. The context definition is stored in
5703 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5704 in this example disappears in the second line
5706 @lilypond[quote,raggedright,verbatim]
5708 \context { \RemoveEmptyStaffContext }
5713 \new Staff { e4 f g a \break c1 }
5714 \new Staff { c4 d e f \break R1 }
5719 The first system shows all staves in full. If empty staves should be
5720 removed from the first system too, set @code{remove-first} to false in
5721 @internalsref{RemoveEmptyVerticalGroup}.
5723 Another application is making ossia sections, i.e., alternative
5724 melodies on a separate piece of staff, with help of a Frenched
5725 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
5728 @node Different editions from one source
5729 @subsection Different editions from one source
5732 The @code{\tag} command marks music expressions with a name. These
5733 tagged expressions can be filtered out later. With this mechanism it
5734 is possible to make different versions of the same music source.
5736 In the following example, we see two versions of a piece of music, one
5737 for the full score, and one with cue notes for the instrumental part
5753 The same can be applied to articulations, texts, etc.: they are
5756 -\tag #@var{your-tag}
5758 to an articulation, for example,
5763 This defines a note with a conditional fingering indication.
5766 @cindex removeWithTag
5767 By applying the @code{\keepWithTag} and @code{\removeWithTag}
5768 commands, tagged expressions can be filtered. For example,
5772 \keepWithTag #'score @var{the music}
5773 \keepWithTag #'part @var{the music}
5778 @lilypondfile[raggedright,quote]{tag-filter.ly}
5781 The argument of the @code{\tag} command should be a symbol, or a list
5782 of symbols, for example,
5784 \tag #'(original-part transposed-part) @dots{}
5791 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
5795 Multiple rests are not merged if you create the score with both tagged
5799 @node Quoting other voices
5800 @subsection Quoting other voices
5802 With quotations, fragments of other parts can be inserted into a part
5803 directly. Before a part can be quoted, it must be marked especially as
5804 quotable. This is done with the @code{\addquote} command.
5807 \addquote @var{name} @var{music}
5812 Here, @var{name} is an identifying string. The @var{music} is any kind
5813 of music. Here is an example of @code{\addquote}
5816 \addquote clarinet \relative c' @{
5821 This command must be entered at toplevel, i.e., outside any music
5824 After calling @code{\addquote}, the quotation may then be done with
5825 @code{\quoteDuring} or @code{\cueDuring},
5828 \quoteDuring #@var{name} @var{music}
5831 During a part, a piece of music can be quoted with the @code{\quoteDuring}
5835 \quoteDuring #"clarinet" @{ s2. @}
5838 This would cite three quarter notes (the duration of @code{s2.}) of
5839 the previously added @code{clarinet} voice.
5842 More precisely, it takes the current time-step of the part being
5843 printed, and extracts the notes at the corresponding point of the
5844 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5845 should be the entire part of the voice to be quoted, including any
5846 rests at the beginning.
5848 Quotations take into account the transposition of both source and target
5849 instruments, if they are specified using the @code{\transposition} command.
5851 @lilypond[quote,raggedright,verbatim]
5852 \addquote clarinet \relative c' {
5858 e'8 f'8 \quoteDuring #"clarinet" { s2 }
5862 The type of events that are present in cue notes can be trimmed with
5863 the @code{quotedEventTypes} property. The default value is
5864 @code{(note-event rest-event)}, which means that only notes and
5865 rests of the cued voice end up in the @code{\quoteDuring}.
5869 \set Staff.quotedEventTypes =
5870 #'(note-event articulation-event dynamic-event)
5874 will quote notes (but no rests), together with scripts and dynamics.
5878 Only the contents of the first @internalsref{Voice} occurring in an
5879 @code{\addquote} command will be considered for quotation, so
5880 @var{music} can not contain @code{\new} and @code{\context Voice}
5881 statements that would switch to a different Voice.
5883 Quoting grace notes is broken and can even cause LilyPond to crash.
5887 In this manual: @ref{Instrument transpositions}.
5889 Examples: @inputfileref{input/@/regression,quote@/.ly}
5890 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
5892 Program reference: @internalsref{QuoteMusic}.
5894 @node Formatting cue notes
5895 @subsection Formatting cue notes
5897 The previous section deals with inserting notes from another voice.
5898 There is a more advanced music function called @code{\cueDuring},
5899 which makes formatting cue notes easier.
5904 \cueDuring #@var{name} #@var{updown} @var{music}
5907 This will insert notes from the part @var{name} into a
5908 @internalsref{Voice} called @code{cue}. This happens simultaneously
5909 with @var{music}, which usually is a rest. When the cue notes start,
5910 the staff in effect becomes polyphonic for a moment. The argument
5911 @var{updown} determines whether the cue notes should be notated as a
5912 first or second voice.
5915 @lilypond[verbatim,raggedright]
5918 \override Stem #'length = #5.5
5919 \override Beam #'thickness = #0.384
5920 \override Beam #'space-function =
5921 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5924 \addquote clarinet \relative {
5929 \new Staff \relative <<
5931 % setup a context for cue notes.
5932 \context Voice = cue { \smaller \skip 1*21 }
5934 \set Score.skipBars = ##t
5938 \cueDuring #"clarinet" #1 {
5947 Here are a couple of hints for successful cue notes
5951 Cue notes have smaller font sizes.
5953 the cued part is marked with the instrument playing the cue.
5955 when the original part takes over again, this should be marked with
5956 the name of the original instrument.
5958 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5960 @c Yes, this is good practice. Otherwise, the start of the original
5961 @c part can only be seen from the font size. This is not good enough
5962 @c for sight-reading. It is possilbe to use other
5963 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
5968 any other changes introduced by the cued part should also be
5969 undone. For example, if the cued instrument plays in a different clef,
5970 the original clef should be stated once again.
5978 @node Ancient notation
5979 @section Ancient notation
5981 @cindex Vaticana, Editio
5982 @cindex Medicaea, Editio
5987 Support for ancient notation includes features for mensural notation
5988 and Gregorian Chant notation. There is also limited support for
5989 figured bass notation.
5991 Many graphical objects provide a @code{style} property, see
5994 @ref{Ancient note heads},
5996 @ref{Ancient accidentals},
5998 @ref{Ancient rests},
6000 @ref{Ancient clefs},
6002 @ref{Ancient flags},
6004 @ref{Ancient time signatures}.
6007 By manipulating such a grob property, the typographical appearance of
6008 the affected graphical objects can be accommodated for a specific
6009 notation flavor without the need for introducing any new notational
6012 In addition to the standard articulation signs described in section
6013 @ref{Articulations}, specific articulation signs for ancient notation
6018 @ref{Ancient articulations}
6021 Other aspects of ancient notation can not that easily be expressed
6022 in terms of just changing a style property of a graphical object or
6023 adding articulation signs. Some notational concepts are introduced
6024 specifically for ancient notation,
6035 If this all is too much of documentation for you, and you just want to
6036 dive into typesetting without worrying too much about the details on
6037 how to customize a context, you may have a look at the predefined
6038 contexts. Use them to set up predefined style-specific voice and
6039 staff contexts, and directly go ahead with the note entry,
6043 @ref{Gregorian Chant contexts},
6045 @ref{Mensural contexts}.
6048 There is limited support for figured bass notation which came
6049 up during the baroque period.
6056 Here are all suptopics at a glance:
6059 * Ancient note heads::
6060 * Ancient accidentals::
6064 * Ancient time signatures::
6065 * Ancient articulations::
6069 * Gregorian Chant contexts::
6070 * Mensural contexts::
6075 @node Ancient note heads
6076 @subsection Ancient note heads
6081 For ancient notation, a note head style other than the @code{default}
6082 style may be chosen. This is accomplished by setting the @code{style}
6083 property of the @internalsref{NoteHead} object to @code{baroque},
6084 @code{neomensural} or @code{mensural}. The @code{baroque} style
6085 differs from the @code{default} style only in using a square shape
6086 for @code{\breve} note heads. The @code{neomensural} style differs from
6087 the @code{baroque} style in that it uses rhomboidal heads for whole notes
6088 and all smaller durations. Stems are centered on the note heads.
6089 This style is particularly useful when transcribing mensural music,
6090 e.g., for the incipit. The @code{mensural} style finally produces note
6091 heads that mimic the look of note heads in historic printings of the
6094 The following example demonstrates the @code{neomensural} style
6096 @lilypond[quote,fragment,raggedright,verbatim]
6097 \set Score.skipBars = ##t
6098 \override NoteHead #'style = #'neomensural
6099 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
6102 When typesetting a piece in Gregorian Chant notation, the
6103 @internalsref{Gregorian_ligature_engraver} will automatically select
6104 the proper note heads, so there is no need to explicitly set the
6105 note head style. Still, the note head style can be set, e.g., to
6106 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
6107 @internalsref{Mensural_ligature_engraver} is used to automatically
6108 assemble mensural ligatures. See @ref{Ligatures} for how ligature
6113 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
6114 overview over all available note head styles.
6117 @node Ancient accidentals
6118 @subsection Ancient accidentals
6123 Use the @code{style} property of grob @internalsref{Accidental} to
6124 select ancient accidentals. Supported styles are
6125 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
6127 @lilypond[quote,raggedright,staffsize=26]
6134 \line { " " \musicglyph #"accidentals-vaticana-1"
6135 " " \musicglyph #"accidentals-vaticana0" }
6139 \line { " " \musicglyph #"accidentals-medicaea-1" }
6143 \line { " " \musicglyph #"accidentals-hufnagel-1" }
6147 \line { " " \musicglyph #"accidentals-mensural-1"
6148 " " \musicglyph #"accidentals-mensural1" }
6154 \context { \Score \remove "Bar_number_engraver" }
6156 \remove "Clef_engraver"
6157 \remove "Key_engraver"
6158 \remove "Time_signature_engraver"
6159 \remove "Staff_symbol_engraver"
6160 minimumVerticalExtent = ##f
6166 As shown, not all accidentals are supported by each style. When
6167 trying to access an unsupported accidental, LilyPond will switch to a
6168 different style, as demonstrated in
6169 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6171 Similarly to local accidentals, the style of the key signature can be
6172 controlled by the @code{style} property of the
6173 @internalsref{KeySignature} grob.
6177 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
6178 @ref{Accidentals} give a general introduction of the use of
6179 accidentals. @ref{Key signature} gives a general introduction of
6180 the use of key signatures.
6182 Program reference: @internalsref{KeySignature}.
6184 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6187 @subsection Ancient rests
6192 Use the @code{style} property of grob @internalsref{Rest} to select
6193 ancient rests. Supported styles are @code{classical},
6194 @code{neomensural}, and @code{mensural}. @code{classical} differs
6195 from the @code{default} style only in that the quarter rest looks like
6196 a horizontally mirrored 8th rest. The @code{neomensural} style suits
6197 well for, e.g., the incipit of a transcribed mensural piece of music.
6198 The @code{mensural} style finally mimics the appearance of rests as
6199 in historic prints of the 16th century.
6201 The following example demonstrates the @code{neomensural} style
6203 @lilypond[quote,fragment,raggedright,verbatim]
6204 \set Score.skipBars = ##t
6205 \override Rest #'style = #'neomensural
6206 r\longa r\breve r1 r2 r4 r8 r16
6209 There are no 32th and 64th rests specifically for the mensural or
6210 neo-mensural style. Instead, the rests from the default style will be
6211 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
6214 There are no rests in Gregorian Chant notation; instead, it uses
6219 In this manual: @ref{Rests} gives a general introduction into the use of rests.
6223 @subsection Ancient clefs
6228 LilyPond supports a variety of clefs, many of them ancient.
6230 The following table shows all ancient clefs that are supported via the
6231 @code{\clef} command. Some of the clefs use the same glyph, but
6232 differ only with respect to the line they are printed on. In such
6233 cases, a trailing number in the name is used to enumerate these clefs.
6234 Still, you can manually force a clef glyph to be typeset on an
6235 arbitrary line, as described in @ref{Clef}. The note printed to the
6236 right side of each clef in the example column denotes the @code{c'}
6237 with respect to that clef.
6239 @multitable @columnfractions .4 .4 .2
6248 modern style mensural C clef
6250 @code{neomensural-c1}, @code{neomensural-c2},@*
6251 @code{neomensural-c3}, @code{neomensural-c4}
6253 @lilypond[fragment,relative=1,notime]
6254 \clef "neomensural-c2" c
6258 petrucci style mensural C clefs, for use on different staff lines
6259 (the examples show the 2nd staff line C clef)
6261 @code{petrucci-c1}, @code{petrucci-c2},@*
6262 @code{petrucci-c3}, @code{petrucci-c4},@*
6265 @lilypond[fragment,relative=1,notime]
6266 \clef "petrucci-c2" c
6270 petrucci style mensural F clef
6274 @lilypond[fragment,relative=1,notime]
6275 \clef "petrucci-f" c
6279 petrucci style mensural G clef
6283 @lilypond[fragment,relative=1,notime]
6284 \clef "petrucci-g" c
6288 historic style mensural C clef
6290 @code{mensural-c1}, @code{mensural-c2},@*
6291 @code{mensural-c3}, @code{mensural-c4}
6293 @lilypond[fragment,relative=1,notime]
6294 \clef "mensural-c2" c
6298 historic style mensural F clef
6302 @lilypond[fragment,relative=1,notime]
6303 \clef "mensural-f" c
6307 historic style mensural G clef
6311 @lilypond[fragment,relative=1,notime]
6312 \clef "mensural-g" c
6316 Editio Vaticana style do clef
6318 @code{vaticana-do1}, @code{vaticana-do2},@*
6321 @lilypond[fragment,relative=1,notime]
6322 \override Staff.StaffSymbol #'line-count = #4
6323 \clef "vaticana-do2" c
6327 Editio Vaticana style fa clef
6329 @code{vaticana-fa1}, @code{vaticana-fa2}
6331 @lilypond[fragment,relative=1,notime]
6332 \override Staff.StaffSymbol #'line-count = #4
6333 \clef "vaticana-fa2" c
6337 Editio Medicaea style do clef
6339 @code{medicaea-do1}, @code{medicaea-do2},@*
6342 @lilypond[fragment,relative=1,notime]
6343 \override Staff.StaffSymbol #'line-count = #4
6344 \clef "medicaea-do2" c
6348 Editio Medicaea style fa clef
6350 @code{medicaea-fa1}, @code{medicaea-fa2}
6352 @lilypond[fragment,relative=1,notime]
6353 \override Staff.StaffSymbol #'line-count = #4
6354 \clef "medicaea-fa2" c
6358 historic style hufnagel do clef
6360 @code{hufnagel-do1}, @code{hufnagel-do2},@*
6363 @lilypond[fragment,relative=1,notime]
6364 \override Staff.StaffSymbol #'line-count = #4
6365 \clef "hufnagel-do2" c
6369 historic style hufnagel fa clef
6371 @code{hufnagel-fa1}, @code{hufnagel-fa2}
6373 @lilypond[fragment,relative=1,notime]
6374 \override Staff.StaffSymbol #'line-count = #4
6375 \clef "hufnagel-fa2" c
6379 historic style hufnagel combined do/fa clef
6381 @code{hufnagel-do-fa}
6383 @lilypond[fragment,relative=1,notime]
6384 \clef "hufnagel-do-fa" c
6390 @emph{Modern style} means ``as is typeset in contemporary editions of
6391 transcribed mensural music''.
6393 @emph{Petrucci style} means ``inspired by printings published by the
6394 famous engraver Petrucci (1466-1539)''.
6396 @emph{Historic style} means ``as was typeset or written in historic
6397 editions (other than those of Petrucci)''.
6399 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6401 Petrucci used C clefs with differently balanced left-side vertical
6402 beams, depending on which staff line it is printed.
6406 In this manual: see @ref{Clef}.
6410 The mensural g clef is mapped to the Petrucci g clef.
6415 @subsection Ancient flags
6420 Use the @code{flag-style} property of grob @internalsref{Stem} to
6421 select ancient flags. Besides the @code{default} flag style,
6422 only the @code{mensural} style is supported
6424 @lilypond[quote,fragment,raggedright,verbatim]
6425 \override Stem #'flag-style = #'mensural
6426 \override Stem #'thickness = #1.0
6427 \override NoteHead #'style = #'mensural
6429 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
6430 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6433 Note that the innermost flare of each mensural flag always is
6434 vertically aligned with a staff line.
6436 There is no particular flag style for neo-mensural notation. Hence,
6437 when typesetting the incipit of a transcribed piece of mensural
6438 music, the default flag style should be used. There are no flags in
6439 Gregorian Chant notation.
6443 The attachment of ancient flags to stems is slightly off due to a
6444 change in early 2.3.x.
6446 Vertically aligning each flag with a staff line assumes that stems
6447 always end either exactly on or exactly in the middle between two
6448 staff lines. This may not always be true when using advanced layout
6449 features of classical notation (which however are typically out of
6450 scope for mensural notation).
6452 @node Ancient time signatures
6453 @subsection Ancient time signatures
6455 @cindex time signatures
6458 There is limited support for mensural time signatures. The
6459 glyphs are hard-wired to particular time fractions. In other words,
6460 to get a particular mensural signature glyph with the @code{\time n/m}
6461 command, @code{n} and @code{m} have to be chosen according to the
6464 @lilypond[quote,raggedright]
6468 \remove Staff_symbol_engraver
6469 \remove Clef_engraver
6470 \remove Time_signature_engraver
6473 \set Score.timing = ##f
6474 \set Score.barAlways = ##t
6475 s_\markup { "$\\backslash$time 4/4" }
6476 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6478 s_\markup { "$\\backslash$time 2/2" }
6479 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6481 s_\markup { "$\\backslash$time 6/4" }
6482 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6484 s_\markup { "$\\backslash$time 6/8" }
6485 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6487 s_\markup { "$\\backslash$time 3/2" }
6488 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6490 s_\markup { "$\\backslash$time 3/4" }
6491 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6493 s_\markup { "$\\backslash$time 9/4" }
6494 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6496 s_\markup { "$\\backslash$time 9/8" }
6497 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6499 s_\markup { "$\\backslash$time 4/8" }
6500 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6502 s_\markup { "$\\backslash$time 2/4" }
6503 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6507 Use the @code{style} property of grob @internalsref{TimeSignature} to
6508 select ancient time signatures. Supported styles are
6509 @code{neomensural} and @code{mensural}. The above table uses the
6510 @code{neomensural} style. This style is appropriate for the
6511 incipit of transcriptions of mensural pieces. The @code{mensural}
6512 style mimics the look of historical printings of the 16th century.
6514 The following examples show the differences in style,
6516 @lilypond[raggedright,fragment,relative=1,quote]
6520 c1^\markup { \hspace #-2.0 \typewriter default }
6522 \override Staff.TimeSignature #'style = #'numbered
6524 c1^\markup { \hspace #-2.0 \typewriter numbered }
6526 \override Staff.TimeSignature #'style = #'mensural
6528 c1^\markup { \hspace #-2.0 \typewriter mensural }
6530 \override Staff.TimeSignature #'style = #'neomensural
6532 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6533 \override Staff.TimeSignature #'style = #'single-digit
6535 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6541 This manual: @ref{Time signature} gives a general introduction to
6542 the use of time signatures.
6546 Ratios of note durations do not change with the time signature. For
6547 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6548 be made by hand, by setting
6551 breveTP = #(ly:make-duration -1 0 3 2)
6557 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6559 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6560 addressable with @code{\time}. Use a @code{\markup} instead
6562 @node Ancient articulations
6563 @subsection Ancient articulations
6565 @cindex articulations
6567 In addition to the standard articulation signs described in section
6568 @ref{Articulations}, articulation signs for ancient notation are
6569 provided. These are specifically designed for use with notation in
6570 Editio Vaticana style.
6572 @lilypond[quote,raggedright,verbatim]
6573 \include "gregorian-init.ly"
6575 \context VaticanaVoice {
6576 \override TextScript #'font-family = #'typewriter
6577 \override TextScript #'font-shape = #'upright
6578 \override Script #'padding = #-0.1
6580 a4\circulus_"circulus" s1
6581 a4\semicirculus_"semicirculus" s1 s
6582 a4\accentus_"accentus" s1
6583 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6590 Some articulations are vertically placed too closely to the
6591 correpsonding note heads.
6594 @subsection Custodes
6599 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6600 symbol that appears at the end of a staff. It anticipates the pitch
6601 of the first note(s) of the following line thus helping the performer
6602 to manage line breaks during performance.
6604 Custodes were frequently used in music notation until the 17th
6605 century. Nowadays, they have survived only in a few particular forms
6606 of musical notation such as contemporary editions of Gregorian chant
6607 like the @emph{editio vaticana}. There are different custos glyphs
6608 used in different flavors of notational style.
6610 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6611 @internalsref{Staff} context when declaring the @code{\layout} block,
6612 as shown in the following example
6618 \consists Custos_engraver
6619 Custos \override #'style = #'mensural
6624 The result looks like this
6626 @lilypond[quote,raggedright]
6630 \override Staff.Custos #'style = #'mensural
6635 \context { \Staff \consists Custos_engraver }
6640 The custos glyph is selected by the @code{style} property. The styles
6641 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
6642 @code{mensural}. They are demonstrated in the following fragment
6644 @lilypond[quote,raggedright,fragment]
6645 \new Lyrics \lyricmode {
6647 \typewriter "vaticana"
6648 \line { " " \musicglyph #"custodes-vaticana-u0" }
6651 \typewriter "medicaea"
6652 \line { " " \musicglyph #"custodes-medicaea-u0" }
6655 \typewriter "hufnagel"
6656 \line { " " \musicglyph #"custodes-hufnagel-u0" }
6659 \typewriter "mensural"
6660 \line { " " \musicglyph #"custodes-mensural-u0" }
6667 Program reference: @internalsref{Custos}.
6669 Examples: @inputfileref{input/@/regression,custos@/.ly}.
6673 @subsection Divisiones
6679 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6680 `division') is a staff context symbol that is used to structure
6681 Gregorian music into phrases and sections. The musical meaning of
6682 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
6683 can be characterized as short, medium, and long pause, somewhat like
6684 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6685 only marks the end of a chant, but is also frequently used within a
6686 single antiphonal/responsorial chant to mark the end of each section.
6689 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
6690 contains definitions that you can apply by just inserting
6691 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6692 and @code{\finalis} at proper places in the input. Some editions use
6693 @emph{virgula} or @emph{caesura} instead of divisio minima.
6694 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
6697 @lilypondfile[quote,raggedright]{divisiones.ly}
6701 @cindex @code{\virgula}
6703 @cindex @code{\caesura}
6705 @cindex @code{\divisioMinima}
6706 @code{\divisioMinima},
6707 @cindex @code{\divisioMaior}
6708 @code{\divisioMaior},
6709 @cindex @code{\divisioMaxima}
6710 @code{\divisioMaxima},
6711 @cindex @code{\finalis}
6716 In this manual: @ref{Breath marks}.
6718 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6720 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
6723 @subsection Ligatures
6727 @c TODO: Should double check if I recalled things correctly when I wrote
6728 @c down the following paragraph by heart.
6730 A ligature is a graphical symbol that represents at least two distinct
6731 notes. Ligatures originally appeared in the manuscripts of Gregorian
6732 chant notation to denote ascending or descending sequences of notes.
6734 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6735 Some ligature styles may need additional input syntax specific for
6736 this particular type of ligature. By default, the
6737 @internalsref{LigatureBracket} engraver just puts a square bracket
6740 @lilypond[quote,raggedright,verbatim]
6748 To select a specific style of ligatures, a proper ligature engraver
6749 has to be added to the @internalsref{Voice} context, as explained in
6750 the following subsections. Only white mensural ligatures
6751 are supported with certain limitations.
6757 Ligatures need special spacing that has not yet been implemented. As
6758 a result, there is too much space between ligatures most of the time,
6759 and line breaking often is unsatisfactory. Also, lyrics do not
6760 correctly align with ligatures.
6762 Accidentals must not be printed within a ligature, but instead need to
6763 be collected and printed in front of it.
6765 Augmentum dots within ligatures are not handled correctly.
6769 * White mensural ligatures::
6770 * Gregorian square neumes ligatures::
6773 @node White mensural ligatures
6774 @subsubsection White mensural ligatures
6776 @cindex Mensural ligatures
6777 @cindex White mensural ligatures
6779 There is limited support for white mensural ligatures.
6781 To engrave white mensural ligatures, in the layout block put the
6782 @internalsref{Mensural_ligature_engraver} into the
6783 @internalsref{Voice} context, and remove the
6784 @internalsref{Ligature_bracket_engraver}, like this
6790 \remove Ligature_bracket_engraver
6791 \consists Mensural_ligature_engraver
6796 There is no additional input language to describe the shape of a
6797 white mensural ligature. The shape is rather determined solely from
6798 the pitch and duration of the enclosed notes. While this approach may
6799 take a new user a while to get accustomed to, it has the great advantage
6800 that the full musical information of the ligature is known internally.
6801 This is not only required for correct MIDI output, but also allows for
6802 automatic transcription of the ligatures.
6807 \set Score.timing = ##f
6808 \set Score.defaultBarType = "empty"
6809 \override NoteHead #'style = #'neomensural
6810 \override Staff.TimeSignature #'style = #'neomensural
6812 \[ g\longa c\breve a\breve f\breve d'\longa \]
6814 \[ e1 f1 a\breve g\longa \]
6816 @lilypond[quote,raggedright]
6819 \set Score.timing = ##f
6820 \set Score.defaultBarType = "empty"
6821 \override NoteHead #'style = #'neomensural
6822 \override Staff.TimeSignature #'style = #'neomensural
6824 \[ g\longa c\breve a\breve f\breve d'\longa \]
6826 \[ e1 f1 a\breve g\longa \]
6831 \remove Ligature_bracket_engraver
6832 \consists Mensural_ligature_engraver
6838 Without replacing @internalsref{Ligature_bracket_engraver} with
6839 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6842 @lilypond[quote,raggedright]
6844 \set Score.timing = ##f
6845 \set Score.defaultBarType = "empty"
6846 \override NoteHead #'style = #'neomensural
6847 \override Staff.TimeSignature #'style = #'neomensural
6849 \[ g\longa c\breve a\breve f\breve d'\longa \]
6851 \[ e1 f1 a\breve g\longa \]
6857 The implementation is experimental. It may output strange warnings,
6858 incorrect results, and might even crash on more complex ligatures.
6860 @node Gregorian square neumes ligatures
6861 @subsubsection Gregorian square neumes ligatures
6863 @cindex Square neumes ligatures
6864 @cindex Gregorian square neumes ligatures
6866 There is limited support for Gregorian square neumes notation
6867 (following the style of the Editio Vaticana). Core ligatures can
6868 already be typeset, but essential issues for serious typesetting are
6869 still lacking, such as (among others) horizontal alignment of multiple
6870 ligatures, lyrics alignment and proper handling of accidentals.
6873 The following table contains the extended neumes table of the 2nd
6874 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6875 1983 by the monks of Solesmes.
6877 @multitable @columnfractions .4 .2 .2 .2
6894 @c TODO: \layout block is identical in all of the below examples.
6895 @c Therefore, it should somehow be included rather than duplicated all
6898 @c why not make identifiers in ly/engraver-init.ly? --hwn
6900 @c Because it's just used to typeset plain notes without
6901 @c a staff for demonstration purposes rather than something
6902 @c special of Gregorian chant notation. --jr
6907 @lilypond[staffsize=26,linewidth=1.5\cm]
6908 \include "gregorian-init.ly"
6913 \noBreak s^\markup {"a"} \noBreak
6915 % Punctum Inclinatum
6917 \noBreak s^\markup {"b"}
6919 \layout { \neumeDemoLayout }}
6922 @lilypond[staffsize=26,linewidth=2.5\cm]
6923 \include "gregorian-init.ly"
6926 % Punctum Auctum Ascendens
6927 \[ \auctum \ascendens b \]
6928 \noBreak s^\markup {"c"} \noBreak
6930 % Punctum Auctum Descendens
6931 \[ \auctum \descendens b \]
6932 \noBreak s^\markup {"d"} \noBreak
6934 % Punctum Inclinatum Auctum
6935 \[ \inclinatum \auctum b \]
6936 \noBreak s^\markup {"e"}
6938 \layout { \neumeDemoLayout }}
6941 @lilypond[staffsize=26,linewidth=1.0\cm]
6942 \include "gregorian-init.ly"
6945 % Punctum Inclinatum Parvum
6946 \[ \inclinatum \deminutum b \]
6947 \noBreak s^\markup {"f"}
6949 \layout { \neumeDemoLayout }}
6955 @lilypond[staffsize=26,linewidth=1.0\cm]
6956 \include "gregorian-init.ly"
6961 \noBreak s^\markup {"g"}
6963 \layout { \neumeDemoLayout }}
6969 @code{3. Apostropha vel Stropha}
6971 @lilypond[staffsize=26,linewidth=1.0\cm]
6972 \include "gregorian-init.ly"
6977 \noBreak s^\markup {"h"}
6979 \layout { \neumeDemoLayout }}
6982 @lilypond[staffsize=26,linewidth=1.0\cm]
6983 \include "gregorian-init.ly"
6987 \[ \stropha \auctum b \]
6988 \noBreak s^\markup {"i"}
6990 \layout { \neumeDemoLayout }}
6997 @lilypond[staffsize=26,linewidth=1.0\cm]
6998 \include "gregorian-init.ly"
7003 \noBreak s^\markup {"j"}
7005 \layout { \neumeDemoLayout }}
7011 @code{5. Clivis vel Flexa}
7013 @lilypond[staffsize=26,linewidth=1.0\cm]
7014 \include "gregorian-init.ly"
7021 \layout { \neumeDemoLayout }}
7024 @lilypond[staffsize=26,linewidth=2.0\cm]
7025 \include "gregorian-init.ly"
7028 % Clivis Aucta Descendens
7029 \[ b \flexa \auctum \descendens g \]
7030 \noBreak s^\markup {"l"} \noBreak
7032 % Clivis Aucta Ascendens
7033 \[ b \flexa \auctum \ascendens g \]
7034 \noBreak s^\markup {"m"}
7036 \layout { \neumeDemoLayout }}
7039 @lilypond[staffsize=26,linewidth=1.0\cm]
7040 \include "gregorian-init.ly"
7044 \[ b \flexa \deminutum g \]
7047 \layout { \neumeDemoLayout }}
7051 @code{6. Podatus vel Pes}
7053 @lilypond[staffsize=26,linewidth=1.0\cm]
7054 \include "gregorian-init.ly"
7061 \layout { \neumeDemoLayout }}
7064 @lilypond[staffsize=26,linewidth=2.0\cm]
7065 \include "gregorian-init.ly"
7068 % Pes Auctus Descendens
7069 \[ g \pes \auctum \descendens b \]
7070 \noBreak s^\markup {"p"} \noBreak
7072 % Pes Auctus Ascendens
7073 \[ g \pes \auctum \ascendens b \]
7074 \noBreak s^\markup {"q"}
7076 \layout { \neumeDemoLayout }}
7079 @lilypond[staffsize=26,linewidth=1.0\cm]
7080 \include "gregorian-init.ly"
7084 \[ g \pes \deminutum b \]
7087 \layout { \neumeDemoLayout }}
7091 @code{7. Pes Quassus}
7093 @lilypond[staffsize=26,linewidth=1.0\cm]
7094 \include "gregorian-init.ly"
7098 \[ \oriscus g \pes \virga b \]
7101 \layout { \neumeDemoLayout }}
7104 @lilypond[staffsize=26,linewidth=1.0\cm]
7105 \include "gregorian-init.ly"
7108 % Pes Quassus Auctus Descendens
7109 \[ \oriscus g \pes \auctum \descendens b \]
7112 \layout { \neumeDemoLayout }}
7117 @code{8. Quilisma Pes}
7119 @lilypond[staffsize=26,linewidth=1.0\cm]
7120 \include "gregorian-init.ly"
7124 \[ \quilisma g \pes b \]
7127 \layout { \neumeDemoLayout }}
7130 @lilypond[staffsize=26,linewidth=1.0\cm]
7131 \include "gregorian-init.ly"
7134 % Quilisma Pes Auctus Descendens
7135 \[ \quilisma g \pes \auctum \descendens b \]
7138 \layout { \neumeDemoLayout }}
7143 @code{9. Podatus Initio Debilis}
7145 @lilypond[staffsize=26,linewidth=1.0\cm]
7146 \include "gregorian-init.ly"
7149 % Pes Initio Debilis
7150 \[ \deminutum g \pes b \]
7153 \layout { \neumeDemoLayout }}
7156 @lilypond[staffsize=26,linewidth=1.0\cm]
7157 \include "gregorian-init.ly"
7160 % Pes Auctus Descendens Initio Debilis
7161 \[ \deminutum g \pes \auctum \descendens b \]
7164 \layout { \neumeDemoLayout }}
7171 @lilypond[staffsize=26,linewidth=1.0\cm]
7172 \include "gregorian-init.ly"
7176 \[ a \pes b \flexa g \]
7179 \layout { \neumeDemoLayout }}
7182 @lilypond[staffsize=26,linewidth=1.0\cm]
7183 \include "gregorian-init.ly"
7186 % Torculus Auctus Descendens
7187 \[ a \pes b \flexa \auctum \descendens g \]
7190 \layout { \neumeDemoLayout }}
7193 @lilypond[staffsize=26,linewidth=1.0\cm]
7194 \include "gregorian-init.ly"
7197 % Torculus Deminutus
7198 \[ a \pes b \flexa \deminutum g \]
7201 \layout { \neumeDemoLayout }}
7205 @code{11. Torculus Initio Debilis}
7207 @lilypond[staffsize=26,linewidth=1.0\cm]
7208 \include "gregorian-init.ly"
7211 % Torculus Initio Debilis
7212 \[ \deminutum a \pes b \flexa g \]
7215 \layout { \neumeDemoLayout }}
7218 @lilypond[staffsize=26,linewidth=1.0\cm]
7219 \include "gregorian-init.ly"
7222 % Torculus Auctus Descendens Initio Debilis
7223 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
7226 \layout { \neumeDemoLayout }}
7229 @lilypond[staffsize=26,linewidth=1.0\cm]
7230 \include "gregorian-init.ly"
7233 % Torculus Deminutus Initio Debilis
7234 \[ \deminutum a \pes b \flexa \deminutum g \]
7237 \layout { \neumeDemoLayout }}
7241 @code{12. Porrectus}
7243 @lilypond[staffsize=26,linewidth=1.0\cm]
7244 \include "gregorian-init.ly"
7248 \[ a \flexa g \pes b \]
7251 \layout { \neumeDemoLayout }}
7254 @lilypond[staffsize=26,linewidth=1.0\cm]
7255 \include "gregorian-init.ly"
7258 % Porrectus Auctus Descendens
7259 \[ a \flexa g \pes \auctum \descendens b \]
7262 \layout { \neumeDemoLayout }}
7265 @lilypond[staffsize=26,linewidth=1.0\cm]
7266 \include "gregorian-init.ly"
7269 % Porrectus Deminutus
7270 \[ a \flexa g \pes \deminutum b \]
7273 \layout { \neumeDemoLayout }}
7279 @lilypond[staffsize=26,linewidth=1.0\cm]
7280 \include "gregorian-init.ly"
7284 \[ \virga b \inclinatum a \inclinatum g \]
7287 \layout { \neumeDemoLayout }
7291 @lilypond[staffsize=26,linewidth=1.0\cm]
7292 \include "gregorian-init.ly"
7296 \[ \virga b \inclinatum a \inclinatum \auctum g \]
7299 \layout { \neumeDemoLayout }}
7302 @lilypond[staffsize=26,linewidth=1.0\cm]
7303 \include "gregorian-init.ly"
7306 % Climacus Deminutus
7307 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7310 \layout { \neumeDemoLayout }}
7314 @code{14. Scandicus}
7316 @lilypond[staffsize=26,linewidth=1.0\cm]
7317 \include "gregorian-init.ly"
7321 \[ g \pes a \virga b \]
7324 \layout { \neumeDemoLayout }}
7327 @lilypond[staffsize=26,linewidth=1.0\cm]
7328 \include "gregorian-init.ly"
7331 % Scandicus Auctus Descendens
7332 \[ g \pes a \pes \auctum \descendens b \]
7335 \layout { \neumeDemoLayout }}
7338 @lilypond[staffsize=26,linewidth=1.0\cm]
7339 \include "gregorian-init.ly"
7342 % Scandicus Deminutus
7343 \[ g \pes a \pes \deminutum b \]
7346 \layout { \neumeDemoLayout }}
7352 @lilypond[staffsize=26,linewidth=1.0\cm]
7353 \include "gregorian-init.ly"
7357 \[ g \oriscus a \pes \virga b \]
7360 \layout { \neumeDemoLayout }}
7363 @lilypond[staffsize=26,linewidth=1.0\cm]
7364 \include "gregorian-init.ly"
7367 % Salicus Auctus Descendens
7368 \[ g \oriscus a \pes \auctum \descendens b \]
7371 \layout { \neumeDemoLayout }}
7378 @lilypond[staffsize=26,linewidth=1.0\cm]
7379 \include "gregorian-init.ly"
7383 \[ \stropha b \stropha b \stropha a \]
7386 \layout { \neumeDemoLayout }
7395 Unlike most other neumes notation systems, the input language for
7396 neumes does not reflect the typographical appearance, but is designed
7397 to focus on musical meaning. For example, @code{\[ a \pes b
7398 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7399 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7400 curved flexa shape and only a single Punctum head. There is no
7401 command to explicitly typeset the curved flexa shape; the decision of
7402 when to typeset a curved flexa shape is based on the musical
7403 input. The idea of this approach is to separate the musical aspects
7404 of the input from the notation style of the output. This way, the
7405 same input can be reused to typeset the same music in a different
7406 style of Gregorian chant notation.
7408 The following table shows the code fragments that produce the
7409 ligatures in the above neumes table. The letter in the first column
7410 in each line of the below table indicates to which ligature in the
7411 above table it refers. The second column gives the name of the
7412 ligature. The third column shows the code fragment that produces this
7413 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
7415 @multitable @columnfractions .02 .31 .67
7435 @code{\[ \inclinatum b \]}
7443 @code{\[ \auctum \ascendens b \]}
7451 @code{\[ \auctum \descendens b \]}
7456 Punctum Inclinatum@*
7459 @code{\[ \inclinatum \auctum b \]}
7464 Punctum Inclinatum@*
7466 @code{\[ \inclinatum \deminutum b \]}
7473 @code{\[ \virga b \]}
7480 @code{\[ \stropha b \]}
7487 @code{\[ \stropha \auctum b \]}
7494 @code{\[ \oriscus b \]}
7501 @code{\[ b \flexa g \]}
7509 @code{\[ b \flexa \auctum \descendens g \]}
7517 @code{\[ b \flexa \auctum \ascendens g \]}
7524 @code{\[ b \flexa \deminutum g \]}
7531 @code{\[ g \pes b \]}
7539 @code{\[ g \pes \auctum \descendens b \]}
7547 @code{\[ g \pes \auctum \ascendens b \]}
7554 @code{\[ g \pes \deminutum b \]}
7561 @code{\[ \oriscus g \pes \virga b \]}
7567 Auctus Descendens @tab
7568 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7575 @code{\[ \quilisma g \pes b \]}
7583 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7590 @code{\[ \deminutum g \pes b \]}
7595 Pes Auctus Descendens@*
7598 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7605 @code{\[ a \pes b \flexa g \]}
7613 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7620 @code{\[ a \pes b \flexa \deminutum g \]}
7625 Torculus Initio Debilis
7627 @code{\[ \deminutum a \pes b \flexa g \]}
7633 Descendens Initio Debilis
7635 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7640 Torculus Deminutus@*
7643 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7650 @code{\[ a \flexa g \pes b \]}
7658 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7665 @code{\[ a \flexa g \pes \deminutum b \]}
7672 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7679 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7686 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7693 @code{\[ g \pes a \virga b \]}
7701 @code{\[ g \pes a \pes \auctum \descendens b \]}
7708 @code{\[ g \pes a \pes \deminutum b \]}
7715 @code{\[ g \oriscus a \pes \virga b \]}
7720 Salicus Auctus Descendens
7722 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7729 @code{\[ \stropha b \stropha b \stropha a \]}
7734 The following head prefixes are supported
7736 @cindex @code{\virga}
7738 @cindex @code{\stropha}
7740 @cindex @code{\inclinatum}
7742 @cindex @code{\auctum}
7744 @cindex @code{\descendens}
7746 @cindex @code{\ascendens}
7748 @cindex @code{\oriscus}
7750 @cindex @code{\quilisma}
7752 @cindex @code{\deminutum}
7755 Head prefixes can be accumulated, though restrictions apply. For
7756 example, either @code{\descendens} or @code{\ascendens} can be applied
7757 to a head, but not both to the same head.
7760 @cindex @code{\flexa}
7761 Two adjacent heads can be tied together with the @code{\pes} and
7762 @code{\flexa} infix commands for a rising and falling line of melody,
7767 @node Gregorian Chant contexts
7768 @subsection Gregorian Chant contexts
7770 @cindex VaticanaVoiceContext
7771 @cindex VaticanaStaffContext
7773 The predefined @code{VaticanaVoiceContext} and
7774 @code{VaticanaStaffContext} can be used to engrave a piece of
7775 Gregorian Chant in the style of the Editio Vaticana. These contexts
7776 initialize all relevant context properties and grob properties to
7777 proper values, so you can immediately go ahead entering the chant, as
7778 the following excerpt demonstrates
7780 @lilypond[quote,raggedright,verbatim]
7781 \include "gregorian-init.ly"
7784 \context VaticanaVoice = "cantus" {
7785 \override Score.BarNumber #'transparent = ##t {
7786 \[ c'\melisma c' \flexa a \]
7787 \[ a \flexa \deminutum g\melismaEnd \]
7789 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7790 c' \divisioMinima \break
7791 \[ c'\melisma c' \flexa a \]
7792 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7795 \lyricsto "cantus" \new Lyrics {
7796 San- ctus, San- ctus, San- ctus
7803 @node Mensural contexts
7804 @subsection Mensural contexts
7806 @cindex MensuralVoiceContext
7807 @cindex MensuralStaffContext
7809 The predefined @code{MensuralVoiceContext} and
7810 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7811 style. These contexts initialize all relevant context properties and
7812 grob properties to proper values, so you can immediately go ahead
7813 entering the chant, as the following excerpt demonstrates
7815 @lilypond[quote,raggedright,verbatim]
7818 \context MensuralVoice = "discantus" \transpose c c' {
7819 \override Score.BarNumber #'transparent = ##t {
7820 c'1\melisma bes a g\melismaEnd
7822 \[ f1\melisma a c'\breve d'\melismaEnd \]
7824 c'\breve\melisma a1 g1\melismaEnd
7825 fis\longa^\signumcongruentiae
7828 \lyricsto "discantus" \new Lyrics {
7829 San -- ctus, San -- ctus, San -- ctus
7837 @subsection Figured bass
7839 @cindex Basso continuo
7841 @c TODO: musicological blurb about FB
7844 LilyPond has limited support for figured bass
7846 @lilypond[quote,raggedright,verbatim,fragment]
7848 \context Voice { \clef bass dis4 c d ais g fis}
7849 \context FiguredBass \figuremode {
7850 < 6 >4 < 7 >8 < 6+ [_!] >
7857 The support for figured bass consists of two parts: there is an input
7858 mode, introduced by @code{\figuremode}, where you can enter bass figures
7859 as numbers, and there is a context called @internalsref{FiguredBass} that
7860 takes care of making @internalsref{BassFigure} objects.
7862 In figures input mode, a group of bass figures is delimited by
7863 @code{<} and @code{>}. The duration is entered after the @code{>}
7867 @lilypond[quote,raggedright,fragment]
7868 \context FiguredBass
7869 \figuremode { <4 6> }
7872 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
7878 @lilypond[quote,raggedright,fragment]
7879 \context FiguredBass
7880 \figuremode { <4- 6+ 7!> }
7883 Spaces or dashes may be inserted by using @code{_}. Brackets are
7884 introduced with @code{[} and @code{]}
7889 @lilypond[quote,raggedright,fragment]
7890 \context FiguredBass
7891 \figuremode { < [4 6] 8 [_! 12] > }
7894 Although the support for figured bass may superficially resemble chord
7895 support, it works much simpler. The @code{\figuremode} mode simply
7896 stores the numbers and @internalsref{FiguredBass} context prints
7897 them as entered. There is no conversion to pitches and no
7898 realizations of the bass are played in the MIDI file.
7900 Internally, the code produces markup texts. You can use any of the
7901 markup text properties to override formatting. For example, the
7902 vertical spacing of the figures may be set with @code{baseline-skip}.
7906 Program reference: @internalsref{BassFigureEvent} music,
7907 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
7911 Slash notation for alterations is not supported.
7913 @node Contemporary notation
7914 @section Contemporary notation
7916 In the 20th century, composers have greatly expanded the musical
7917 vocabulary. With this expansion, many innovations in musical notation
7918 have been tried. The book ``Music Notation in the 20th century'' by
7919 Kurt Stone gives a comprehensive overview (see @ref{Literature
7920 list}). In general, the use of new, innovative notation makes a piece
7921 harder to understand and perform and its use should therefore be
7922 avoided. For this reason, support for contemporary notation in
7923 LilyPond is limited.
7927 * Polymetric notation::
7929 * Special fermatas::
7933 @node Polymetric notation
7934 @subsection Polymetric notation
7936 Double time signatures are not supported explicitly, but they can be
7937 faked. In the next example, the markup for the time signature is
7938 created with a markup text. This markup text is inserted in the
7939 @internalsref{TimeSignature} grob.
7941 @lilypond[verbatim,raggedright]
7946 \musicglyph #"scripts-stopped"
7947 \bracket \column { "5" "8" }
7952 \override Staff.TimeSignature #'print-function = #Text_interface::print
7953 \override Staff.TimeSignature #'text = #tsMarkup
7955 c'2 \bar ":" c'4 c'4.
7959 Each staff can also have its own time signature. This is done by
7960 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
7965 \context @{ \Score \remove "Timing_engraver" @}
7966 \context @{ \Staff \consists "Timing_engraver" @}
7971 Now, each staff has its own time signature.
7984 c4. c8 c c c4. c8 c c
7989 @lilypond[quote,raggedright]
7991 \context{ \Score \remove "Timing_engraver" }
7992 \context{ \Staff \consists "Timing_engraver" }
8006 c4. c8 c c c4. c8 c c
8012 A different form of polymetric notation is where note lengths have
8013 different values across staves.
8015 This notation can be created by setting a common time signature for
8016 each staff but replacing it manually using
8017 @code{timeSignatureFraction} to the desired fraction. Then the printed
8018 durations in each staff are scaled to the common time signature.
8019 The latter is done with @code{\compressmusic}, which is similar to
8020 @code{\times}, but does not create a tuplet bracket.
8023 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
8024 used in parallel. In the second staff, shown durations are multiplied by
8025 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
8026 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
8028 @lilypond[quote,raggedright,verbatim,fragment]
8036 \set Staff.timeSignatureFraction = #'(9 . 8)
8037 \compressmusic #'(2 . 3)
8038 \repeat unfold 6 { c8[ c c] }
8042 \set Staff.timeSignatureFraction = #'(10 . 8)
8043 \compressmusic #'(3 . 5) {
8044 \repeat unfold 2 { c8[ c c] }
8045 \repeat unfold 2 { c8[ c] }
8046 | c4. c4. \times 2/3 { c8 c c } c4
8057 When using different time signatures in parallel, the spacing is
8058 aligned vertically, but bar lines distort the regular spacing.
8063 @subsection Clusters
8067 A cluster indicates a continuous range of pitches to be played. They
8068 can be denoted as the envelope of a set of notes. They are entered by
8069 applying the function @code{makeClusters} to a sequence of
8071 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
8072 \makeClusters { <c e > <b f'> }
8075 The following example (from
8076 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
8079 @lilypondfile[raggedright,quote]{cluster.ly}
8081 Ordinary notes and clusters can be put together in the same staff,
8082 even simultaneously. In such a case no attempt is made to
8083 automatically avoid collisions between ordinary notes and clusters.
8087 Program reference: @internalsref{ClusterSpanner},
8088 @internalsref{ClusterSpannerBeacon},
8089 @internalsref{Cluster_spanner_engraver}, and
8090 @internalsref{ClusterNoteEvent}.
8092 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
8096 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
8097 accurately. Use @code{<g a>8 <e a>8} instead.
8101 @node Special fermatas
8102 @subsection Special fermatas
8104 @cindex fermatas, special
8106 In contemporary music notation, special fermata symbols denote breaks
8107 of differing lengths. The following fermatas are supported
8109 @lilypond[quote,raggedright]
8132 \context Lyrics \lyricmode {
8133 \override LyricText #'font-family = #'typewriter
8134 "shortfermata" "fermata" "longfermata" "verylongfermata"
8139 See @ref{Articulations} for general instructions how to apply scripts
8140 such as fermatas to notes.
8142 @node Feathered beams
8143 @subsection Feathered beams
8145 Feathered beams are not supported natively, but they can be faked by
8146 forcing two beams to overlap. Here is an example,
8148 @c don't change relative setting witout changing positions!
8149 @lilypond[raggedright,relative=1,fragment,verbatim]
8154 \once \override Voice.Beam #'positions = #'(0 . 0.5)
8159 \once \override Voice.Beam #'positions = #'(0 . -0.5)
8167 @node Educational use
8168 @section Educational use
8170 With the amount of control that LilyPond offers, one can make great
8171 teaching tools in addition to great musical scores.
8175 * Blank music sheet::
8177 * Shaped note heads ::
8178 * Easy Notation note heads::
8182 @subsection Balloon help
8184 Elements of notation can be marked and named with the help of a square
8185 balloon. The primary purpose of this feature is to explain notation.
8187 The following example demonstrates its use.
8189 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
8192 #(add-balloon-text 'NoteHead "heads, or tails?"
8199 The function @code{add-balloon-text} takes the name of a grob, the
8200 label to print, and the position where to put the label relative to
8201 the object. In the above example, the text ``heads or tails?'' ends
8202 3 spaces below and 1 space to the right of the marked head.
8205 @cindex notation, explaining
8209 Program reference: @internalsref{text-balloon-interface}.
8211 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
8216 @node Blank music sheet
8217 @subsection Blank music sheet
8219 A blank music sheet can be produced also by using invisible notes, and
8220 removing @code{Bar_number_engraver}.
8223 @lilypond[quote,verbatim]
8225 \repeat unfold 2 % Change this for more lines.
8230 \override TimeSignature #'transparent = ##t
8231 defaultBarType = #""
8232 \remove Bar_number_engraver
8234 \context Staff \emptymusic
8235 \context TabStaff \emptymusic
8241 @subsection Hidden notes
8243 @cindex Hidden notes
8244 @cindex Invisible notes
8245 @cindex Transparent notes
8247 Hidden (or invisible or transparent) notes can be useful in preparing theory
8248 or composition exercises.
8250 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
8258 Hidden notes are also great for performing weird tricks. For example,
8259 slurs cannot be attached to rests or spacer rests, but you may wish
8260 to include that in your score -- string instruments use this notation
8261 when doing pizzicato to indicate that the note should ring for as long
8264 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
8267 c4^"pizz"( \hideNotes c)
8268 \unHideNotes c( \hideNotes c)
8275 @node Shaped note heads
8276 @subsection Shaped note heads
8278 In shaped note head notation, the shape of the note head corresponds
8279 to the harmonic function of a note in the scale. This notation was
8280 popular in the 19th century American song books.
8282 Shaped note heads can be produced by setting @code{\aikenHeads} or
8283 @code{\sacredHarpHeads}, depending on the style desired.
8285 @lilypond[verbatim,relative=1,fragment]
8292 Shapes are determined on the step in the scale, where the base of the
8293 scale is determined by the @code{\key} command
8296 @findex shapeNoteStyles
8298 @findex \sacredHarpHeads
8300 Shaped note heads are implemented through the @code{shapeNoteStyles}
8301 property. Its value is a vector of symbols. The k-th element indicates
8302 the style to use for the k-th step of the scale. Arbitrary
8303 combinations are possible, eg.,
8306 @lilypond[verbatim,relative=1,fragment]
8307 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
8312 @node Easy Notation note heads
8313 @subsection Easy Notation note heads
8315 @cindex easy notation
8318 The `easy play' note head includes a note name inside the head. It is
8319 used in music for beginners
8321 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
8326 The command @code{\setEasyHeads} overrides settings for the
8327 @internalsref{NoteHead} object. To make the letters readable, it has
8328 to be printed in a large font size. To print with a larger font, see
8329 @ref{Setting global staff size}.
8333 @cindex @code{\setEasyHeads}
8334 @code{\setEasyHeads}