2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[quote,fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C
90 @lilypond[quote,fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[quote,verbatim,relative=3]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave
153 @lilypond[quote,fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch
186 @lilypond[quote,fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
209 @lilypond[quote,relative=1]
220 Rests are entered like notes, with the note name @code{r}
222 @lilypond[quote,raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone
236 @lilypond[quote,raggedright,verbatim]
242 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}
255 @lilypond[quote,raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command
262 @lilypond[quote,raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[quote,raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[quote,fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
349 In the following example, the first three notes take up exactly two
350 beats, but no triplet bracket is printed.
351 @lilypond[quote,fragment,relative=3,verbatim]
353 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 This manual: @ref{Tuplets}
374 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
379 Whenever a note is found, a @internalsref{Stem} object is created
380 automatically. For whole notes and rests, they are also created but
385 @cindex @code{\stemUp}
387 @cindex @code{\stemDown}
389 @cindex @code{\stemBoth}
400 A tie connects two adjacent note heads of the same pitch. The tie in
401 effect extends the length of a note. Ties should not be confused with
402 slurs, which indicate articulation, or phrasing slurs, which indicate
403 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
405 @lilypond[quote,fragment,verbatim]
406 e' ~ e' <c' e' g'> ~ <c' e' g'>
409 When a tie is applied to a chord, all note heads whose pitches match
410 are connected. When no note heads match, no ties will be created.
412 In its meaning a tie is just a way of extending a note duration, similar
413 to the augmentation dot; in the following example there are two ways of
414 notating exactly the same concept
416 @lilypond[quote,fragment,raggedright]
417 \time 3/4 c'2. c'2 ~ c'4
419 If you need to tie a lot of notes over bars, it may be easier to use automatic
420 note splitting (see @ref{Automatic note splitting}).
425 @cindex @code{\tieUp}
427 @cindex @code{\tieDown}
429 @cindex @code{\tieBoth}
431 @cindex @code{\tieDotted}
433 @cindex @code{\tieSolid}
438 In this manual: @ref{Automatic note splitting}.
440 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
442 For tying only a subset of the note heads of a pair of chords, see
443 @inputfileref{input/regression,tie-chord-partial.ly}.
448 Switching staves when a tie is active will not produce a slanted tie.
450 Formatting of ties is a difficult subject. The results are often not
460 @cindex @code{\times}
462 Tuplets are made out of a music expression by multiplying all durations
465 @cindex @code{\times}
467 \times @var{fraction} @var{musicexpr}
471 The duration of @var{musicexpr} will be multiplied by the fraction.
472 The fraction's denominator will be printed over the notes, optionally
473 with a bracket. The most common tuplet is the triplet in which 3
474 notes have the length of 2, so the notes are 2/3 of their written
477 @lilypond[quote,fragment,verbatim]
478 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
481 The property @code{tupletSpannerDuration} specifies how long each
482 bracket should last. With this, you can make lots of tuplets while
483 typing @code{\times} only once, saving lots of typing. In the next
484 example, there are two triplets shown, while @code{\times} was only
487 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
488 \set tupletSpannerDuration = #(ly:make-moment 1 4)
489 \times 2/3 { c'8 c c c c c }
492 The format of the number is determined by the property
493 @code{tupletNumberFormatFunction}. The default prints only the
494 denominator, but if it is set to the Scheme function
495 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
499 @cindex @code{tupletNumberFormatFunction}
500 @cindex tuplet formatting
505 @cindex @code{\tupletUp}
507 @cindex @code{\tupletDown}
509 @cindex @code{\tupletBoth}
514 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
516 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
520 Nested tuplets are not formatted automatically. In this case, outer
521 tuplet brackets should be moved manually, which is demonstrated in
522 @inputfileref{input/regression,tuplet-nest.ly}.
526 @node Easier music entry
527 @section Easier music entry
530 This section deals with tricks and features of the input language that
531 were added solely to help entering music, finding and correcting
532 mistakes. There are also external tools that make debugging easier.
533 See @ref{Point and click} for more information.
535 It is also possible to enter and edit music using other programs. For
536 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
537 website for more information.
544 * Skipping corrected music::
545 * Automatic note splitting::
551 @node Relative octaves
552 @subsection Relative octaves
554 @cindex relative octave specification
556 Octaves are specified by adding @code{'} and @code{,} to pitch names.
557 When you copy existing music, it is easy to accidentally put a pitch
558 in the wrong octave and hard to find such an error. The relative
559 octave mode prevents these errors: a single error puts the rest of the
560 piece off by one octave
562 @cindex @code{\relative}
564 \relative @var{startpitch} @var{musicexpr}
567 The octave of notes that appear in @var{musicexpr} are calculated as
568 follows: If no octave changing marks are used, the basic interval
569 between this and the last note is always taken to be a fourth or
570 less. This distance is determined without regarding alterations; a
571 @code{fisis} following a @code{ceses} will be put above the
574 The octave changing marks @code{'} and @code{,} can be added to raise
575 or lower the pitch by an extra octave. Upon entering relative mode,
576 an absolute starting pitch must be specified that will act as the
577 predecessor of the first note of @var{musicexpr}.
579 Here is the relative mode shown in action
580 @lilypond[quote,fragment,raggedright,verbatim]
586 Octave changing marks are used for intervals greater than a fourth
587 @lilypond[quote,fragment,verbatim]
593 If the preceding item is a chord, the first note of the chord is used
594 to determine the first note of the next chord
596 @lilypond[quote,fragment,verbatim]
603 @cindex @code{\notes}
605 The pitch after the @code{\relative} contains a note name. To parse
606 the note name as a pitch, it must surrounded by @code{\notes}
608 The relative conversion will not affect @code{\transpose},
609 @code{\chords} or @code{\relative} sections in its argument. If you
610 want to use relative within transposed music, you must place an
611 additional @code{\relative} inside the @code{\transpose}.
614 @subsection Octave check
617 Octave checks make octave errors easier to correct: a note may be
618 followed by @code{=}@var{quotes} which indicates what its absolute
619 octave should be. In the following example,
621 \relative c'' @{ c='' b=' d,='' @}
625 @c take care with @code, adds confusing quotes.
626 the d will generate a warning, because a d'' is expected, but a d' is
627 found. In the output, the octave is corrected for this and the
632 There is also a syntax that is separate from the notes.
637 This checks that @var{pitch} (without octave) yields @var{pitch} (with
638 octave) in \relative mode. If not, a warning is printed, and the
639 octave is corrected, for example, the first check is passed
640 successfully. The second check fails with an error message. The
641 octave is adjusted so the following notes are in the correct octave
652 The octave of a note following an octave check is determined with
653 respect to the note preceding it. In the next fragment, the last note
654 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
655 be deleted without changing the meaning of the piece.
657 @lilypond[quote,verbatim,fragment]
666 @subsection Bar check
670 @cindex @code{barCheckSynchronize}
673 Bar checks help detect errors in the durations. A bar check is
674 entered using the bar symbol, `@code{|}'. Whenever it is encountered
675 during interpretation, it should fall on a measure boundary. If it
676 does not, a warning is printed. In the next example, the second bar
677 check will signal an error
679 \time 3/4 c2 e4 | g2 |
682 Bar checks can also be used in lyrics, for example
687 Twin -- kle | Twin -- kle
692 @cindex skipTypesetting
694 Failed bar checks are caused by entering incorrect
695 durations. Incorrect durations often completely garble up the score,
696 especially if it is polyphonic, so you should start correcting the
697 score by scanning for failed bar checks and incorrect durations. To
698 speed up this process, you can use @code{skipTypesetting}, described
701 It is also possible to redefine the meaning of @code{|}. This is done
702 by assigning a music expression to @code{pipeSymbol},
705 pipeSymbol = \bar "||"
708 \notes { c'2 c'2 | c'2 c'2 | }
713 @node Skipping corrected music
714 @subsection Skipping corrected music
716 The property @code{Score.skipTypesetting} can be used to switch on and
717 off typesetting completely during the interpretation phase. When
718 typesetting is switched off, the music is processed much more quickly.
719 This can be used to skip over the parts of a score that have already
720 been checked for errors
722 @lilypond[quote,fragment,raggedright,verbatim]
725 \set Score.skipTypesetting = ##t
727 \set Score.skipTypesetting = ##f
731 @node Automatic note splitting
732 @subsection Automatic note splitting
734 Long notes can be converted automatically to tied notes. This is done
735 by replacing the @internalsref{Note_heads_engraver} by the
736 @internalsref{Completion_heads_engraver}.
737 In the following examples, notes crossing the bar line are split and tied.
740 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
742 \remove "Note_heads_engraver"
743 \consists "Completion_heads_engraver"
745 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
749 This engraver splits all running notes at the bar line, and inserts
750 ties. One of its uses is to debug complex scores: if the measures are
751 not entirely filled, then the ties exactly show how much each measure
756 Not all durations (especially those containing tuplets) can be
757 represented exactly; the engraver will not insert tuplets.
761 Examples: @inputfileref{input/regression,completion-heads.ly}.
763 Program reference: @internalsref{Completion_heads_engraver}.
767 @section Staff notation
769 This section describes music notation that occurs on staff level,
770 such as keys, clefs and time signatures.
772 @cindex Staff notation
786 @subsection Staff symbol
788 @cindex adjusting staff symbol
790 Notes, dynamic signs, etc. are grouped
791 with a set of horizontal lines, into a staff (plural `staves'). In our
792 system, these lines are drawn using a separate layout object called
796 @cindex staff lines, setting number of
797 @cindex staff lines, setting thickness of
798 @cindex thickness of staff lines, setting
799 @cindex number of staff lines, setting
803 Program reference: @internalsref{StaffSymbol}.
805 Examples: @inputfileref{input/test,staff-lines.ly},
806 @inputfileref{input/test,staff-size.ly}.
810 If a staff is ended halfway a piece, the staff symbol may not end
811 exactly on the bar line.
815 @subsection Key signature
816 @cindex Key signature
820 The key signature indicates the scale in which a piece is played. It
821 is denoted by a set of alterations (flats or sharps) at the start of
825 Setting or changing the key signature is done with the @code{\key}
828 @code{\key} @var{pitch} @var{type}
831 @cindex @code{\minor}
832 @cindex @code{\major}
833 @cindex @code{\minor}
834 @cindex @code{\ionian}
835 @cindex @code{\locrian}
836 @cindex @code{\aeolian}
837 @cindex @code{\mixolydian}
838 @cindex @code{\lydian}
839 @cindex @code{\phrygian}
840 @cindex @code{\dorian}
842 Here, @var{type} should be @code{\major} or @code{\minor} to get
843 @var{pitch}-major or @var{pitch}-minor, respectively.
844 The standard mode names @code{\ionian},
845 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
846 @code{\phrygian}, and @code{\dorian} are also defined.
848 This command sets the context property
849 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
850 can be specified by setting this property directly.
852 Accidentals and key signatures often confuse new users, because
853 unaltered notes get natural signs depending on the key signature. For
854 more information, see @ref{More about pitches}.
858 The ordering of a key cancellation is wrong when it is combined with
859 repeat bar lines. The cancellation is also printed after a line break.
863 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
865 @cindex @code{keySignature}
872 The clef indicates which lines of the staff correspond to which
876 The clef can be set or changed with the @code{\clef} command
877 @lilypond[quote,fragment,verbatim]
878 \key f\major c''2 \clef alto g'2
881 Supported clef-names include
882 @c Moved standard clefs to the top /MB
886 @item treble, violin, G, G2
899 G clef on 1st line, so-called French violin clef
904 @cindex mezzosoprano clef
907 @cindex baritone clef
910 @cindex varbaritone clef
921 By adding @code{_8} or @code{^8} to the clef name, the clef is
922 transposed one octave down or up, respectively, and @code{_15} and
923 @code{^15} transposes by two octaves. The argument @var{clefname}
924 must be enclosed in quotes when it contains underscores or digits. For
928 @cindex choral tenor clef
929 @lilypond[quote,verbatim,fragment,relative=1]
933 This command is equivalent to setting @code{clefGlyph},
934 @code{clefPosition} (which controls the Y position of the clef),
935 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
936 when any of these properties are changed.
940 Program reference: the object for this symbol is @internalsref{Clef}.
944 @node Ottava brackets
945 @subsection Ottava brackets
947 ``Ottava'' brackets introduce an extra transposition of an octave for
948 the staff. They are created by invoking the function
949 @code{set-octavation}
955 @lilypond[quote,verbatim,fragment]
965 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
966 (for 15ma) as arguments. Internally the function sets the properties
967 @code{ottavation} (e.g. to @code{"8va"}) and
968 @code{centralCPosition}. For overriding the text of the bracket, set
969 @code{ottavation} after invoking @code{set-octavation}, i.e.,
973 \set Staff.ottavation = #"8"
978 Program reference: @internalsref{OttavaBracket}.
980 Examples: @inputfileref{input/regression,ottava.ly},
981 @inputfileref{input/regression,ottava-broken.ly}.
985 @code{set-octavation} will get confused when clef changes happen
986 during an octavation bracket.
989 @subsection Time signature
990 @cindex Time signature
994 Time signature indicates the metrum of a piece: a regular pattern of
995 strong and weak beats. It is denoted by a fraction at the start of the
999 The time signature is set or changed by the @code{\time}
1001 @lilypond[quote,fragment,verbatim]
1002 \time 2/4 c'2 \time 3/4 c'2.
1005 The symbol that is printed can be customized with the @code{style}
1006 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1007 2/2 time. There are many more options for its layout. See
1008 @inputfileref{input/test,time.ly} for more examples.
1011 This command sets the property @code{timeSignatureFraction},
1012 @code{beatLength} and @code{measureLength} in the @code{Timing}
1013 context, which is normally aliased to @internalsref{Score}. The
1014 property @code{measureLength} determines where bar lines should be
1015 inserted, and how automatic beams should be generated. Changing the
1016 value of @code{timeSignatureFraction} also causes the symbol to be
1019 More options are available through the Scheme function
1020 @code{set-time-signature}. In combination with the
1021 @internalsref{Measure_grouping_engraver}, it will create
1022 @internalsref{MeasureGrouping} signs. Such signs ease reading
1023 rhythmically complex modern music. In the following example, the 9/8
1024 measure is subdivided in 2, 2, 2 and 3. This is passed to
1025 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1027 @lilypond[quote,raggedright,verbatim]
1029 \notes \relative c'' {
1030 #(set-time-signature 9 8 '(2 2 2 3))
1031 g8[ g] d[ d] g[ g] a8[( bes g]) |
1032 #(set-time-signature 5 8 '(3 2))
1038 \consists "Measure_grouping_engraver"
1046 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1051 Automatic beaming does not use the measure grouping specified with
1052 @code{set-time-signature}.
1054 @node Partial measures
1055 @subsection Partial measures
1058 @cindex partial measure
1059 @cindex measure, partial
1060 @cindex shorten measures
1061 @cindex @code{\partial}
1063 Partial measures, for example in upsteps, are entered using the
1064 @code{\partial} command
1065 @lilypond[quote,fragment,verbatim,relative=2]
1066 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1069 The syntax for this command is
1071 \partial @var{duration}
1073 This is internally translated into
1075 \set Timing.measurePosition = -@var{length of duration}
1078 The property @code{measurePosition} contains a rational number
1079 indicating how much of the measure has passed at this point.
1081 @node Unmetered music
1082 @subsection Unmetered music
1084 Bar lines and bar numbers are calculated automatically. For unmetered
1085 music (e.g. cadenzas), this is not desirable. By setting
1086 @code{Score.timing} to false, this automatic timing can be switched
1087 off. Empty bar lines,
1094 indicate where line breaks can occur.
1100 @cindex @code{\cadenzaOn}
1102 @cindex @code{\cadenzaOff}
1106 @subsection Bar lines
1110 @cindex measure lines
1114 Bar lines delimit measures, but are also used to indicate repeats.
1115 Normally, they are inserted automatically. Line breaks may only
1116 happen on bar lines.
1118 Special types of bar lines can be forced with the @code{\bar} command
1120 @lilypond[quote,relative=2,fragment,verbatim]
1124 The following bar types are available
1125 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1138 For allowing line breaks, there is a special command,
1142 This will insert an invisible bar line, and allow line breaks at this
1145 In scores with many staves, a @code{\bar} command in one staff is
1146 automatically applied to all staves. The resulting bar lines are
1147 connected between different staves of a @internalsref{StaffGroup}
1149 @lilypond[quote,fragment,verbatim]
1151 \context StaffGroup <<
1157 \new Staff { \clef bass c4 g e g }
1159 \new Staff { \clef bass c2 c2 }
1163 A bar line is created whenever the @code{whichBar} property is set.
1164 At the start of a measure it is set to the contents of
1165 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1166 to override default measure bars.
1168 The command @code{\bar }@var{bartype} is a short cut for doing
1169 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1170 is set to a string, a bar line of that type is created.
1173 @cindex repeatCommands
1174 @cindex defaultBarType
1176 You are encouraged to use @code{\repeat} for repetitions. See
1183 In this manual: @ref{Repeats}.
1186 Program reference: the bar line objects that are created at
1187 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1188 lines that span staves are @internalsref{SpanBar} objects.
1190 @cindex bar lines at start of system
1191 @cindex start of system
1193 The bar lines at the start of each system are
1194 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1195 @internalsref{SystemStartBracket}. Only one of these types is created
1196 in every context, and that type is determined by the property
1197 @code{systemStartDelimiter}.
1199 Examples: @inputfileref{input/test,bar-lines.ly},
1205 The easiest way to enter fragments with more than one voice on a staff
1206 is to split chords using the separator @code{\\}. You can use it for
1207 small, short-lived voices or for single chords
1209 @lilypond[quote,verbatim,fragment]
1210 \context Staff \relative c'' {
1211 c4 << { f d e } \\ { b c2 } >>
1212 c4 << g' \\ b, \\ f' \\ d >>
1216 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1217 voices are sometimes called "layers" other notation packages}
1219 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1220 each of these contexts, vertical direction of slurs, stems, etc. is set
1223 @cindex @code{\voiceOne}
1224 @cindex @code{\voiceFour}
1226 This can also be done by instantiating @internalsref{Voice} contexts
1227 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1228 a stem directions and horizontal shift for each part
1231 @lilypond[quote,raggedright,verbatim]
1234 \new Voice { \voiceOne cis2 b }
1235 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1236 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1240 The command @code{\oneVoice} will revert back to the normal setting.
1241 @cindex @code{\oneVoice}
1244 Normally, note heads with a different number of dots are not merged, but
1245 when the object property @code{merge-differently-dotted} is set in
1246 the @internalsref{NoteCollision} object, they are merged
1247 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1250 \override Staff.NoteCollision
1251 #'merge-differently-dotted = ##t
1253 } \\ { g8.[ f16] g8.[ f16] } >>
1256 Similarly, you can merge half note heads with eighth notes, by setting
1257 @code{merge-differently-headed}
1258 @lilypond[quote,fragment,relative=2,verbatim]
1261 \override Staff.NoteCollision
1262 #'merge-differently-headed = ##t
1263 c8 c4. } \\ { c2 c2 } >>
1266 LilyPond also vertically shifts rests that are opposite of a stem
1269 @lilypond[quote,raggedright,fragment,verbatim]
1270 \context Voice << c''4 \\ r4 >>
1278 @cindex @code{\oneVoice}
1280 @cindex @code{\voiceOne}
1282 @cindex @code{\voiceTwo}
1284 @cindex @code{\voiceThree}
1286 @cindex @code{\voiceFour}
1290 The following commands specify in what chords of the current voice
1291 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1292 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1295 @cindex @code{\shiftOn}
1297 @cindex @code{\shiftOnn}
1299 @cindex @code{\shiftOnnn}
1301 @cindex @code{\shiftOff}
1308 Program reference: the objects responsible for resolving collisions are
1309 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1311 Examples: See also example files
1312 @inputfileref{input/regression,collision-dots.ly},
1313 @inputfileref{input/regression,collision-head-chords.ly},
1314 @inputfileref{input/regression,collision-heads.ly},
1315 @inputfileref{input/regression,collision-mesh.ly}, and
1316 @inputfileref{input/regression,collisions.ly}.
1321 Resolving collisions is a intricate subject, and only a few situations
1322 are handled. When LilyPond cannot cope, the @code{force-hshift}
1323 property of the @internalsref{NoteColumn} object and pitched rests can
1324 be used to override typesetting decisions.
1326 When using @code{merge-differently-headed} with an upstem eighth or a
1327 shorter note, and a downstem half note, the eighth note gets the wrong
1330 There is no support for clusters where the same note occurs with
1331 different accidentals in the same chord. In this case, it is
1332 recommended to use enharmonic transcription, or to use special cluster
1333 notation (see @ref{Clusters}).
1338 Beams are used to group short notes into chunks that are aligned with
1339 the metrum. They are inserted automatically
1341 @lilypond[quote,fragment,verbatim,relative=2]
1342 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1345 When these automatic decisions are not good enough, beaming can be
1346 entered explicitly. It is also possible to define beaming patterns
1347 that differ from the defaults.
1349 Individual notes may be marked with @code{\noBeam}, to prevent them
1352 @lilypond[quote,fragment,verbatim,relative=2]
1353 \time 2/4 c8 c\noBeam c c
1359 Program reference: @internalsref{Beam}.
1362 @cindex Automatic beams
1365 * Setting automatic beam behavior::
1369 @subsection Manual beams
1370 @cindex beams, manual
1374 In some cases it may be necessary to override the automatic beaming
1375 algorithm. For example, the autobeamer will not put beams over rests
1376 or bar lines. Such beams are specified by manually: the begin and end
1377 point are marked with @code{[} and @code{]}
1379 @lilypond[quote,fragment,relative=1,verbatim]
1381 r4 r8[ g' a r8] r8 g[ | a] r8
1385 @cindex @code{stemLeftBeamCount}
1387 Normally, beaming patterns within a beam are determined automatically.
1388 If necessary, the properties @code{stemLeftBeamCount} and
1389 @code{stemRightBeamCount} can be used to override the defaults. If
1390 either property is set, its value will be used only once, and then it
1393 @lilypond[quote,fragment,relative=1,verbatim]
1396 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1399 @cindex @code{stemRightBeamCount}
1402 The property @code{subdivideBeams} can be set in order to subdivide
1403 all 16th or shorter beams at beat positions, as defined by the
1404 @code{beatLength} property.
1407 @lilypond[quote,relative=2,verbatim,noindent]
1409 \set subdivideBeams = ##t
1411 \set Score.beatLength = #(ly:make-moment 1 8)
1414 @cindex subdivideBeams
1416 Kneed beams are inserted automatically, when a large gap is detected
1417 between the note heads. This behavior can be tuned through the object
1418 property @code{auto-knee-gap}.
1420 Normally, line breaks are forbidden when beams cross bar lines. This
1421 behavior can be changed by setting @code{allowBeamBreak}.
1423 @cindex @code{allowBeamBreak}
1424 @cindex beams and line breaks
1426 @cindex beams, kneed
1428 @cindex auto-knee-gap
1434 @cindex Frenched staves
1436 Automatically kneed cross-staff beams cannot be used together with
1442 @node Setting automatic beam behavior
1443 @subsection Setting automatic beam behavior
1445 @cindex @code{autoBeamSettings}
1446 @cindex @code{(end * * * *)}
1447 @cindex @code{(begin * * * *)}
1448 @cindex automatic beams, tuning
1449 @cindex tuning automatic beaming
1451 @c [TODO: use \applycontext]
1453 In normal time signatures, automatic beams can start on any note but can
1454 only end in a few positions within the measure: beams can end on a beat,
1455 or at durations specified by the properties in
1456 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1457 are defined in @file{scm/auto-beam.scm}.
1459 The value of @code{autoBeamSettings} is changed with two functions,
1461 #(override-auto-beam-setting
1462 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1464 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1466 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1467 @var{context} is an optional context (default: @code{'Voice}). It
1468 determines whether the rule applies to begin or end-points. The
1469 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1470 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1471 to a time signature (wildcards `@code{* *}' may be entered to
1472 designate all time signatures), @var{a}/@var{b} is a duration. By
1473 default, this command changes settings for the current voice. It is
1474 also possible to adjust settings at higher contexts, by adding a
1475 @var{context} argument.
1477 For example, if automatic beams should end on every quarter note, use
1480 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1482 Since the duration of a quarter note is 1/4 of a whole note, it is
1483 entered as @code{(ly:make-moment 1 4)}.
1485 The same syntax can be used to specify beam starting points. In this
1486 example, automatic beams can only end on a dotted quarter note
1488 #(override-auto-beam-setting '(end * * * *) 3 8)
1490 In 4/4 time signature, this means that automatic beams could end only on
1491 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1492 3/8, has passed within the measure).
1494 Rules can also be restricted to specific time signatures. A rule that
1495 should only be applied in @var{N}/@var{M} time signature is formed by
1496 replacing the second asterisks by @var{N} and @var{M}. For example, a
1497 rule for 6/8 time exclusively looks like
1499 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1502 If a rule should be to applied only to certain types of beams, use the
1503 first pair of asterisks. Beams are classified according to the
1504 shortest note they contain. For a beam ending rule that only applies
1505 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1508 @cindex automatic beam generation
1510 @cindex @code{autoBeaming}
1513 If beams are used to indicate melismata in songs, then automatic
1514 beaming should be switched off. This is done by setting
1515 @code{autoBeaming} to @code{#f}.
1519 @cindex @code{\autoBeamOff}
1520 @code{\autoBeamOff},
1521 @cindex @code{\autoBeamOn}
1527 If a score ends while an automatic beam has not been ended and is
1528 still accepting notes, this last beam will not be typeset at all. The
1529 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1530 >>}. If a polyphonic voice ends while an automatic beam is still
1531 accepting notes, it is not typeset.
1533 The rules for ending a beam depend on the shortest note in a beam.
1534 So, while it is possible to have different ending rules for eight
1535 beams and sixteenth beams, a beam that contains both eight and
1536 sixteenth notes will use the rules for the sixteenth beam.
1538 In the example below, the autobeamer makes eight beams and sixteenth
1539 end at 3 eights; the third beam can only be corrected by specifying
1542 @lilypond[quote,raggedright,fragment,relative=1]
1543 #(override-auto-beam-setting '(end * * * *) 3 8)
1544 % rather show case where it goes wrong
1545 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1546 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1548 It is not possible to specify beaming parameters that act differently in
1549 different parts of a measure. This means that it is not possible to use
1550 automatic beaming in irregular meters such as @code{5/8}.
1553 @section Accidentals
1556 This section describes how to change the way that accidentals are
1557 inserted automatically before the running notes.
1559 Common rules for typesetting accidentals have been canned in a
1560 function. This function is called as follows
1562 @cindex @code{set-accidental-style}
1564 #(set-accidental-style 'modern 'Voice)
1567 The function takes two arguments: a symbol that denotes the style (in
1568 the example, @code{modern}), and another symbol that denotes the
1569 context name (in this example, @code{Voice}). If no context name is
1570 supplied, @code{Staff} is the default.
1572 The following styles are supported
1575 This is the default typesetting behavior. It should correspond
1576 to 18th century common practice: Accidentals are
1577 remembered to the end of the measure in which they occur and
1578 only on their own octave.
1582 The normal behavior is to remember the accidentals on
1583 Staff-level. This variable, however, typesets accidentals
1584 individually for each voice. Apart from that, the rule is similar to
1587 This leads to some weird and often unwanted results
1588 because accidentals from one voice do not get canceled in other
1590 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1592 #(set-accidental-style 'voice)
1598 Hence you should only use @code{voice} if the voices
1599 are to be read solely by individual musicians. If the staff is to be
1600 used by one musician (e.g. a conductor) then you use
1601 @code{modern} or @code{modern-cautionary}
1605 @cindex @code{modern} style accidentals
1606 This rule corresponds to the common practice in the 20th
1608 This rule prints the same accidentals as @code{default}, but temporary
1609 accidentals also are canceled in other octaves. Furthermore,
1610 in the same octave, they also get canceled in the following
1613 @lilypond[quote,raggedright,fragment,verbatim]
1614 #(set-accidental-style 'modern)
1615 cis' c'' cis'2 | c'' c'
1618 @item @code{modern-cautionary}
1619 @cindex @code{modern-cautionary}
1620 This rule is similar to @code{modern}, but the
1621 ``extra'' accidentals (the ones not typeset by
1622 @code{default}) are typeset as cautionary accidentals.
1623 They are printed in reduced size or with parentheses
1624 @lilypond[quote,raggedright,fragment,verbatim]
1625 #(set-accidental-style 'modern-cautionary)
1626 cis' c'' cis'2 | c'' c'
1629 @cindex @code{modern-voice}
1631 This rule is used for multivoice accidentals to be read both by musicians
1632 playing one voice and musicians playing all voices. Accidentals are
1633 typeset for each voice, but they @emph{are} canceled across voices in
1634 the same @internalsref{Staff}.
1636 @cindex @code{modern-voice-cautionary}
1637 @item modern-voice-cautionary
1638 This rule is the same as @code{modern-voice}, but with the extra
1639 accidentals (the ones not typeset by @code{voice}) typeset
1640 as cautionaries. Even though all accidentals typeset by
1641 @code{default} @emph{are} typeset by this variable then
1642 some of them are typeset as cautionaries.
1645 @cindex @code{piano} accidentals
1646 This rule reflects 20th century practice for piano notation. Very similar to
1647 @code{modern} but accidentals also get canceled
1648 across the staves in the same @internalsref{GrandStaff} or
1649 @internalsref{PianoStaff}.
1651 @item piano-cautionary
1652 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1653 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1654 typeset as cautionaries.
1657 @cindex @code{no-reset} accidental style
1659 This is the same as @code{default} but with accidentals lasting
1660 ``forever'' and not only until the next measure
1661 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1662 #(set-accidental-style 'no-reset)
1667 This is sort of the opposite of @code{no-reset}: Accidentals
1668 are not remembered at all---and hence all accidentals are
1669 typeset relative to the key signature, regardless of what was
1672 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1673 #(set-accidental-style 'forget)
1674 \key d\major c4 c cis cis d d dis dis
1681 Program reference: @internalsref{Accidental_engraver},
1682 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1687 Simultaneous notes are considered to be entered in sequential
1688 mode. This means that in a chord the accidentals are typeset as if the
1689 notes in the chord happened once at a time - in the order in which
1690 they appear in the input file.
1692 This is only a problem when accidentals in a chord depend on each
1693 other. This problem can be solved by manually inserting @code{!} and
1694 @code{?} for the problematic notes.
1696 In the default scheme, accidentals only depend on other
1697 accidentals with the same pitch on the same staff, so no conflicts are
1700 @node Expressive marks
1701 @section Expressive marks
1704 @c todo: should change ordering
1705 @c where to put text spanners, metronome marks,
1714 * Analysis brackets::
1716 * Fingering instructions::
1727 A slur indicates that notes are to be played bound or @emph{legato}.
1730 They are entered using parentheses
1731 @lilypond[quote,relative=2,fragment,verbatim]
1732 f( g)( a) a8 b( a4 g2 f4)
1737 @c TODO: should explain that ^( and _( set directions
1738 @c should set attachments with ^ and _ ?
1740 Slurs avoid crossing stems, and are generally attached to note heads.
1741 However, in some situations with beams, slurs may be attached to stem
1742 ends. If you want to override this layout you can do this through the
1743 object property @code{attachment} of @internalsref{Slur}. Its value
1744 is a pair of symbols, specifying the attachment type of the left and
1747 @lilypond[quote,fragment,relative=1,verbatim]
1749 \override Stem #'length = #5.5
1751 \override Slur #'attachment = #'(stem . stem)
1755 If a slur would strike through a stem or beam, the slur will be moved
1756 away upward or downward. If this happens, attaching the slur to the
1757 stems might look better
1759 @lilypond[quote,fragment,relative=1,verbatim]
1762 \override Slur #'attachment = #'(stem . stem)
1769 @cindex @code{\slurUp}
1771 @cindex @code{\slurDown}
1773 @cindex @code{\slurBoth}
1775 @cindex @code{\slurDotted}
1777 @cindex @code{\slurSolid}
1782 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1787 Producing nice slurs is a difficult problem, and LilyPond
1788 uses a simple, empiric method to produce slurs. In some cases, its
1792 @cindex Adjusting slurs
1794 @node Phrasing slurs
1795 @subsection Phrasing slurs
1797 @cindex phrasing slurs
1798 @cindex phrasing marks
1800 A phrasing slur (or phrasing mark) connects chords and is used to
1801 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1804 @lilypond[quote,fragment,verbatim,relative=1]
1805 \time 6/4 c'\( d( e) f( e) d\)
1808 Typographically, the phrasing slur behaves almost exactly like a
1809 normal slur. However, they are treated as different objects. A
1810 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1811 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1812 @code{\phrasingSlurBoth}.
1814 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1815 will only affect normal slurs and not phrasing slurs.
1819 @cindex @code{\phrasingSlurUp}
1820 @code{\phrasingSlurUp},
1821 @cindex @code{\phrasingSlurDown}
1822 @code{\phrasingSlurDown},
1823 @cindex @code{\phrasingSlurBoth}
1824 @code{\phrasingSlurBoth}.
1828 Program reference: see also @internalsref{PhrasingSlur}, and
1829 @internalsref{PhrasingSlurEvent}.
1833 Phrasing slurs have the same limitations in their formatting as normal
1834 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1837 @subsection Breath marks
1839 Breath marks are entered using @code{\breathe}
1842 @lilypond[quote,fragment,relative=1,verbatim]
1846 The glyph of the breath mark can be tuned by overriding the
1847 @code{text} property of the @code{BreathingSign} layout object with
1848 any markup text. For example,
1849 @lilypond[quote,fragment,verbatim,relative=1]
1851 \override BreathingSign #'text
1852 = #(make-musicglyph-markup "scripts-rvarcomma")
1859 Program reference: @internalsref{BreathingSign},
1860 @internalsref{BreathingSignEvent}.
1862 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1865 @node Metronome marks
1866 @subsection Metronome marks
1869 @cindex beats per minute
1870 @cindex metronome marking
1872 Metronome settings can be entered as follows
1874 \tempo @var{duration} = @var{per-minute}
1877 In the MIDI output, they are interpreted as a tempo change, and in the
1878 paper output, a metronome marking is printed
1879 @cindex @code{\tempo}
1880 @lilypond[quote,fragment,verbatim]
1886 Program reference: @internalsref{MetronomeChangeEvent}.
1891 @subsection Text spanners
1892 @cindex Text spanners
1894 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1895 are written as texts, and extended over many measures with dotted
1896 lines. You can create such texts using text spanners: attach
1897 @code{\startTextSpan} and @code{\stopTextSpan} to the
1898 start and ending note of the spanner.
1900 The string to be printed, as well as the style, is set through object
1903 @lilypond[quote,fragment,relative=1,verbatim]
1906 \override TextSpanner #'direction = #-1
1907 \override TextSpanner #'edge-text = #'("rall " . "")
1908 c2\startTextSpan b c\stopTextSpan a
1915 Internals @internalsref{TextSpanEvent},
1916 @internalsref{TextSpanner}.
1918 Examples: @inputfileref{input/regression,text-spanner.ly}.
1921 @node Analysis brackets
1922 @subsection Analysis brackets
1924 @cindex phrasing brackets
1925 @cindex musicological analysis
1926 @cindex note grouping bracket
1928 Brackets are used in musical analysis to indicate structure in musical
1929 pieces. LilyPond supports a simple form of nested horizontal brackets.
1930 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1931 @internalsref{Staff} context. A bracket is started with
1932 @code{\startGroup} and closed with @code{\stopGroup}
1934 @lilypond[quote,raggedright,verbatim]
1936 \notes \relative c'' {
1937 c4\startGroup\startGroup
1940 c4\stopGroup\stopGroup
1944 \StaffContext \consists "Horizontal_bracket_engraver"
1950 Program reference: @internalsref{HorizontalBracket},
1951 @internalsref{NoteGroupingEvent}.
1953 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1957 @subsection Articulations
1958 @cindex Articulations
1960 @cindex articulations
1964 A variety of symbols can appear above and below notes to indicate
1965 different characteristics of the performance. They are added to a note
1966 by adding a dash and the character signifying the
1967 articulation. They are demonstrated here
1969 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1971 The meanings of these shorthands can be changed. See
1972 @file{ly/script-init.ly} for examples.
1975 The script is automatically placed, but if you need to force
1976 directions, you can use @code{_} to force them down, or @code{^} to
1978 @lilypond[quote,fragment,verbatim]
1982 Other symbols can be added using the syntax
1983 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1984 can be forced up or down using @code{^} and @code{_},
1987 @lilypond[quote,verbatim,fragment,relative=3]
1988 c\fermata c^\fermata c_\fermata
1995 @cindex staccatissimo
2004 @cindex organ pedal marks
2013 @cindex prallmordent
2017 @cindex thumb marking
2022 @lilypondfile[quote,raggedright]{script-chart.ly}
2026 @cindex @code{\scriptUp}
2028 @cindex @code{\scriptDown}
2030 @cindex @code{\scriptBoth}
2035 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2039 These note ornaments appear in the printed output but have no
2040 effect on the MIDI rendering of the music.
2043 @node Fingering instructions
2044 @subsection Fingering instructions
2048 Fingering instructions can be entered using
2050 @var{note}-@var{digit}
2052 For finger changes, use markup texts
2054 @lilypond[quote,verbatim,raggedright,fragment]
2055 c'4-1 c'4-2 c'4-3 c'4-4
2056 c'^\markup { \finger "2-3" }
2059 @cindex finger change
2064 You can use the thumb-script to indicate that a note should be
2065 played with the thumb (e.g. in cello music)
2067 @lilypond[quote,verbatim,raggedright,fragment]
2068 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2071 Fingerings for chords can also be added to individual notes
2072 of the chord by adding them after the pitches
2073 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2074 < c-1 e-2 g-3 b-5 >4
2078 iIn this case, setting @code{fingeringOrientations} will put fingerings next
2081 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2082 \set fingeringOrientations = #'(left down)
2083 <c-1 es-2 g-4 bes-5 > 4
2084 \set fingeringOrientations = #'(up right down)
2085 <c-1 es-2 g-4 bes-5 > 4
2086 \set fingeringOrientations = #'(right)
2090 The last note demonstrates how fingering instructions can be put close
2091 to note heads in monophonic music, using this feature.
2095 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2097 Examples: @inputfileref{input/regression,finger-chords.ly}.
2100 @subsection Text scripts
2101 @cindex Text scripts
2103 @cindex text items, non-empty
2104 @cindex non-empty texts
2106 It is possible to place arbitrary strings of text or markup text (see
2107 @ref{Text markup}) above or below notes by using a string
2108 @code{c^"text"}. By default, these indications do not influence the
2109 note spacing, but by using the command @code{\fatText}, the widths
2110 will be taken into account
2112 @lilypond[quote,fragment,raggedright,verbatim]
2114 c4^"longtext" \fatText c4_"longlongtext" c4
2118 It is possible to use @TeX{} commands in the strings, but this should
2119 be avoided because the exact dimensions of the string can then no
2124 @cindex @code{\fatText}
2126 @cindex @code{\emptyText}
2131 In this manual: @ref{Text markup}.
2133 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2139 @subsection Grace notes
2142 @c should have blurb about accaciatura / appogiatura
2144 @cindex @code{\grace}
2148 Grace notes are ornaments that are written out. The most common ones
2149 are acciaccatura, which should be played as very short. It is denoted
2150 by a slurred small note with a slashed stem. The appoggiatura is a
2151 grace note that takes a fixed fraction of the main note, is and
2152 denoted as a slurred note in small print without a slash.
2153 They are entered with the commands @code{\acciaccatura} and
2154 @code{\appoggiatura}, as demonstrated in the following example
2157 @cindex appoggiatura
2158 @cindex acciaccatura
2160 @lilypond[quote,relative=2,verbatim,fragment]
2161 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2162 \acciaccatura { g16[ f] } e4
2165 Both are special forms of the @code{\grace} command. By prefixing this
2166 keyword to a music expression, a new one is formed, which will be
2167 printed in a smaller font and takes up no logical time in a measure.
2169 @lilypond[quote,relative=2,verbatim,fragment]
2171 \grace { c16[ d16] } c2 c4
2175 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2176 @code{\grace} command does not start a slur.
2178 Internally, timing for grace notes is done using a second, `grace'
2179 time. Every point in time consists of two rational numbers: one
2180 denotes the logical time, one denotes the grace timing. The above
2181 example is shown here with timing tuples
2183 @lilypond[quote,raggedright]
2186 c4 \grace c16 c4 \grace {
2189 \new Lyrics \lyrics {
2192 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2193 \markup { (\fraction 1 4 , 0 ) } 4
2195 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2196 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2198 \markup { ( \fraction 2 4 , 0 ) }
2204 The placement of grace notes is synchronized between different staves.
2205 In the following example, there are two sixteenth graces notes for
2206 every eighth grace note
2208 @lilypond[quote,relative=2,verbatim,fragment]
2209 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2210 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2215 If you want to end a note with a grace, the standard trick is to put
2216 the grace notes after a ``space note''
2218 @lilypond[quote,fragment,verbatim,relative=2]
2221 { s2 \grace { c16[ d] } } >>
2227 By adjusting the duration of the skip note (here it is a half-note),
2228 the space between the main-note and the grace is adjusted.
2231 A @code{\grace} section will introduce special typesetting settings,
2232 for example, to produce smaller type, and set directions. Hence, when
2233 introducing layout tweaks, they should be inside the grace section,
2235 @lilypond[quote,fragment,verbatim,relative=2]
2238 \override Stem #'direction = #-1
2240 \revert Stem #'direction
2247 The overrides should also be reverted inside the grace section.
2249 If the layout of grace sections must be changed throughout the music,
2250 then this can be accomplished through the function
2251 @code{add-grace-property}. The following example undefines the Stem
2252 direction for this grace, so stems do not always point up.
2256 #(add-grace-property 'Voice 'Stem 'direction '())
2262 Another option is to change the variables @code{startGraceMusic},
2263 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2264 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2265 @code{stopAppoggiaturaMusic}. More information is in the file
2266 @file{ly/grace-init.ly}.
2271 Program reference: @internalsref{GraceMusic}.
2275 A score that starts with an @code{\grace} section needs an explicit
2276 @code{\context Voice} declaration, otherwise the main note and grace
2277 note end up on different staves.
2279 Grace note synchronization can also lead to surprises. Staff notation,
2280 such as key signatures, bar lines, etc. are also synchronized. Take
2281 care when you mix staves with grace notes and staves without, for example,
2283 @lilypond[quote,relative=2,verbatim,fragment]
2284 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2285 \new Staff { c4 \bar "|:" d4 } >>
2289 This can be remedied by inserting grace skips, for the above example
2292 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2295 Grace sections should only be used within sequential music
2296 expressions. Nesting or juxtaposing grace sections is not supported,
2297 and might produce crashes or other errors.
2301 @subsection Glissando
2304 @cindex @code{\glissando}
2306 A glissando is a smooth change in pitch. It is denoted by a line or a
2307 wavy line between two notes.
2310 A glissando line can be requested by attaching a @code{\glissando} to
2313 @lilypond[quote,fragment,relative=1,verbatim]
2319 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2321 Example files: @file{input/regression,glissando.ly}
2327 Printing text over the line (such as @emph{gliss.}) is not supported.
2331 @subsection Dynamics
2344 @cindex @code{\ffff}
2354 Absolute dynamic marks are specified using a command after a note
2355 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2356 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2357 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2358 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2360 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2361 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2371 A crescendo mark is started with @code{\<} and terminated with
2372 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2373 with @code{\!}. Because these marks are bound to notes, if you must
2374 use spacer notes if multiple marks during one note are needed
2376 @lilypond[quote,fragment,verbatim]
2377 c''\< c''\! d''\> e''\!
2378 << f''1 { s4 s4\< s4\! \> s4\! } >>
2380 This may give rise to very short hairpins. Use @code{minimum-length}
2381 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2385 \override Staff.Hairpin #'minimum-length = #5
2388 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2389 is an example how to do it
2391 @lilypond[quote,fragment,relative=2,verbatim]
2401 You can also supply your own texts
2402 @lilypond[quote,fragment,relative=1,verbatim]
2404 \set crescendoText = \markup { \italic "cresc. poco" }
2405 \set crescendoSpanner = #'dashed-line
2415 @cindex @code{\dynamicUp}
2417 @cindex @code{\dynamicDown}
2418 @code{\dynamicDown},
2419 @cindex @code{\dynamicBoth}
2420 @code{\dynamicBoth}.
2422 @cindex direction, of dynamics
2426 Program reference: @internalsref{CrescendoEvent},
2427 @internalsref{DecrescendoEvent}, and
2428 @internalsref{AbsoluteDynamicEvent}.
2430 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2431 objects. Vertical positioning of these symbols is handled by the
2432 @internalsref{DynamicLineSpanner} object.
2440 @cindex @code{\repeat}
2443 Repetition is a central concept in music, and multiple notations exist
2444 for repetitions. In LilyPond, most of these notations can be captured
2445 in a uniform syntax. One of the advantages is that they can be
2446 rendered in MIDI accurately.
2448 The following types of repetition are supported
2452 Repeated music is fully written (played) out. Useful for MIDI
2453 output, and entering repetitive music.
2456 This is the normal notation: Repeats are not written out, but
2457 alternative endings (volte) are printed, left to right.
2461 Alternative endings are written stacked. This has limited use but may be
2462 used to typeset two lines of lyrics in songs with repeats, see
2463 @inputfileref{input,star-spangled-banner.ly}.
2471 Make beat or measure repeats. These look like percent signs.
2477 * Repeats and MIDI::
2478 * Manual repeat commands::
2480 * Tremolo subdivisions::
2485 @subsection Repeat syntax
2488 LilyPond has one syntactic construct for specifying different types of
2489 repeats. The syntax is
2492 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2495 If you have alternative endings, you may add
2496 @cindex @code{\alternative}
2498 \alternative @code{@{} @var{alternative1}
2500 @var{alternative3} @dots{} @code{@}}
2502 where each @var{alternative} is a music expression. If you do not
2503 give enough alternatives for all of the repeats, the first alternative
2504 is assumed to be played more than once.
2506 Normal notation repeats are used like this
2507 @lilypond[quote,fragment,verbatim,relative=2]
2509 \repeat volta 2 { c4 d e f }
2510 \repeat volta 2 { f e d c }
2513 With alternative endings
2514 @lilypond[quote,fragment,verbatim,relative=2]
2516 \repeat volta 2 {c4 d e f}
2517 \alternative { {d2 d} {f f,} }
2521 @lilypond[quote,fragment,verbatim,relative=2]
2524 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2525 \alternative { { g4 g g } { a | a a a a | b2. } }
2531 A nested repeat like
2540 is ambiguous, since it is is not clear to which @code{\repeat} the
2541 @code{\alternative} belongs. This ambiguity is resolved by always
2542 having the @code{\alternative} belong to the inner @code{\repeat}.
2543 For clarity, it is advisable to use braces in such situations.
2546 @node Repeats and MIDI
2547 @subsection Repeats and MIDI
2549 @cindex expanding repeats
2551 For instructions on how to expand repeats for MIDI output, see the
2552 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2557 Timing information is not remembered at the start of an alternative,
2558 so after a repeat timing information must be reset by hand, for
2559 example by setting @code{Score.measurePosition} or entering
2560 @code{\partial}. Similarly, slurs or ties are also not repeated.
2563 @node Manual repeat commands
2564 @subsection Manual repeat commands
2566 @cindex @code{repeatCommands}
2568 The property @code{repeatCommands} can be used to control the layout of
2569 repeats. Its value is a Scheme list of repeat commands, where each repeat
2573 @item the symbol @code{start-repeat},
2574 which prints a @code{|:} bar line,
2575 @item the symbol @code{end-repeat},
2576 which prints a @code{:|} bar line,
2577 @item the list @code{(volta @var{text})},
2578 which prints a volta bracket saying @var{text}: The text can be specified as
2579 a text string or as a markup text, see @ref{Text markup}. Do not
2580 forget to change the font, as the default number font does not contain
2581 alphabetic characters. Or,
2582 @item the list @code{(volta #f)}, which
2583 stops a running volta bracket
2586 @lilypond[quote,verbatim,fragment,relative=2]
2588 \set Score.repeatCommands = #'((volta "93") end-repeat)
2590 \set Score.repeatCommands = #'((volta #f))
2597 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2598 @internalsref{VoltaRepeatedMusic},
2599 @internalsref{UnfoldedRepeatedMusic}, and
2600 @internalsref{FoldedRepeatedMusic}.
2602 @node Tremolo repeats
2603 @subsection Tremolo repeats
2604 @cindex tremolo beams
2606 To place tremolo marks between notes, use @code{\repeat} with tremolo
2608 @lilypond[quote,verbatim,raggedright]
2610 \context Voice \notes\relative c' {
2611 \repeat "tremolo" 8 { c16 d16 }
2612 \repeat "tremolo" 4 { c16 d16 }
2613 \repeat "tremolo" 2 { c16 d16 }
2618 Tremolo marks can also be put on a single note. In this case, the
2619 note should not be surrounded by braces.
2620 @lilypond[quote,verbatim,raggedright]
2621 \repeat "tremolo" 4 c'16
2624 A similar mechanism is the tremolo subdivision, described in
2625 @ref{Tremolo subdivisions}.
2629 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2631 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2632 tremolos are @internalsref{StemTremolo} objects. The music expression is
2633 @internalsref{TremoloEvent}.
2635 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2636 @inputfileref{input/regression,stem-tremolo.ly}.
2638 @node Tremolo subdivisions
2639 @subsection Tremolo subdivisions
2640 @cindex tremolo marks
2641 @cindex @code{tremoloFlags}
2643 Tremolo marks can be printed on a single note by adding
2644 `@code{:}[@var{length}]' after the note. The length must be at least
2645 8. A @var{length} value of 8 gives one line across the note stem. If
2646 the length is omitted, the last value (stored in @code{tremoloFlags})
2649 @lilypond[quote,verbatim,fragment]
2650 c'2:8 c':32 | c': c': |
2653 @c [TODO : stok is te kort bij 32en]
2657 Tremolos entered in this way do not carry over into the MIDI output.
2661 In this manual: @ref{Tremolo repeats}.
2663 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2665 @node Measure repeats
2666 @subsection Measure repeats
2668 @cindex percent repeats
2669 @cindex measure repeats
2671 In the @code{percent} style, a note pattern can be repeated. It is
2672 printed once, and then the pattern is replaced with a special sign.
2673 Patterns of a one and two measures are replaced by percent-like signs,
2674 patterns that divide the measure length are replaced by slashes
2676 @lilypond[quote,verbatim,raggedright]
2677 \context Voice { \repeat "percent" 4 { c'4 }
2678 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2684 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2685 @internalsref{PercentRepeatedMusic}, and
2686 @internalsref{DoublePercentRepeat}.
2690 @node Rhythmic music
2691 @section Rhythmic music
2695 * Showing melody rhythms::
2696 * Entering percussion::
2697 * Percussion staves::
2701 @node Showing melody rhythms
2702 @subsection Showing melody rhythms
2704 Sometimes you might want to show only the rhythm of a melody. This
2705 can be done with the rhythmic staff. All pitches of notes on such a
2706 staff are squashed, and the staff itself has a single line
2708 @lilypond[quote,fragment,relative=1,verbatim]
2709 \context RhythmicStaff {
2711 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2717 Program reference: @internalsref{RhythmicStaff}.
2719 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2722 @node Entering percussion
2723 @subsection Entering percussion
2729 Percussion notes may be entered in @code{\drums} mode, which is
2730 similar to @code{notes}. Each piece of percussion has a full name and
2731 an abbreviated name, and both be used in input files
2734 hihat hh bassdrum bd
2736 @lilypond[quote,raggedright]
2737 \new DrumStaff \drums { hihat hh bassdrum bd }
2740 The complete list of drum names is in the init file
2741 @file{ly/drumpitch-init.ly}.
2742 @c TODO: properly document this.
2746 Program reference: @internalsref{DrumNoteEvent}.
2748 @node Percussion staves
2749 @subsection Percussion staves
2753 A percussion part for more than one instrument typically uses a
2754 multiline staff where each position in the staff refers to one piece
2758 To typeset the music, the notes must be interpreted in a
2759 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2762 @lilypond[quote,raggedright,verbatim]
2763 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2764 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2767 \new DrumVoice { \voiceOne \up }
2768 \new DrumVoice { \voiceTwo \down }
2773 The above example shows verbose polyphonic notation. The short
2774 polyphonic notation, described in @ref{Polyphony}, can also be used if
2775 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2777 @lilypond[quote,fragment,verbatim]
2779 \context DrumVoice = "1" { s1 *2 }
2780 \context DrumVoice = "2" { s1 *2 }
2784 { \repeat unfold 16 hh16 }
2793 There are also other layout possibilities. To use these, set the
2794 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2795 The following variables have been predefined
2799 is the default. It typesets a typical drum kit on a five-line staff
2801 @lilypond[quote,noindent]
2802 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2803 bd sn ss tomh tommh tomml toml tomfh tomfl }
2804 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2805 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2807 << \new DrumStaff\with {
2808 \remove Bar_engraver
2809 \remove Time_signature_engraver
2810 \override Stem #'transparent = ##t
2811 \override Stem #'Y-extent-callback = ##f
2812 minimumVerticalExtent = #'(-4.0 . 5.0)
2814 \context Lyrics \nam
2817 %% need to do this, because of indented @itemize
2819 \context { \ScoreContext
2820 \override LyricText #'font-family = #'typewriter
2821 \override BarNumber #'transparent =##T
2825 The drum scheme supports six different toms. When there fewer toms, simply
2826 select the toms that produce the desired result, i.e. to get toms on
2827 the three middle lines you use @code{tommh}, @code{tomml} and
2830 @item timbales-style
2831 to typeset timbales on a two line staff
2833 @lilypond[quote,raggedright]
2834 nam = \lyrics { timh ssh timl ssl cb }
2835 mus = \drums { timh ssh timl ssl cb s16 }
2838 \context DrumStaff \with {
2839 \remove Bar_engraver
2840 \remove Time_signature_engraver
2841 \override Stem #'transparent = ##t
2842 \override Stem #'Y-extent-callback = ##f
2843 \override StaffSymbol #'line-count = #2
2844 \override StaffSymbol #'staff-space = #2
2845 minimumVerticalExtent = #'(-3.0 . 4.0)
2846 drumStyleTable = #timbales-style
2849 \override LyricText #'font-family = #'typewriter
2856 to typeset congas on a two line staff
2858 @lilypond[quote,raggedright]
2859 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2860 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2863 \context DrumStaff\with {
2864 \remove Bar_engraver
2865 \remove Time_signature_engraver
2866 drumStyleTable = #congas-style
2867 \override StaffSymbol #'line-count = #2
2869 %% this sucks; it will lengthen stems.
2870 \override StaffSymbol #'staff-space = #2
2871 \override Stem #'transparent = ##t
2872 \override Stem #'Y-extent-callback = ##f
2875 \override LyricText #'font-family = #'typewriter
2881 to typeset bongos on a two line staff
2883 @lilypond[quote,raggedright]
2884 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2885 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2888 \context DrumStaff\with {
2889 \remove Bar_engraver
2890 \remove Time_signature_engraver
2891 \override StaffSymbol #'line-count = #2
2892 drumStyleTable = #bongos-style
2894 %% this sucks; it will lengthen stems.
2895 \override StaffSymbol #'staff-space = #2
2896 \override Stem #'transparent = ##t
2897 \override Stem #'Y-extent-callback = ##f
2900 \override LyricText #'font-family = #'typewriter
2906 @item percussion-style
2907 to typeset all kinds of simple percussion on one line staves
2908 @lilypond[quote,raggedright]
2909 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2910 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2913 \context DrumStaff\with{
2914 \remove Bar_engraver
2915 drumStyleTable = #percussion-style
2916 \override StaffSymbol #'line-count = #1
2917 \remove Time_signature_engraver
2918 \override Stem #'transparent = ##t
2919 \override Stem #'Y-extent-callback = ##f
2923 \override LyricText #'font-family = #'typewriter
2930 If you do not like any of the predefined lists you can define your own
2931 list at the top of your file
2933 @lilypond[quote,raggedright,verbatim]
2935 (bassdrum default #f -1)
2936 (snare default #f 0)
2938 (pedalhihat xcircle "stopped" 2)
2939 (lowtom diamond #f 3)))
2940 up = \drums { hh8 hh hh hh hhp4 hhp }
2941 down = \drums { bd4 sn bd toml8 toml }
2944 \set DrumStaff.drumStyleTable
2945 = #(alist->hash-table mydrums)
2946 \new DrumVoice { \voiceOne \up }
2947 \new DrumVoice { \voiceTwo \down }
2955 Init files: @file{ly/drumpitch-init.ly}.
2957 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2961 Because general MIDI does not contain rim shots, the sidestick is used
2962 for this purpose instead.
2965 @section Piano music
2967 Piano staves are two normal staves coupled with a brace. The staves
2968 are largely independent, but sometimes voices can cross between the
2969 two staves. The same notation is also used for harps and other key
2970 instruments. The @internalsref{PianoStaff} is especially built to
2971 handle this cross-staffing behavior. In this section we discuss the
2972 @internalsref{PianoStaff} and some other pianistic peculiarities.
2976 * Automatic staff changes::
2977 * Manual staff switches::
2980 * Staff switch lines::
2985 There is no support for putting chords across staves. You can get
2986 this result by increasing the length of the stem in the lower stave so
2987 it reaches the stem in the upper stave, or vice versa. An example is
2988 included with the distribution as
2989 @inputfileref{input/test,stem-cross-staff.ly}.
2991 Dynamics are not centered, but kludges do exist. See
2992 @inputfileref{input/template,piano-dynamics.ly}.
2994 @cindex cross staff stem
2995 @cindex stem, cross staff
2996 @cindex distance between staves in piano music
2998 The distance between the two staves is normally fixed across the
2999 entire score. It is possible to tune this per system, but it does
3000 require arcane command incantations. See
3001 @inputfileref{input/test,piano-staff-distance.ly}.
3004 @node Automatic staff changes
3005 @subsection Automatic staff changes
3006 @cindex Automatic staff changes
3008 Voices can switch automatically between the top and the bottom
3009 staff. The syntax for this is
3013 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3018 The two staves of the piano staff must be named @code{up} and
3021 A @code{\relative} section that is outside of @code{\autochange} has
3022 no effect on the pitches of @var{music}, so, if necessary, put
3023 @code{\relative} inside @code{\autochange} like
3027 \autochange \relative @dots{} \new Voice @dots{}
3032 The autochanger switches on basis of pitch (middle C is the turning
3033 point), and it looks ahead skipping over rests to switch in
3034 advance. Here is a practical example
3036 @lilypond[quote,verbatim,raggedright]
3037 \score { \notes \context PianoStaff <<
3038 \context Staff = "up" {
3039 \autochange \new Voice \relative c' {
3040 g4 a b c d r4 a g } }
3041 \context Staff = "down" {
3048 In this example, spacer rests are used to prevent the bottom staff from
3049 terminating too soon.
3054 In this manual: @ref{Manual staff switches}.
3056 Program reference: @internalsref{AutoChangeMusic}.
3062 The staff switches often do not end up in optimal places. For high
3063 quality output, staff switches should be specified manually.
3066 @code{\autochange} cannot be inside @code{\times}.
3068 Internally, the @code{\partcombine} interprets both arguments as
3069 @code{Voice}s named @code{one} and @code{two}, and then decides when
3070 the parts can be combined. Consequently, if the arguments switch to
3071 differently named @internalsref{Voice} contexts, the events in those
3075 @node Manual staff switches
3076 @subsection Manual staff switches
3078 @cindex manual staff switches
3079 @cindex staff switch, manual
3081 Voices can be switched between staves manually, using the following command
3083 \change Staff = @var{staffname} @var{music}
3087 The string @var{staffname} is the name of the staff. It switches the
3088 current voice from its current staff to the Staff called
3089 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3090 @code{"down"}. The @context{Staff} referred to must already exist, so
3091 usually the setup for a score will start with a setup of the staves,
3095 \context Staff = up @{
3096 \skip 1 * 10 %@emph{ keep staff alive}
3098 \context Staff = down @{
3099 \skip 1 * 10 %@emph{idem}
3105 and the @context{Voice} is inserted afterwards
3108 \context Staff = down
3109 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3117 Pianos have pedals that alter the way sound are produced. Generally, a
3118 piano has three pedals, sustain, una corda, and sostenuto.
3121 Piano pedal instruction can be expressed by attaching
3122 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3123 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3126 @lilypond[quote,fragment,verbatim]
3127 c'4\sustainDown c'4\sustainUp
3130 What is printed can be modified by setting @code{pedal@var{X}Strings},
3131 where @var{X} is one of the pedal types: @code{Sustain},
3132 @code{Sostenuto} or @code{UnaCorda}. Refer to
3133 @internalsref{SustainPedal} in the program reference for more
3136 Pedals can also be indicated by a sequence of brackets, by setting the
3137 @code{pedalSustainStyle} property to @code{bracket} objects
3139 @lilypond[quote,fragment,verbatim,relative=2]
3140 \set Staff.pedalSustainStyle = #'bracket
3142 b\sustainUp\sustainDown
3143 b g \sustainUp a \sustainDown \bar "|."
3146 A third style of pedal notation is a mixture of text and brackets,
3147 obtained by setting the @code{pedalSustainStyle} style property to
3150 @lilypond[quote,fragment,verbatim,relative=2]
3151 \set Staff.pedalSustainStyle = #'mixed
3153 b\sustainUp\sustainDown
3154 b g \sustainUp a \sustainDown \bar "|."
3157 The default `*Ped.' style for sustain and damper pedals corresponds to
3158 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3161 @lilypond[quote,fragment,verbatim,relative=2]
3162 c\sostenutoDown d e c, f g a\sostenutoUp
3165 For fine-tuning of the appearance of a pedal bracket, the properties
3166 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3167 @code{PianoPedalBracket} objects (see
3168 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3169 bracket may be extended to the end of the note head
3171 @lilypond[quote,fragment,verbatim,relative=2]
3172 \override Staff.PianoPedalBracket
3173 #'shorten-pair = #'(0 . -1.0)
3174 c\sostenutoDown d e c, f g a\sostenutoUp
3178 @subsection Arpeggio
3181 @cindex broken arpeggio
3182 @cindex @code{\arpeggio}
3184 You can specify an arpeggio sign on a chord by attaching an
3185 @code{\arpeggio} to a chord
3188 @lilypond[quote,fragment,relative=1,verbatim]
3192 When an arpeggio crosses staves, you attach an arpeggio to the chords
3193 in both staves, and set
3194 @internalsref{PianoStaff}.@code{connectArpeggios}
3196 @lilypond[quote,fragment,relative=1,verbatim]
3197 \context PianoStaff <<
3198 \set PianoStaff.connectArpeggios = ##t
3199 \new Staff { <c' e g c>\arpeggio }
3200 \new Staff { \clef bass <c,, e g>\arpeggio }
3204 The direction of the arpeggio is sometimes denoted by adding an
3205 arrowhead to the wiggly line
3207 @lilypond[quote,fragment,relative=1,verbatim]
3216 A square bracket on the left indicates that the player should not
3217 arpeggiate the chord
3219 @lilypond[quote,fragment,relative=1,verbatim]
3226 @cindex @code{\arpeggio}
3228 @cindex @code{\arpeggioUp}
3230 @cindex @code{\arpeggioDown}
3232 @cindex @code{\arpeggioBoth}
3233 @code{\arpeggioBoth},
3234 @cindex @code{\arpeggioBracket}
3235 @code{\arpeggioBracket}.
3239 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3240 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3241 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3245 It is not possible to mix connected arpeggios and unconnected
3246 arpeggios in one @internalsref{PianoStaff} at the same time.
3248 @node Staff switch lines
3249 @subsection Staff switch lines
3252 @cindex follow voice
3253 @cindex staff switching
3256 @cindex @code{followVoice}
3258 Whenever a voice switches to another staff a line connecting the notes
3259 can be printed automatically. This is enabled if the property
3260 @code{PianoStaff.followVoice} is set to true
3262 @lilypond[quote,fragment,relative=1,verbatim]
3263 \context PianoStaff <<
3264 \set PianoStaff.followVoice = ##t
3265 \context Staff \context Voice {
3270 \context Staff=two { \clef bass \skip 1*2 }
3276 The associated object is @internalsref{VoiceFollower}.
3280 @cindex @code{\showStaffSwitch}
3281 @code{\showStaffSwitch},
3282 @cindex @code{\hideStaffSwitch}
3283 @code{\hideStaffSwitch}.
3287 @section Vocal music
3289 This section discusses how to enter and print lyrics.
3293 * The Lyrics context::
3298 @node Entering lyrics
3299 @subsection Entering lyrics
3303 @cindex @code{\lyrics}
3306 Lyrics are entered in a special input mode. This mode is is introduced
3307 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3308 punctuation and accents without any hassle. Syllables are entered like
3309 notes, but with pitches replaced by text. For example,
3311 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3314 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3315 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3316 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3317 any 8-bit character with ASCII code over 127, or a two-character
3318 combination of a backslash followed by one of @code{`}, @code{'},
3319 @code{"}, or @code{^}.
3321 Subsequent characters of a word can be any character that is not a digit
3322 and not white space. One important consequence of this is that a word
3323 can end with @code{@}}. The following example is usually a bug. The
3324 syllable includes a @code{@}}, and hence the opening brace is not balanced
3326 \lyrics @{ twinkle@}
3329 @cindex @code{\property}, in @code{\lyrics}
3330 Similarly, a period following a alphabetic sequence, is included in
3331 the resulting string. As a consequence, spaces must be inserted around
3334 \override Score . LyricText #'font-shape = #'italic
3338 @cindex spaces, in lyrics
3339 @cindex quotes, in lyrics
3341 Any @code{_} character which appears in an unquoted word is converted
3342 to a space. This provides a mechanism for introducing spaces into words
3343 without using quotes. Quoted words can also be used in Lyrics mode to
3344 specify words that cannot be written with the above rules
3347 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3349 However, at least for english texts, you should use
3351 \lyrics @{ He said: ``Let my peo ple go'' @}
3353 to get the correct shape of the starting and ending quote.
3357 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3358 The hyphen will have variable length depending on the space between
3359 the syllables and it will be centered between the syllables.
3364 When a lyric is sung over many notes (this is called a melisma), this is
3365 indicated with a horizontal line centered between a syllable and the
3366 next one. Such a line is called an extender line, and it is entered as
3371 Program reference: events @internalsref{LyricEvent},
3372 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3373 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3374 @internalsref{LyricText}.
3376 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3380 The definition of lyrics mode is too complex.
3384 @node The Lyrics context
3385 @subsection The Lyrics context
3387 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3389 \context Lyrics \lyrics @dots{}
3392 @cindex automatic syllable durations
3393 @cindex @code{\lyricsto}
3394 @cindex lyrics and melodies
3396 This will place the lyrics according to the durations that were
3397 entered. The lyrics can also be aligned under a given melody
3398 automatically. In this case, it is no longer necessary to enter the
3399 correct duration for each syllable. This is achieved by combining the
3400 melody and the lyrics with the @code{\lyricsto} expression
3402 \lyricsto @var{name} \new Lyrics @dots{}
3405 This aligns the lyrics to the
3407 notes of the @internalsref{Voice} context called @var{name}, which has
3408 to exist. Therefore, normally the @code{Voice} is specified first, and
3409 then the lyrics are specified with @code{\lyricsto}.
3411 For different or more complex orderings, the best way is to setup the
3412 hierarchy of staves and lyrics first, e.g.
3414 \context ChoirStaff \notes <<
3415 \context Lyrics = sopranoLyrics @{ s1 @}
3416 \context Voice = soprano @{ @emph{music} @}
3417 \context Lyrics = tenorLyrics @{ s1 @}
3418 \context Voice = tenor @{ @emph{music} @}
3421 and then combine the appropriate melodies and lyric lines
3423 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3428 The final input would resemble
3431 << \context ChoirStaff \notes << @emph{setup the music} >>
3432 \lyricsto "soprano" @emph{etc}
3433 \lyricsto "alto" @emph{etc}
3439 The @code{\lyricsto} command detects melismata: it only puts one
3440 syllable under a tied or slurred group of notes. If you want to force
3441 an unslurred group of notes to be a melisma, insert @code{\melisma}
3442 after the first note of the group, and @code{\melismaEnd} after the
3445 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3447 \context Voice = "lala" {
3455 \lyricsto "lala" \new Lyrics \lyrics {
3461 In addition, notes are considered a melisma if they are manually
3462 beamed, and automatic beaming (see @ref{Setting automatic beam
3463 behavior}) is switched off. The criteria for deciding melismata can
3464 be tuned with the property @code{melismaBusyProperties}. See
3465 @internalsref{Melisma_translator} in the program reference for more
3468 Lyrics can also be entered without @code{\lyricsto}. In this case the
3469 durations of each syllable must be entered explicitly, for example,
3476 Alignment to a melody can be specified with the @code{associatedVoice}
3480 \set associatedVoice = #"melody"
3483 Here is an example demonstrating manual lyric durations,
3485 @lilypond[relative=1,verbatim,fragment]
3486 << \context Voice = melody {
3490 \new Lyrics \lyrics {
3491 \set associatedVoice = #"melody"
3499 When multiple stanzas are put on the same melody, it can happen that
3500 two stanzas have melismata in different locations. This can be
3501 remedied by switching off melismata for one
3502 @internalsref{Lyrics}. This is achieved by setting
3503 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3504 in @inputfileref{input/regression,lyric-combine-new.ly}.
3507 @cindex choral score
3509 A complete example of a SATB score setup is in the file
3510 @inputfileref{input/template,satb.ly}.
3515 @code{\melisma}, @code{\melismaEnd}
3516 @cindex @code{\melismaEnd}
3517 @cindex @code{\melisma}
3521 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3522 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3524 Examples: @inputfileref{input/template,satb.ly},
3525 @inputfileref{input/regression,lyric-combine-new.ly}.
3529 Melismata are not detected automatically, and extender lines must be
3533 For proper processing of extender lines, the
3534 @internalsref{Lyrics} and @internalsref{Voice} should be
3535 linked. This can be achieved either by using @code{\lyricsto} or by
3536 setting corresponding names for both contexts. The latter is explained
3537 in @ref{More stanzas}.
3540 @subsection More stanzas
3542 @cindex phrasing, in lyrics
3545 The lyrics should be aligned with the note heads of the melody. To
3546 achieve this, each line of lyrics should be marked to correspond with
3547 the melodic line. This is done automatically when @code{\lyricsto},
3548 but it can also be done manually.
3550 To this end, give the @internalsref{Voice} context an identity
3552 \context Voice = duet @{
3557 Then set the @internalsref{Lyrics} contexts to names starting with
3558 that identity followed by a dash. In the preceding example, the
3559 @internalsref{Voice} identity is @code{duet}, so the identities of the
3560 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3562 \context Lyrics = "duet-1" @{
3563 Hi, my name is Bert. @}
3564 \context Lyrics = "duet-2" @{
3565 Ooooo, ch\'e -- ri, je t'aime. @}
3568 The complete example is shown here
3569 @lilypond[quote,raggedright,verbatim]
3572 \notes \relative c'' \context Voice = duet {
3576 \lyricsto "duet" \new Lyrics \lyrics {
3577 \set vocalName = "Bert"
3578 Hi, my name is Bert. }
3579 \lyricsto "duet" \new Lyrics \lyrics {
3580 \set vocalName = "Ernie"
3581 Ooooo, ch\'e -- ri, je t'aime. }
3587 @cindex stanza number
3588 @cindex singer's names
3589 @cindex name of singer
3591 Stanza numbers can be added by setting @code{stanza}, e.g.
3593 @lilypond[quote,verbatim,relative=2]
3595 \context Voice = duet {
3596 \time 3/4 g2 e4 a2 f4 g2. }
3597 \lyricsto "duet" \new Lyrics \lyrics {
3599 Hi, my name is Bert. }
3603 This example also demonstrates how names of the singers can be added
3604 using @code{vocalName} analogous to instrument annotations for staves.
3605 A short version may be entered as @code{vocNam}.
3607 To make empty spaces in lyrics, use @code{\skip}.
3612 Program reference: Layout objects @internalsref{LyricText} and
3613 @internalsref{VocalName}. Music expressions
3614 @internalsref{LyricEvent}.
3620 Input for lyrics introduces a syntactical ambiguity
3627 is interpreted as assigning a string identifier @code{\foo} such that
3628 it contains @code{"bar"}. However, it could also be interpreted as
3629 making or a music identifier @code{\foo} containing the syllable
3630 `bar'. The force the latter interpretation, use
3640 The term @emph{ambitus} denotes a range of pitches for a given voice
3641 in a part of music. It also may denote the pitch range that a musical
3642 instrument is capable of playing. Ambituses are printed on vocal
3643 parts, so singers can easily determine if it meets his or her
3646 It denoted at the beginning of a piece near the initial clef. The
3647 range is graphically specified by two note heads, that represent the
3648 minimum and maximum pitch. To print such ambituses, add the
3649 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3656 \consists Ambitus_engraver
3661 This results in the following output
3663 @lilypond[quote,raggedright]
3666 \notes \relative c' <<
3677 \consists Ambitus_engraver
3683 If you have multiple voices in a single staff, and you want a single
3684 ambitus per staff rather than per each voice, add the
3685 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3686 rather than to the @internalsref{Voice} context.
3688 It is possible to tune individual ambituses for multiple voices on a
3689 single staff, for example by erasing or shifting them horizontally. An
3690 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3694 Program reference: @internalsref{Ambitus}.
3696 Examples: @inputfileref{input/regression,ambitus.ly},
3697 @inputfileref{input/test,ambitus-mixed.ly}.
3701 There is no collision handling in the case of multiple per-voice
3707 Tablature notation is used for notating music for plucked string
3708 instruments. It notates pitches not by using note heads, but by
3709 indicating on which string and fret a note must be played. LilyPond
3710 offers limited support for tablature.
3713 * Tablatures basic::
3714 * Non-guitar tablatures::
3717 @node Tablatures basic
3718 @subsection Tablatures basic
3719 @cindex Tablatures basic
3721 The string number associated to a note is given as a backslash
3722 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3723 string. By default, string 1 is the highest one, and the tuning
3724 defaults to the standard guitar tuning (with 6 strings). The notes
3725 are printed as tablature, by using @internalsref{TabStaff} and
3726 @internalsref{TabVoice} contexts
3728 @lilypond[quote,fragment,verbatim]
3729 \notes \context TabStaff {
3737 When no string is specified, the first string that does not give a
3738 fret number less than @code{minimumFret} is selected. The default
3739 value for @code{minimumFret} is 0
3744 \set TabStaff.minimumFret = #8
3747 @lilypond[quote,noindent,raggedright]
3751 \set TabStaff.minimumFret = #8
3755 \context StaffGroup <<
3756 \context Staff { \clef "G_8" \frag }
3757 \context TabStaff { \frag }
3764 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3765 @internalsref{StringNumberEvent}.
3769 Chords are not handled in a special way, and hence the automatic
3770 string selector may easily select the same string to two notes in a
3774 @node Non-guitar tablatures
3775 @subsection Non-guitar tablatures
3776 @cindex Non-guitar tablatures
3778 You can change the number of strings, by setting the number of lines
3779 in the @internalsref{TabStaff}.
3781 You can change the tuning of the strings. A string tuning is given as
3782 a Scheme list with one integer number for each string, the number
3783 being the pitch (measured in semitones relative to middle C) of an
3784 open string. The numbers specified for @code{stringTuning} are the
3785 numbers of semitones to subtract or add, starting the specified pitch
3786 by default middle C, in string order. Thus, the notes are e, a, d, and
3789 @lilypond[quote,fragment,verbatim]
3790 \context TabStaff <<
3791 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3794 a,4 c' a e' e c' a e'
3801 No guitar special effects have been implemented.
3805 Program reference: @internalsref{Tab_note_heads_engraver}.
3809 @section Chord names
3812 LilyPond has support for both printing chord names. Chords may be
3813 entered in musical chord notation, i.e. @code{< .. >}, but they can
3814 also be entered by name. Internally, the chords are represented as a
3815 set of pitches, so they can be transposed
3818 @lilypond[quote,verbatim,raggedright]
3819 twoWays = \notes \transpose c c' {
3829 << \context ChordNames \twoWays
3830 \context Voice \twoWays >> }
3833 This example also shows that the chord printing routines do not try to
3834 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3840 * Printing chord names::
3845 @subsection Chords mode
3848 Chord mode is a mode where you can input sets of pitches using common
3849 names. It is introduced by the keyword @code{\chords}.
3850 In chords mode, a chord is entered by the root, which is entered
3852 @lilypond[quote,fragment,verbatim,relative=2]
3853 \chords { es4. d8 c2 }
3858 Other chords may be entered by suffixing a colon, and introducing a
3859 modifier, and optionally, a number
3861 @lilypond[quote,fragment,verbatim]
3862 \chords { e1:m e1:7 e1:m7 }
3864 The first number following the root is taken to be the `type' of the
3865 chord, thirds are added to the root until it reaches the specified
3867 @lilypond[quote,fragment,verbatim]
3868 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3871 @cindex root of chord
3872 @cindex additions, in chords
3873 @cindex removals, in chords
3875 More complex chords may also be constructed adding separate steps
3876 to a chord. Additions are added after the number following
3877 the colon, and are separated by dots
3879 @lilypond[quote,verbatim,fragment]
3880 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3882 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3884 @lilypond[quote,verbatim,fragment]
3885 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3887 Removals are specified similarly, and are introduced by a caret. They
3888 must come after the additions
3889 @lilypond[quote,verbatim,fragment]
3890 \chords { c^3 c:7^5 c:9^3.5 }
3893 Modifiers can be used to change pitches. The following modifiers are
3897 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3899 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3902 is the augmented chord. This modifier raises the 5th step.
3904 is the major 7th chord. This modifier raises the 7th step if present.
3906 is the suspended 4th or 2nd. This modifier removes the 3rd
3907 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3910 Modifiers can be mixed with additions
3911 @lilypond[quote,verbatim,fragment]
3912 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3915 @cindex modifiers, in chords.
3922 Since an unaltered 11 does not sound good when combined with an
3923 unaltered 13, the 11 is removed in this case (unless it is added
3926 @lilypond[quote,fragment,verbatim]
3927 \chords { c:13 c:13.11 c:m13 }
3932 An inversion (putting one pitch of the chord on the bottom), as well
3933 as bass notes, can be specified by appending
3934 @code{/}@var{pitch} to the chord
3935 @lilypond[quote,fragment,verbatim]
3936 \chords { c1 c/g c/f }
3940 A bass note can be added instead of transposed out of the chord,
3941 by using @code{/+}@var{pitch}.
3943 @lilypond[quote,fragment,verbatim]
3944 \chords { c1 c/+g c/+f }
3947 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3948 of the commands continue to work, for example, @code{r} and
3949 @code{\skip} can be used to insert rests and spaces, and property
3950 commands may be used to change various settings.
3956 Each step can only be present in a chord once. The following
3957 simply produces the augmented chord, since @code{5+} is interpreted
3960 @lilypond[quote,verbatim,fragment]
3961 \chords { c:5.5-.5+ }
3965 @node Printing chord names
3966 @subsection Printing chord names
3968 @cindex printing chord names
3972 For displaying printed chord names, use the @internalsref{ChordNames} context.
3973 The chords may be entered either using the notation
3974 described above, or directly using @code{<} and @code{>}
3976 @lilypond[quote,verbatim,raggedright]
3978 \chords {a1 b c} <d' f' a'> <e' g' b'>
3982 \context ChordNames \scheme
3983 \context Staff \scheme
3988 You can make the chord changes stand out by setting
3989 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3990 display chord names when there is a change in the chords scheme and at
3991 the start of a new line
3993 @lilypond[quote,verbatim,linewidth=9\cm]
3995 c1:m c:m \break c:m c:m d
3999 \context ChordNames {
4000 \set chordChanges = ##t
4002 \context Staff \transpose c c' \scheme
4007 The default chord name layout is a system for Jazz music, proposed by
4008 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4009 following properties
4012 @cindex chordNameExceptions
4013 @item chordNameExceptions
4014 This is a list that contains the chords that have special formatting.
4016 @inputfileref{input/regression,chord-name-exceptions.ly}.
4017 @cindex exceptions, chord names.
4020 @cindex majorSevenSymbol
4021 @item majorSevenSymbol
4022 This property contains the markup object used for the 7th step, when
4023 it is major. Predefined options are @code{whiteTriangleMarkup} and
4024 @code{blackTriangleMarkup}. See
4025 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4027 @cindex chordNameSeparator
4028 @item chordNameSeparator
4029 Different parts of a chord name are normally separated by a
4030 slash. By setting @code{chordNameSeparator}, you can specify other
4032 @lilypond[quote,fragment,verbatim]
4033 \context ChordNames \chords {
4035 \set chordNameSeparator
4036 = \markup { \typewriter "|" }
4041 @cindex chordRootNamer
4042 @item chordRootNamer
4043 The root of a chord is usually printed as a letter with an optional
4044 alteration. The transformation from pitch to letter is done by this
4045 function. Special note names (for example, the German ``H'' for a
4046 B-chord) can be produced by storing a new function in this property.
4048 The predefined variables @code{\germanChords},
4049 @code{\semiGermanChords} set these variables.
4052 @cindex chordNoteNamer
4053 @item chordNoteNamer
4054 The default is to print single pitch, e.g. the bass note, using the
4055 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4056 to a specialized function to change this behavior. For example, the
4057 base can be printed in lower case.
4062 There are also two other chord name schemes implemented: an alternate
4063 Jazz chord notation, and a systematic scheme called Banter chords. The
4064 alternate jazz notation is also shown on the chart in @ref{Chord name
4065 chart}. Turning on these styles is described in the input file
4066 @inputfileref{input/test,chord-names-jazz.ly}.
4070 @cindex chords, jazz
4075 @cindex @code{\germanChords}
4076 @code{\germanChords},
4077 @cindex @code{\semiGermanChords}
4078 @code{\semiGermanChords}.
4085 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4086 @inputfileref{input/regression,chord-name-exceptions.ly},
4087 @inputfileref{input/test,chord-names-jazz.ly},
4088 @inputfileref{input/test,chord-names-german.ly}.
4090 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4095 Chord names are determined solely from the list of pitches. Chord
4096 inversions are not identified, and neither are added bass notes. This
4097 may result in strange chord names when chords are entered with the
4098 @code{< .. >} syntax.
4103 @node Orchestral music
4104 @section Orchestral music
4106 @cindex Writing parts
4108 Orchestral music involves some special notation, both in the full
4109 score and the individual parts. This section explains how to tackle
4110 some common problems in orchestral music.
4115 * Multiple staff contexts::
4118 * Instrument names::
4120 * Instrument transpositions::
4121 * Multi measure rests::
4122 * Automatic part combining::
4124 * Different editions from one source::
4125 * Quoting other voices::
4128 @node Multiple staff contexts
4129 @subsection Multiple staff contexts
4131 Polyphonic scores consist of many staves. These staves can be
4132 constructed in three different ways
4134 @item The group is started with a brace at the left, and bar lines are
4135 connected. This is done with the @internalsref{GrandStaff} context.
4137 @item The group is started with a bracket, and bar lines are connected. This is done with the
4138 @internalsref{StaffGroup} context
4141 @item The group is started with a vertical line. Bar lines are not
4142 connected. This is the default for the score.
4146 @cindex Staff, multiple
4147 @cindex bracket, vertical
4148 @cindex brace, vertical
4155 @node Rehearsal marks
4156 @subsection Rehearsal marks
4157 @cindex Rehearsal marks
4159 @cindex @code{\mark}
4161 To print a rehearsal mark, use the @code{\mark} command
4162 @lilypond[quote,fragment,verbatim]
4173 (The letter I is skipped in accordance with engraving traditions.)
4175 The mark is incremented automatically if you use @code{\mark
4176 \default}, but you can also use an integer argument to set the mark
4177 manually. The value to use is stored in the property
4178 @code{rehearsalMark}.
4180 The style is defined by the property @code{markFormatter}. It is a
4181 function taking the current mark (an integer) and the current context
4182 as argument. It should return a markup object. In the following
4183 example, @code{markFormatter} is set to a canned procedure. After a
4184 few measures, it is set to function that produces a boxed number.
4186 @lilypond[quote,verbatim,fragment,relative=2]
4187 \set Score.markFormatter = #format-mark-numbers
4190 \set Score.markFormatter
4191 = #(lambda (mark context)
4192 (make-bold-markup (make-box-markup (number->string mark))))
4197 The file @file{scm/translation-functions.scm} contains the definitions
4198 of @code{format-mark-numbers} (the default format) and
4199 @code{format-mark-letters}. They can be used as inspiration for other
4200 formatting functions.
4203 @cindex coda on bar line
4204 @cindex segno on bar line
4205 @cindex fermata on bar line
4206 @cindex bar lines, symbols on
4208 The @code{\mark} command can also be used to put signs like coda,
4209 segno and fermatas on a bar line. Use @code{\markup} to
4210 to access the appropriate symbol
4212 @lilypond[quote,fragment,verbatim,relative=2]
4213 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4217 In the case of a line break, marks must also be printed at the end of
4218 the line, and not at the beginning. Use the following to force that
4221 \override Score.RehearsalMark
4222 #'break-visibility = #begin-of-line-invisible
4228 @cindex bar lines, putting symbols on
4232 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4234 Init files: @file{scm/translation-functions.scm} contains the
4235 definition of @code{format-mark-numbers} and
4236 @code{format-mark-letters}. They can be used as inspiration for other
4237 formatting functions.
4239 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4240 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4244 @subsection Bar numbers
4248 @cindex measure numbers
4249 @cindex currentBarNumber
4251 Bar numbers are printed by default at the start of the line. The
4252 number itself is stored in the
4253 @code{currentBarNumber} property,
4254 which is normally updated automatically for every measure.
4256 Bar numbers can be typeset at regular intervals instead of at the
4257 beginning of each line. This is illustrated in the following example,
4258 whose source is available as
4259 @inputfileref{input/test,bar-number-regular-interval.ly}
4261 @lilypondfile[quote]{bar-number-regular-interval.ly}
4265 Program reference: @internalsref{BarNumber}.
4267 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4268 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4272 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4273 there is one at the top. To solve this, the
4274 @code{padding} property of @internalsref{BarNumber} can be
4275 used to position the number correctly.
4277 @node Instrument names
4278 @subsection Instrument names
4280 In an orchestral score, instrument names are printed left side of the
4283 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4284 and @internalsref{Staff}.@code{instr}. This will print a string before
4285 the start of the staff. For the first start, @code{instrument} is
4286 used, for the next ones @code{instr} is used.
4288 @lilypond[quote,verbatim,raggedright,relative=1]
4289 \set Staff.instrument = "Ploink "
4290 \set Staff.instr = "Plk "
4296 You can also use markup texts to construct more complicated instrument
4299 @lilypond[quote,fragment,verbatim,raggedright]
4301 \set Staff.instrument = \markup {
4302 \column < "Clarinetti" { "in B"
4303 \smaller \flat } > }
4310 Program reference: @internalsref{InstrumentName}.
4314 When you put a name on a grand staff or piano staff the width of the
4315 brace is not taken into account. You must add extra spaces to the end of
4316 the name to avoid a collision.
4319 @subsection Transpose
4321 @cindex transposition of pitches
4322 @cindex @code{\transpose}
4324 A music expression can be transposed with @code{\transpose}. The
4327 \transpose @var{from} @var{to} @var{musicexpr}
4330 This means that @var{musicexpr} is transposed by the interval between
4331 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4332 is changed to @code{to}.
4335 For example, consider a piece written in the key of D major. If
4336 this piece is a little too low for its performer, it can be
4337 transposed up to E major with
4339 \transpose d e @dots{}
4342 Consider a part written for violin (a C instrument). If
4343 this part is to be played on the A clarinet, the following
4344 transposition will produce the appropriate part
4347 \transpose a c @dots{}
4350 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4351 inside a @code{\notes} section. @code{\transpose} distinguishes
4352 between enharmonic pitches: both @code{\transpose c cis} or
4353 @code{\transpose c des} will transpose up half a tone. The first
4354 version will print sharps and the second version will print flats
4356 @lilypond[quote,raggedright,verbatim]
4357 mus =\notes { \key d \major cis d fis g }
4358 \score { \notes \context Staff {
4361 \transpose c g' \mus
4362 \transpose c f' \mus
4369 Program reference: @internalsref{TransposedMusic}, and
4370 @internalsref{UntransposableMusic}.
4374 If you want to use both @code{\transpose} and @code{\relative},
4375 you must put @code{\transpose} outside of @code{\relative}, since
4376 @code{\relative} will have no effect music that appears inside a
4379 @node Instrument transpositions
4380 @subsection Instrument transpositions
4382 The key of a transposing instrument can also be specified. This
4383 applies to many wind instruments, for example, clarinets (B-flat, A and
4384 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4387 The transposition is entered after the keyword @code{\transposition}
4390 \transposition bes %% B-flat clarinet
4393 This command sets the property @code{instrumentTuning}. The value of
4394 this property is used for MIDI output and quotations. It does not
4395 affect how notes are printed in the current staff.
4397 @cindex transposition, MIDI
4398 @cindex transposition, instrument
4401 @node Multi measure rests
4402 @subsection Multi measure rests
4403 @cindex multi measure rests
4404 @cindex Rests, multi measure
4408 Multi measure rests are entered using `@code{R}'. It is specifically
4409 meant for full bar rests and for entering parts: the rest can expand
4410 to fill a score with rests, or it can be printed as a single
4411 multimeasure rest. This expansion is controlled by the property
4412 @code{Score.skipBars}. If this is set to true, empty measures will not
4413 be expanded, and the appropriate number is added automatically
4415 @lilypond[quote,fragment,verbatim]
4416 \time 4/4 r1 | R1 | R1*2
4417 \set Score.skipBars = ##t R1*17 R1*4
4420 The @code{1} in @code{R1} is similar to the duration notation used for
4421 notes. Hence, for time signatures other than 4/4, you must enter other
4422 durations. This can be done with augmentation dots or fractions
4424 @lilypond[quote,fragment,verbatim]
4425 \set Score.skipBars = ##t
4433 An @code{R} spanning a single measure is printed as either a whole rest
4434 or a breve, centered in the measure regardless of the time signature.
4436 @cindex text on multi-measure rest
4437 @cindex script on multi-measure rest
4438 @cindex fermata on multi-measure rest
4440 Texts can be added to multi-measure rests by using the
4441 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4442 replaced. If you need both texts and the number, you must add the
4443 number by hand. A variable (@code{\fermataMarkup}) is provided for
4447 @lilypond[quote,verbatim,fragment]
4449 R2._\markup { "Ad lib" }
4453 If you want to have a text on the left end of a multi-measure rest,
4454 attach the text to a zero-length skip note, i.e.
4462 @cindex whole rests for a full measure
4466 Program reference: @internalsref{MultiMeasureRestEvent},
4467 @internalsref{MultiMeasureTextEvent},
4468 @internalsref{MultiMeasureRestMusicGroup}, and
4469 @internalsref{MultiMeasureRest}.
4471 The layout object @internalsref{MultiMeasureRestNumber} is for the
4472 default number, and @internalsref{MultiMeasureRestText} for user
4477 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4478 over multi-measure rests.
4480 @cindex condensing rests
4482 There is no way to automatically condense multiple rests into a single
4483 multimeasure rest. Multi measure rests do not take part in rest
4486 Be careful when entering multimeasure rests followed by whole
4487 notes. The following will enter two notes lasting four measures each
4491 When @code{skipBars} is set, the result will look OK, but the bar
4492 numbering will be off.
4494 @node Automatic part combining
4495 @subsection Automatic part combining
4496 @cindex automatic part combining
4497 @cindex part combiner
4500 Automatic part combining is used to merge two parts of music onto a
4501 staff. It is aimed at typesetting orchestral scores. When the two
4502 parts are identical for a period of time, only one is shown. In
4503 places where the two parts differ, they are typeset as separate
4504 voices, and stem directions are set automatically. Also, solo and
4505 @emph{a due} parts are identified and can be marked.
4507 The syntax for part combining is
4510 \partcombine @var{musicexpr1} @var{musicexpr2}
4513 The music expressions will be interpreted as @internalsref{Voice}
4514 contexts. If using relative octaves, @code{\relative} should be
4515 specified for both music expressions, i.e.
4518 \partcombine \relative @dots{} @var{musicexpr1}
4519 \relative @dots{} @var{musicexpr2}
4523 A @code{\relative} section that is outside of @code{\partcombine} has
4524 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
4527 The following example demonstrates the basic functionality of the part
4528 combiner: putting parts on one staff, and setting stem directions and
4531 @lilypond[quote,verbatim,raggedright,fragment]
4532 \new Staff \partcombine
4533 \relative g' { g g a( b) c c r r }
4534 \relative g' { g g r4 r e e g g }
4537 The first @code{g} appears only once, although it was
4538 specified twice (once in each part). Stem, slur and tie directions are
4539 set automatically, depending whether there is a solo or unisono. The
4540 first part (with context called @code{one}) always gets up stems, and
4541 `solo', while the second (called @code{two}) always gets down stems and
4544 If you just want the merging parts, and not the textual markings, you
4545 may set the property @code{soloADue} to false
4547 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4549 \set Staff.soloADue = ##f
4551 \relative g' { g a( b) r }
4552 \relative g' { g r4 r f }
4558 Program reference: @internalsref{PartCombineMusic},
4559 @internalsref{SoloOneEvent}, and
4560 @internalsref{SoloTwoEvent}, and
4561 @internalsref{UnisonoEvent}.
4565 In @code{soloADue} mode, when the two voices play the same notes on and
4566 off, the part combiner may typeset @code{a2} more than once in a
4569 @code{\partcombine} cannot be inside @code{\times}.
4571 @code{\partcombine} cannot be inside @code{\relative}.
4573 Internally, the @code{\partcombine} interprets both arguments as
4574 @code{Voice}s named @code{one} and @code{two}, and then decides when
4575 the parts can be combined. Consequently, if the arguments switch to
4576 differently named @internalsref{Voice} contexts, the events in those
4580 @subsection Hiding staves
4582 @cindex Frenched scores
4583 @cindex Hiding staves
4585 In orchestral scores, staff lines that only have rests are usually
4586 removed. This saves some space. This style is called `French Score'.
4587 For @internalsref{Lyrics},
4588 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4589 switched on by default. When these line of these contexts turn out
4590 empty after the line-breaking process, they are removed.
4592 For normal staves, a specialized @internalsref{Staff} context is
4593 available, which does the same: staves containing nothing (or only
4594 multi measure rests) are removed. The context definition is stored in
4595 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4596 in this example disappears in the second line
4599 @lilypond[quote,verbatim]
4601 \notes \relative c' <<
4602 \new Staff { e4 f g a \break c1 }
4603 \new Staff { c4 d e f \break R1 }
4607 \context { \RemoveEmptyStaffContext }
4612 The first page shows all staves in full. If empty staves should be
4613 removed from the first page too, set @code{remove-first} to false in
4614 @internalsref{RemoveEmptyVerticalGroup}.
4616 Another application is making ossia sections, i.e. alternative
4617 melodies on a separate piece of staff, with help of a Frenched
4618 staff. See @inputfileref{input/test,ossia.ly} for an example.
4621 @node Different editions from one source
4622 @subsection Different editions from one source
4624 The @code{\tag} command marks music expressions with a name. These
4625 tagged expressions can be filtered out later. With this mechanism it
4626 is possible to make different versions of the same music source.
4628 In the following example, we see two versions of a piece of music, one
4629 for the full score, and one with cue notes for the instrumental part
4645 The same can be applied to articulations, texts, etc.: they are
4648 -\tag #@var{your-tag}
4650 to an articulation, for example,
4655 This defines a note with a conditional fingering indication.
4657 By applying the @code{remove-tag} function, tagged expressions can be
4658 filtered. For example,
4662 \apply #(remove-tag 'score) @var{the music}
4663 \apply #(remove-tag 'part) @var{the music}
4668 @lilypondfile[quote]{tag-filter.ly}
4670 The argument of the @code{\tag} command should be a symbol, or a list
4671 of symbols, for example,
4673 \tag #'(original-part transposed-part) @dots{}
4678 Examples: @inputfileref{input/regression,tag-filter.ly}.
4681 @node Quoting other voices
4682 @subsection Quoting other voices
4684 With quotations, fragments of other parts can be inserted into a part
4685 directly. Before a part can be quoted, it must be marked especially as
4686 quotable. This is done with code @code{\addquote} command. The
4687 quotation may then be done with @code{\quote}
4690 \addquote @var{name} @var{music}
4691 \quote @var{name} @var{duration}
4696 Here, @var{name} is an identifying string. The @var{music} is any kind
4697 of music. This is an example of @code{\addquote}
4700 \addquote clarinet \notes\relative c' {
4705 During a part, a piece of music can be quoted with the @code{\quote}
4712 This would cite 3 quarter notes (a dotted half note) of the previously
4713 added clarinet voice.
4715 Quotations take into account the transposition both source and target
4716 instruments, if they are specified using the @code{\transposition} command.
4718 @lilypond[quote,raggedright,verbatim]
4719 \addquote clarinet \notes\relative c' {
4725 e'8 f'8 \quote clarinet 2
4731 Only the contents of the first @internalsref{Voice} occurring in an
4732 @code{\addquote} command will be considered for quotation, so
4733 @var{music} can not contain @code{\new} and @code{\context Voice}
4734 statements that would switch to a different Voice.
4739 In this manual: @ref{Instrument transpositions}.
4741 Examples: @inputfileref{input/regression,quote.ly}
4742 @inputfileref{input/regression,quote-transposition.ly}
4744 Program reference: @internalsref{QuoteMusic}.
4746 @node Ancient notation
4747 @section Ancient notation
4749 @cindex Vaticana, Editio
4750 @cindex Medicaea, Editio
4755 Support for ancient notation includes features for mensural notation
4756 and Gregorian Chant notation. There is also limited support for
4757 figured bass notation.
4759 Many graphical objects provide a @code{style} property, see
4760 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4761 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4762 signatures}. By manipulating such a grob property, the typographical
4763 appearance of the affected graphical objects can be accommodated for a
4764 specific notation flavor without need for introducing any new
4767 Other aspects of ancient notation can not that easily be expressed as
4768 in terms of just changing a style property of a graphical object.
4769 Therefore, some notational concepts are introduced specifically for
4770 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4771 @ref{Ligatures}, and @ref{Figured bass}.
4775 * Ancient note heads::
4776 * Ancient accidentals::
4780 * Ancient time signatures::
4785 * Vaticana style contexts::
4788 If this all is way too much of documentation for you, and you just
4789 want to dive into typesetting without worrying too much about the
4790 details on how to customize a context, you may have a look at the
4791 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4792 set up predefined style-specific voice and staff contexts, and
4793 directly go ahead with the note entry.
4797 Ligatures need special spacing that has not yet been implemented. As
4798 a result, there is too much space between ligatures most of the time,
4799 and line breaking often is unsatisfactory. Also, lyrics do not
4800 correctly align with ligatures.
4802 Accidentals must not be printed within a ligature, but instead need to
4803 be collected and printed in front of it.
4805 Augmentum dots within ligatures are not handled correctly.
4808 @node Ancient note heads
4809 @subsection Ancient note heads
4814 For ancient notation, a note head style other than the @code{default}
4815 style may be chosen. This is accomplished by setting the @code{style}
4816 property of the NoteHead object to the desired value (@code{baroque},
4817 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4818 differs from the @code{default} style only in using a square shape for
4819 @code{\breve} note heads. The @code{neo_mensural} style differs from
4820 the @code{baroque} style in that it uses rhomboidal heads for whole
4821 notes and all smaller durations. Stems are centered on the note
4822 heads. This style is in particular useful when transcribing mensural
4823 music, e.g. for the incipit. The @code{mensural} style finally
4824 produces note heads that mimic the look of note heads in historic
4825 printings of the 16th century.
4827 The following example demonstrates the @code{neo_mensural} style
4829 @lilypond[quote,fragment,raggedright,verbatim]
4830 \override NoteHead #'style = #'neo_mensural
4831 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4834 When typesetting a piece in Gregorian Chant notation, a Gregorian
4835 ligature engraver will automatically select the proper note heads,
4836 such there is no need to explicitly set the note head style. Still,
4837 the note head style can be set e.g. to @code{vaticana_punctum} to
4838 produce punctum neumes. Similarly, a mensural ligature engraver is
4839 used to automatically assemble mensural ligatures. See
4840 @ref{Ligatures} for how ligature engravers work.
4845 @ref{Percussion staves} use note head styles of their own that are
4846 frequently used in contemporary music notation.
4848 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4849 overview over all available note head styles.
4852 @node Ancient accidentals
4853 @subsection Ancient accidentals
4858 Use the @code{style} property of grob @internalsref{Accidental} to
4859 select ancient accidentals. Supported styles are
4860 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4862 @lilypond[quote,raggedright,staffsize=26]
4870 { " " \musicglyph #"accidentals-vaticana-1"
4871 " " \musicglyph #"accidentals-vaticana0" }
4875 { " " \musicglyph #"accidentals-medicaea-1" }
4879 { " " \musicglyph #"accidentals-hufnagel-1" }
4883 { " " \musicglyph #"accidentals-mensural-1"
4884 " " \musicglyph #"accidentals-mensural1" }
4893 \remove "Bar_number_engraver"
4897 \remove "Clef_engraver"
4898 \remove "Key_engraver"
4899 \remove "Time_signature_engraver"
4900 \remove "Staff_symbol_engraver"
4901 minimumVerticalExtent = ##f
4907 As shown, not all accidentals are supported by each style. When
4908 trying to access an unsupported accidental, LilyPond will switch to a
4909 different style, as demonstrated in
4910 @inputfileref{input/test,ancient-accidentals.ly}.
4912 Similarly to local accidentals, the style of the key signature can be
4913 controlled by the @code{style} property of the
4914 @internalsref{KeySignature} grob.
4918 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4919 @ref{Accidentals} give a general introduction into the use of
4920 accidentals. @ref{Key signature} gives a general introduction into
4921 the use of key signatures.
4923 Program reference: @internalsref{KeySignature}.
4925 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4928 @subsection Ancient rests
4933 Use the @code{style} property of grob @internalsref{Rest} to select
4934 ancient accidentals. Supported styles are @code{classical},
4935 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4936 from the @code{default} style only in that the quarter rest looks like
4937 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4938 well for e.g. the incipit of a transcribed mensural piece of music.
4939 The @code{mensural} style finally mimics the appearance of rests as
4940 in historic prints of the 16th century.
4942 The following example demonstrates the @code{neo_mensural} style
4944 @lilypond[quote,fragment,raggedright,verbatim]
4945 \override Rest #'style = #'neo_mensural
4946 r\longa r\breve r1 r2 r4 r8 r16
4949 There are no 32th and 64th rests specifically for the mensural or
4950 neo-mensural style. Instead, the rests from the default style will be
4951 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4954 There are no rests in Gregorian Chant notation; instead, it uses
4959 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4963 @subsection Ancient clefs
4968 LilyPond supports a variety of clefs, many of them ancient.
4970 The following table shows all ancient clefs that are supported via the
4971 @code{\clef} command. Some of the clefs use the same glyph, but
4972 differ only with respect to the line they are printed on. In such
4973 cases, a trailing number in the name is used to enumerate these clefs.
4974 Still, you can manually force a clef glyph to be typeset on an
4975 arbitrary line, as described in @ref{Clef}. The note printed to the
4976 right side of each clef in the example column denotes the @code{c'}
4977 with respect to that clef.
4979 @multitable @columnfractions .3 .3 .3 .1
4983 @b{Description} @tab
4984 @b{Supported Clefs} @tab
4988 @code{clefs-neo_mensural_c} @tab
4989 modern style mensural C clef @tab
4990 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4991 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4992 @lilypond[quote,relative=1,notime]
4993 \override Staff.TimeSignature #'transparent = ##t
4994 \clef "neo_mensural_c2" c
4998 @code{clefs-petrucci_c1}
4999 @code{clefs-petrucci_c2}
5000 @code{clefs-petrucci_c3}
5001 @code{clefs-petrucci_c4}
5002 @code{clefs-petrucci_c5}
5005 petrucci style mensural C clefs, for use on different staff lines
5006 (the examples shows the 2nd staff line C clef).
5016 @lilypond[quote,relative=1,notime]
5017 \override Staff.TimeSignature #'transparent = ##t
5018 \clef "petrucci_c2" c
5022 @code{clefs-petrucci_f} @tab
5023 petrucci style mensural F clef @tab
5024 @code{petrucci_f} @tab
5025 @lilypond[quote,relative=1,notime]
5026 \override Staff.TimeSignature #'transparent = ##t
5027 \clef "petrucci_f" c
5031 @code{clefs-petrucci_g} @tab
5032 petrucci style mensural G clef @tab
5033 @code{petrucci_g} @tab
5034 @lilypond[quote,relative=1,notime]
5035 \override Staff.TimeSignature #'transparent = ##t
5036 \clef "petrucci_g" c
5040 @code{clefs-mensural_c} @tab
5041 historic style mensural C clef @tab
5042 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5043 @code{mensural_c4} @tab
5044 @lilypond[quote,relative=1,notime]
5045 \override Staff.TimeSignature #'transparent = ##t
5046 \clef "mensural_c2" c
5050 @code{clefs-mensural_f} @tab
5051 historic style mensural F clef @tab
5052 @code{mensural_f} @tab
5053 @lilypond[quote,relative=1,notime]
5054 \override Staff.TimeSignature #'transparent = ##t
5055 \clef "mensural_f" c
5059 @code{clefs-mensural_g} @tab
5060 historic style mensural G clef @tab
5061 @code{mensural_g} @tab
5062 @lilypond[quote,relative=1,notime]
5063 \override Staff.TimeSignature #'transparent = ##t
5064 \clef "mensural_g" c
5068 @code{clefs-vaticana_do} @tab
5069 Editio Vaticana style do clef @tab
5070 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5071 @lilypond[quote,relative=1,notime]
5072 \override Staff.StaffSymbol #'line-count = #4
5073 \override Staff.TimeSignature #'transparent = ##t
5074 \clef "vaticana_do2" c
5078 @code{clefs-vaticana_fa} @tab
5079 Editio Vaticana style fa clef @tab
5080 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5081 @lilypond[quote,relative=1,notime]
5082 \override Staff.StaffSymbol #'line-count = #4
5083 \override Staff.TimeSignature #'transparent = ##t
5084 \clef "vaticana_fa2" c
5088 @code{clefs-medicaea_do} @tab
5089 Editio Medicaea style do clef @tab
5090 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5091 @lilypond[quote,relative=1,notime]
5092 \override Staff.StaffSymbol #'line-count = #4
5093 \override Staff.TimeSignature #'transparent = ##t
5094 \clef "medicaea_do2" c
5098 @code{clefs-medicaea_fa} @tab
5099 Editio Medicaea style fa clef @tab
5100 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5101 @lilypond[quote,relative=1,notime]
5102 \override Staff.StaffSymbol #'line-count = #4
5103 \override Staff.TimeSignature #'transparent = ##t
5104 \clef "medicaea_fa2" c
5108 @code{clefs-hufnagel_do} @tab
5109 historic style hufnagel do clef @tab
5110 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5111 @lilypond[quote,relative=1,notime]
5112 \override Staff.StaffSymbol #'line-count = #4
5113 \override Staff.TimeSignature #'transparent = ##t
5114 \clef "hufnagel_do2" c
5118 @code{clefs-hufnagel_fa} @tab
5119 historic style hufnagel fa clef @tab
5120 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5121 @lilypond[quote,relative=1,notime]
5122 \override Staff.StaffSymbol #'line-count = #4
5123 \override Staff.TimeSignature #'transparent = ##t
5124 \clef "hufnagel_fa2" c
5128 @code{clefs-hufnagel_do_fa} @tab
5129 historic style hufnagel combined do/fa clef @tab
5130 @code{hufnagel_do_fa} @tab
5131 @lilypond[quote,relative=1,notime]
5132 \override Staff.TimeSignature #'transparent = ##t
5133 \clef "hufnagel_do_fa" c
5140 @emph{Modern style} means ``as is typeset in contemporary editions of
5141 transcribed mensural music''.
5143 @emph{Petrucci style} means ``inspired by printings published by the
5144 famous engraver Petrucci (1466-1539)''.
5146 @emph{Historic style} means ``as was typeset or written in historic
5147 editions (other than those of Petrucci)''.
5149 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5151 Petrucci used C clefs with differently balanced left-side vertical
5152 beams, depending on which staff line it is printed.
5156 In this manual: see @ref{Clef}.
5160 The mensural g clef is mapped to the Petrucci g clef, until a new
5161 mensural g clef is implemented.
5166 @subsection Ancient flags
5171 Use the @code{flag-style} property of grob @internalsref{Stem} to
5172 select ancient flags. Besides the @code{default} flag style,
5173 only @code{mensural} style is supported
5175 @lilypond[quote,fragment,raggedright,verbatim]
5176 \override Stem #'flag-style = #'mensural
5177 \override Stem #'thickness = #1.0
5178 \override NoteHead #'style = #'mensural
5180 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
5181 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5184 Note that the innermost flare of each mensural flag always is
5185 vertically aligned with a staff line. If you do not like this
5186 behavior, you can set the @code{adjust-if-on-staffline} property of
5187 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5188 of the end of each flare is different between notes on staff lines and
5189 notes between staff lines
5191 @lilypond[quote,fragment,raggedright]
5192 \override Stem #'flag-style = #'mensural
5193 \override Stem #'thickness = #1.0
5194 \override Stem #'adjust-if-on-staffline = ##f
5195 \override NoteHead #'style = #'mensural
5197 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
5198 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5201 There is no particular flag style for neo-mensural notation. Hence,
5202 when typesetting e.g. the incipit of a transcribed piece of mensural
5203 music, the default flag style should be used. There are no flags in
5204 Gregorian Chant notation.
5207 @node Ancient time signatures
5208 @subsection Ancient time signatures
5210 @cindex time signatures
5213 There is limited support for mensural time signatures. The
5214 glyphs are hard-wired to particular time fractions. In other words,
5215 to get a particular mensural signature glyph with the @code{\time n/m}
5216 command, @code{n} and @code{m} have to be chosen according to the
5222 \set Score.timing = ##f
5223 \set Score.barAlways = ##t
5224 s_\markup { "$\\backslash$time 4/4" }
5225 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5227 s_\markup { "$\\backslash$time 2/2" }
5228 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5230 s_\markup { "$\\backslash$time 6/4" }
5231 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5233 s_\markup { "$\\backslash$time 6/8" }
5234 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5236 s_\markup { "$\\backslash$time 3/2" }
5237 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5239 s_\markup { "$\\backslash$time 3/4" }
5240 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5242 s_\markup { "$\\backslash$time 9/4" }
5243 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5245 s_\markup { "$\\backslash$time 9/8" }
5246 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5248 s_\markup { "$\\backslash$time 4/8" }
5249 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5251 s_\markup { "$\\backslash$time 2/4" }
5252 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5260 \remove Staff_symbol_engraver
5261 \remove Clef_engraver
5262 \remove Time_signature_engraver
5268 Use the @code{style} property of grob @internalsref{TimeSignature} to
5269 select ancient time signatures. Supported styles are
5270 @code{neo_mensural} and @code{mensural}. The above table uses the
5271 @code{neo_mensural} style. This style is appropriate e.g. for the
5272 incipit of transcriptions of mensural pieces. The @code{mensural}
5273 style mimics the look of historical printings of the 16th century.
5275 @inputfileref{input/test,time.ly} gives an overview over all available
5276 ancient and modern styles.
5280 Program reference: @ref{Time signature} gives a general introduction into the use of time
5285 Mensural signature glyphs are mapped to time fractions in a hard-wired
5286 way. This mapping is sensible, but still arbitrary: given a mensural
5287 time signature, the time fraction represents a modern meter that
5288 usually will be a good choice when transcribing a mensural piece of
5289 music. For a particular piece of mensural music, however, the mapping
5290 may be unsatisfactory. In particular, the mapping assumes a fixed
5291 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5292 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5293 accessible through the @code{\time} command.
5295 Mensural time signatures are supported typographically, but not yet
5296 musically. The internal representation of durations is
5297 based on a purely binary system; a ternary division such as 1 brevis =
5298 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5299 prolatione maiori) is not correctly handled: event times in ternary
5300 modes will be badly computed, resulting e.g. in horizontally
5301 misaligned note heads, and bar checks are likely to erroneously fail.
5303 The syntax and semantics of the @code{\time} command for mensural
5304 music is subject to change.
5307 @subsection Custodes
5312 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5313 symbol that appears at the end of a staff. It anticipates the pitch
5314 of the first note(s) of the following line and thus helps the player
5315 or singer to manage line breaks during performance, thus enhancing
5316 readability of a score.
5318 Custodes were frequently used in music notation until the 17th
5319 century. Nowadays, they have survived only in a few particular forms
5320 of musical notation such as contemporary editions of Gregorian chant
5321 like the @emph{editio vaticana}. There are different custos glyphs
5322 used in different flavors of notational style.
5324 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5325 @internalsref{Staff} context when declaring the @code{\paper} block,
5326 as shown in the following example
5332 \consists Custos_engraver
5333 Custos \override #'style = #'mensural
5338 The result looks like this
5340 @lilypond[quote,raggedright]
5344 \override Staff.Custos #'style = #'mensural
5351 \consists Custos_engraver
5357 The custos glyph is selected by the @code{style} property. The styles
5358 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5359 @code{mensural}. They are demonstrated in the following fragment
5363 \new Lyrics \lyrics {
5367 { " " \musicglyph #"custodes-vaticana-u0" }
5371 { " " \musicglyph #"custodes-medicaea-u0" }
5376 { " " \musicglyph #"custodes-hufnagel-u0" }
5381 { " " \musicglyph #"custodes-mensural-u0" }
5393 Program reference: @internalsref{Custos}.
5395 Examples: @inputfileref{input/regression,custos.ly}.
5399 @subsection Divisiones
5405 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5406 `division') is a staff context symbol that is used to structure
5407 Gregorian music into phrases and sections. The musical meaning of
5408 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5409 can be characterized as short, medium and long pause, somewhat like
5410 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5411 a chant, but is also frequently used within a single
5412 antiphonal/responsorial chant to mark the end of each section.
5415 To use divisiones, include the file @code{gregorian-init.ly}. It
5416 contains definitions that you can apply by just inserting
5417 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5418 and @code{\finalis} at proper places in the input. Some editions use
5419 @emph{virgula} or @emph{caesura} instead of divisio minima.
5420 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5423 @lilypondfile[quote,raggedright]{divisiones.ly}
5427 @cindex @code{\virgula}
5429 @cindex @code{\caesura}
5431 @cindex @code{\divisioMinima}
5432 @code{\divisioMinima},
5433 @cindex @code{\divisioMaior}
5434 @code{\divisioMaior},
5435 @cindex @code{\divisioMaxima}
5436 @code{\divisioMaxima},
5437 @cindex @code{\finalis}
5442 In this manual: @ref{Breath marks}.
5444 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5446 Examples: @inputfileref{input/test,divisiones.ly}.
5449 @subsection Ligatures
5453 @c TODO: Should double check if I recalled things correctly when I wrote
5454 @c down the following paragraph by heart.
5456 A ligature is a coherent graphical symbol that represents at least two
5457 distinct notes. Ligatures originally appeared in the manuscripts of
5458 Gregorian chant notation roughly since the 9th century to denote
5459 ascending or descending sequences of notes.
5461 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5462 Some ligature styles may need additional input syntax specific for
5463 this particular type of ligature. By default, the
5464 @internalsref{LigatureBracket} engraver just puts a square bracket
5467 @lilypond[quote,raggedright,verbatim]
5469 \notes \transpose c c' {
5477 To select a specific style of ligatures, a proper ligature engraver
5478 has to be added to the @internalsref{Voice} context, as explained in
5479 the following subsections. Only white mensural ligatures
5480 are supported with certain limitations.
5483 * White mensural ligatures::
5484 * Gregorian square neumes ligatures::
5487 @node White mensural ligatures
5488 @subsubsection White mensural ligatures
5490 @cindex Mensural ligatures
5491 @cindex White mensural ligatures
5493 There is limited support for white mensural ligatures.
5495 To engrave white mensural ligatures, in the paper block the
5496 @internalsref{Mensural_ligature_engraver} has to be put into the
5497 @internalsref{Voice} context, and remove the
5498 @internalsref{Ligature_bracket_engraver}
5504 \remove Ligature_bracket_engraver
5505 \consists Mensural_ligature_engraver
5510 There is no additional input language to describe the shape of a
5511 white mensural ligature. The shape is rather determined solely from
5512 the pitch and duration of the enclosed notes. While this approach may
5513 take a new user a while to get accustomed, it has the great advantage
5514 that the full musical information of the ligature is known internally.
5515 This is not only required for correct MIDI output, but also allows for
5516 automatic transcription of the ligatures.
5521 \set Score.timing = ##f
5522 \set Score.defaultBarType = "empty"
5523 \override NoteHead #'style = #'neo_mensural
5524 \override Staff.TimeSignature #'style = #'neo_mensural
5526 \[ g\longa c\breve a\breve f\breve d'\longa \]
5528 \[ e1 f1 a\breve g\longa \]
5530 @lilypond[quote,raggedright]
5532 \notes \transpose c c' {
5533 \set Score.timing = ##f
5534 \set Score.defaultBarType = "empty"
5535 \override NoteHead #'style = #'neo_mensural
5536 \override Staff.TimeSignature #'style = #'neo_mensural
5538 \[ g\longa c\breve a\breve f\breve d'\longa \]
5540 \[ e1 f1 a\breve g\longa \]
5545 \remove Ligature_bracket_engraver
5546 \consists Mensural_ligature_engraver
5552 Without replacing @internalsref{Ligature_bracket_engraver} with
5553 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5556 @lilypond[quote,raggedright]
5558 \notes \transpose c c' {
5559 \set Score.timing = ##f
5560 \set Score.defaultBarType = "empty"
5561 \override NoteHead #'style = #'neo_mensural
5562 \override Staff.TimeSignature #'style = #'neo_mensural
5564 \[ g\longa c\breve a\breve f\breve d'\longa \]
5566 \[ e1 f1 a\breve g\longa \]
5573 The implementation is experimental; it may output strange warnings or
5574 even crash in some cases or produce weird results on more complex
5577 @node Gregorian square neumes ligatures
5578 @subsubsection Gregorian square neumes ligatures
5580 @cindex Square neumes ligatures
5581 @cindex Gregorian square neumes ligatures
5583 Gregorian square neumes notation (following the style of the Editio
5584 Vaticana) is under heavy development, but not yet really usable for
5585 production purposes. Core ligatures can already be typeset, but
5586 essential issues for serious typesetting are still under development,
5587 such as (among others) horizontal alignment of multiple ligatures,
5588 lyrics alignment and proper accidentals handling. Still, this section
5589 gives a sneak preview of what Gregorian chant may look like once it
5592 The following table contains the extended neumes table of the 2nd
5593 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5594 1983 by the monks of Solesmes.
5596 @multitable @columnfractions .4 .2 .2 .2
5599 @b{Neuma aut@*Neumarum Elementa} @tab
5600 @b{Figurae@*Rectae} @tab
5601 @b{Figurae@*Liquescentes Auctae} @tab
5602 @b{Figurae@*Liquescentes Deminutae}
5604 @c TODO: \paper block is identical in all of the below examples.
5605 @c Therefore, it should somehow be included rather than duplicated all
5608 @c why not make identifiers in ly/engraver-init.ly? --hwn
5610 @c Because it's just used to typeset plain notes without
5611 @c a staff for demonstration purposes rather than something
5612 @c special of Gregorian chant notation. --jr
5617 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5618 \include "gregorian-init.ly"
5620 \notes \transpose c c' {
5623 \noBreak s^\markup {"a"} \noBreak
5625 % Punctum Inclinatum
5627 \noBreak s^\markup {"b"}
5633 \remove "Bar_number_engraver"
5637 \remove "Clef_engraver"
5638 \remove "Key_engraver"
5639 \override StaffSymbol #'transparent = ##t
5640 \remove "Time_signature_engraver"
5641 \remove "Bar_engraver"
5642 minimumVerticalExtent = ##f
5646 \remove Ligature_bracket_engraver
5647 \consists Vaticana_ligature_engraver
5648 \override NoteHead #'style = #'vaticana_punctum
5649 \override Stem #'transparent = ##t
5655 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5656 \include "gregorian-init.ly"
5658 \notes \transpose c c' {
5659 % Punctum Auctum Ascendens
5660 \[ \auctum \ascendens b \]
5661 \noBreak s^\markup {"c"} \noBreak
5663 % Punctum Auctum Descendens
5664 \[ \auctum \descendens b \]
5665 \noBreak s^\markup {"d"} \noBreak
5667 % Punctum Inclinatum Auctum
5668 \[ \inclinatum \auctum b \]
5669 \noBreak s^\markup {"e"}
5675 \remove "Bar_number_engraver"
5679 \remove "Clef_engraver"
5680 \remove "Key_engraver"
5681 \override StaffSymbol #'transparent = ##t
5682 \remove "Time_signature_engraver"
5683 \remove "Bar_engraver"
5684 minimumVerticalExtent = ##f
5688 \remove Ligature_bracket_engraver
5689 \consists Vaticana_ligature_engraver
5690 \override NoteHead #'style = #'vaticana_punctum
5691 \override Stem #'transparent = ##t
5697 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5698 \include "gregorian-init.ly"
5700 \notes \transpose c c' {
5701 % Punctum Inclinatum Parvum
5702 \[ \inclinatum \deminutum b \]
5703 \noBreak s^\markup {"f"}
5709 \remove "Bar_number_engraver"
5713 \remove "Clef_engraver"
5714 \remove "Key_engraver"
5715 \override StaffSymbol #'transparent = ##t
5716 \remove "Time_signature_engraver"
5717 \remove "Bar_engraver"
5718 minimumVerticalExtent = ##f
5722 \remove Ligature_bracket_engraver
5723 \consists Vaticana_ligature_engraver
5724 \override NoteHead #'style = #'vaticana_punctum
5725 \override Stem #'transparent = ##t
5734 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5735 \include "gregorian-init.ly"
5737 \notes \transpose c c' {
5740 \noBreak s^\markup {"g"}
5746 \remove "Bar_number_engraver"
5750 \remove "Clef_engraver"
5751 \remove "Key_engraver"
5752 \override StaffSymbol #'transparent = ##t
5753 \remove "Time_signature_engraver"
5754 \remove "Bar_engraver"
5755 minimumVerticalExtent = ##f
5759 \remove Ligature_bracket_engraver
5760 \consists Vaticana_ligature_engraver
5761 \override NoteHead #'style = #'vaticana_punctum
5762 \override Stem #'transparent = ##t
5771 @code{3. Apostropha vel Stropha}
5773 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5774 \include "gregorian-init.ly"
5776 \notes \transpose c c' {
5779 \noBreak s^\markup {"h"}
5785 \remove "Bar_number_engraver"
5789 \remove "Clef_engraver"
5790 \remove "Key_engraver"
5791 \override StaffSymbol #'transparent = ##t
5792 \remove "Time_signature_engraver"
5793 \remove "Bar_engraver"
5794 minimumVerticalExtent = ##f
5798 \remove Ligature_bracket_engraver
5799 \consists Vaticana_ligature_engraver
5800 \override NoteHead #'style = #'vaticana_punctum
5801 \override Stem #'transparent = ##t
5807 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5808 \include "gregorian-init.ly"
5810 \notes \transpose c c' {
5812 \[ \stropha \auctum b \]
5813 \noBreak s^\markup {"i"}
5819 \remove "Bar_number_engraver"
5823 \remove "Clef_engraver"
5824 \remove "Key_engraver"
5825 \override StaffSymbol #'transparent = ##t
5826 \remove "Time_signature_engraver"
5827 \remove "Bar_engraver"
5828 minimumVerticalExtent = ##f
5832 \remove Ligature_bracket_engraver
5833 \consists Vaticana_ligature_engraver
5834 \override NoteHead #'style = #'vaticana_punctum
5835 \override Stem #'transparent = ##t
5845 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5846 \include "gregorian-init.ly"
5848 \notes \transpose c c' {
5851 \noBreak s^\markup {"j"}
5857 \remove "Bar_number_engraver"
5861 \remove "Clef_engraver"
5862 \remove "Key_engraver"
5863 \override StaffSymbol #'transparent = ##t
5864 \remove "Time_signature_engraver"
5865 \remove "Bar_engraver"
5866 minimumVerticalExtent = ##f
5870 \remove Ligature_bracket_engraver
5871 \consists Vaticana_ligature_engraver
5872 \override NoteHead #'style = #'vaticana_punctum
5873 \override Stem #'transparent = ##t
5882 @code{5. Clivis vel Flexa}
5884 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5885 \include "gregorian-init.ly"
5887 \notes \transpose c c' {
5896 \remove "Bar_number_engraver"
5900 \remove "Clef_engraver"
5901 \remove "Key_engraver"
5902 \override StaffSymbol #'transparent = ##t
5903 \remove "Time_signature_engraver"
5904 \remove "Bar_engraver"
5905 minimumVerticalExtent = ##f
5909 \remove Ligature_bracket_engraver
5910 \consists Vaticana_ligature_engraver
5911 \override NoteHead #'style = #'vaticana_punctum
5912 \override Stem #'transparent = ##t
5918 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5919 \include "gregorian-init.ly"
5921 \notes \transpose c c' {
5922 % Clivis Aucta Descendens
5923 \[ b \flexa \auctum \descendens g \]
5924 \noBreak s^\markup {"l"} \noBreak
5926 % Clivis Aucta Ascendens
5927 \[ b \flexa \auctum \ascendens g \]
5928 \noBreak s^\markup {"m"}
5934 \remove "Bar_number_engraver"
5938 \remove "Clef_engraver"
5939 \remove "Key_engraver"
5940 \override StaffSymbol #'transparent = ##t
5941 \remove "Time_signature_engraver"
5942 \remove "Bar_engraver"
5943 minimumVerticalExtent = ##f
5947 \remove Ligature_bracket_engraver
5948 \consists Vaticana_ligature_engraver
5949 \override NoteHead #'style = #'vaticana_punctum
5950 \override Stem #'transparent = ##t
5956 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5957 \include "gregorian-init.ly"
5959 \notes \transpose c c' {
5961 \[ b \flexa \deminutum g \]
5968 \remove "Bar_number_engraver"
5972 \remove "Clef_engraver"
5973 \remove "Key_engraver"
5974 \override StaffSymbol #'transparent = ##t
5975 \remove "Time_signature_engraver"
5976 \remove "Bar_engraver"
5977 minimumVerticalExtent = ##f
5981 \remove Ligature_bracket_engraver
5982 \consists Vaticana_ligature_engraver
5983 \override NoteHead #'style = #'vaticana_punctum
5984 \override Stem #'transparent = ##t
5991 @code{6. Podatus vel Pes}
5993 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5994 \include "gregorian-init.ly"
5996 \notes \transpose c c' {
6005 \remove "Bar_number_engraver"
6009 \remove "Clef_engraver"
6010 \remove "Key_engraver"
6011 \override StaffSymbol #'transparent = ##t
6012 \remove "Time_signature_engraver"
6013 \remove "Bar_engraver"
6014 minimumVerticalExtent = ##f
6018 \remove Ligature_bracket_engraver
6019 \consists Vaticana_ligature_engraver
6020 \override NoteHead #'style = #'vaticana_punctum
6021 \override Stem #'transparent = ##t
6027 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6028 \include "gregorian-init.ly"
6030 \notes \transpose c c' {
6031 % Pes Auctus Descendens
6032 \[ g \pes \auctum \descendens b \]
6033 \noBreak s^\markup {"p"} \noBreak
6035 % Pes Auctus Ascendens
6036 \[ g \pes \auctum \ascendens b \]
6037 \noBreak s^\markup {"q"}
6043 \remove "Bar_number_engraver"
6047 \remove "Clef_engraver"
6048 \remove "Key_engraver"
6049 \override StaffSymbol #'transparent = ##t
6050 \remove "Time_signature_engraver"
6051 \remove "Bar_engraver"
6052 minimumVerticalExtent = ##f
6056 \remove Ligature_bracket_engraver
6057 \consists Vaticana_ligature_engraver
6058 \override NoteHead #'style = #'vaticana_punctum
6059 \override Stem #'transparent = ##t
6065 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6066 \include "gregorian-init.ly"
6068 \notes \transpose c c' {
6070 \[ g \pes \deminutum b \]
6077 \remove "Bar_number_engraver"
6081 \remove "Clef_engraver"
6082 \remove "Key_engraver"
6083 \override StaffSymbol #'transparent = ##t
6084 \remove "Time_signature_engraver"
6085 \remove "Bar_engraver"
6086 minimumVerticalExtent = ##f
6090 \remove Ligature_bracket_engraver
6091 \consists Vaticana_ligature_engraver
6092 \override NoteHead #'style = #'vaticana_punctum
6093 \override Stem #'transparent = ##t
6100 @code{7. Pes Quassus}
6102 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6103 \include "gregorian-init.ly"
6105 \notes \transpose c c' {
6107 \[ \oriscus g \pes \virga b \]
6114 \remove "Bar_number_engraver"
6118 \remove "Clef_engraver"
6119 \remove "Key_engraver"
6120 \override StaffSymbol #'transparent = ##t
6121 \remove "Time_signature_engraver"
6122 \remove "Bar_engraver"
6123 minimumVerticalExtent = ##f
6127 \remove Ligature_bracket_engraver
6128 \consists Vaticana_ligature_engraver
6129 \override NoteHead #'style = #'vaticana_punctum
6130 \override Stem #'transparent = ##t
6136 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6137 \include "gregorian-init.ly"
6139 \notes \transpose c c' {
6140 % Pes Quassus Auctus Descendens
6141 \[ \oriscus g \pes \auctum \descendens b \]
6148 \remove "Bar_number_engraver"
6152 \remove "Clef_engraver"
6153 \remove "Key_engraver"
6154 \override StaffSymbol #'transparent = ##t
6155 \remove "Time_signature_engraver"
6156 \remove "Bar_engraver"
6157 minimumVerticalExtent = ##f
6161 \remove Ligature_bracket_engraver
6162 \consists Vaticana_ligature_engraver
6163 \override NoteHead #'style = #'vaticana_punctum
6164 \override Stem #'transparent = ##t
6172 @code{8. Quilisma Pes}
6174 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6175 \include "gregorian-init.ly"
6177 \notes \transpose c c' {
6179 \[ \quilisma g \pes b \]
6186 \remove "Bar_number_engraver"
6190 \remove "Clef_engraver"
6191 \remove "Key_engraver"
6192 \override StaffSymbol #'transparent = ##t
6193 \remove "Time_signature_engraver"
6194 \remove "Bar_engraver"
6195 minimumVerticalExtent = ##f
6199 \remove Ligature_bracket_engraver
6200 \consists Vaticana_ligature_engraver
6201 \override NoteHead #'style = #'vaticana_punctum
6202 \override Stem #'transparent = ##t
6208 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6209 \include "gregorian-init.ly"
6211 \notes \transpose c c' {
6212 % Quilisma Pes Auctus Descendens
6213 \[ \quilisma g \pes \auctum \descendens b \]
6220 \remove "Bar_number_engraver"
6224 \remove "Clef_engraver"
6225 \remove "Key_engraver"
6226 \override StaffSymbol #'transparent = ##t
6227 \remove "Time_signature_engraver"
6228 \remove "Bar_engraver"
6229 minimumVerticalExtent = ##f
6233 \remove Ligature_bracket_engraver
6234 \consists Vaticana_ligature_engraver
6235 \override NoteHead #'style = #'vaticana_punctum
6236 \override Stem #'transparent = ##t
6244 @code{9. Podatus Initio Debilis}
6246 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6247 \include "gregorian-init.ly"
6249 \notes \transpose c c' {
6250 % Pes Initio Debilis
6251 \[ \deminutum g \pes b \]
6258 \remove "Bar_number_engraver"
6262 \remove "Clef_engraver"
6263 \remove "Key_engraver"
6264 \override StaffSymbol #'transparent = ##t
6265 \remove "Time_signature_engraver"
6266 \remove "Bar_engraver"
6267 minimumVerticalExtent = ##f
6271 \remove Ligature_bracket_engraver
6272 \consists Vaticana_ligature_engraver
6273 \override NoteHead #'style = #'vaticana_punctum
6274 \override Stem #'transparent = ##t
6280 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6281 \include "gregorian-init.ly"
6283 \notes \transpose c c' {
6284 % Pes Auctus Descendens Initio Debilis
6285 \[ \deminutum g \pes \auctum \descendens b \]
6292 \remove "Bar_number_engraver"
6296 \remove "Clef_engraver"
6297 \remove "Key_engraver"
6298 \override StaffSymbol #'transparent = ##t
6299 \remove "Time_signature_engraver"
6300 \remove "Bar_engraver"
6301 minimumVerticalExtent = ##f
6305 \remove Ligature_bracket_engraver
6306 \consists Vaticana_ligature_engraver
6307 \override NoteHead #'style = #'vaticana_punctum
6308 \override Stem #'transparent = ##t
6318 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6319 \include "gregorian-init.ly"
6321 \notes \transpose c c' {
6323 \[ a \pes b \flexa g \]
6330 \remove "Bar_number_engraver"
6334 \remove "Clef_engraver"
6335 \remove "Key_engraver"
6336 \override StaffSymbol #'transparent = ##t
6337 \remove "Time_signature_engraver"
6338 \remove "Bar_engraver"
6339 minimumVerticalExtent = ##f
6343 \remove Ligature_bracket_engraver
6344 \consists Vaticana_ligature_engraver
6345 \override NoteHead #'style = #'vaticana_punctum
6346 \override Stem #'transparent = ##t
6352 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6353 \include "gregorian-init.ly"
6355 \notes \transpose c c' {
6356 % Torculus Auctus Descendens
6357 \[ a \pes b \flexa \auctum \descendens g \]
6364 \remove "Bar_number_engraver"
6368 \remove "Clef_engraver"
6369 \remove "Key_engraver"
6370 \override StaffSymbol #'transparent = ##t
6371 \remove "Time_signature_engraver"
6372 \remove "Bar_engraver"
6373 minimumVerticalExtent = ##f
6377 \remove Ligature_bracket_engraver
6378 \consists Vaticana_ligature_engraver
6379 \override NoteHead #'style = #'vaticana_punctum
6380 \override Stem #'transparent = ##t
6386 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6387 \include "gregorian-init.ly"
6389 \notes \transpose c c' {
6390 % Torculus Deminutus
6391 \[ a \pes b \flexa \deminutum g \]
6398 \remove "Bar_number_engraver"
6402 \remove "Clef_engraver"
6403 \remove "Key_engraver"
6404 \override StaffSymbol #'transparent = ##t
6405 \remove "Time_signature_engraver"
6406 \remove "Bar_engraver"
6407 minimumVerticalExtent = ##f
6411 \remove Ligature_bracket_engraver
6412 \consists Vaticana_ligature_engraver
6413 \override NoteHead #'style = #'vaticana_punctum
6414 \override Stem #'transparent = ##t
6421 @code{11. Torculus Initio Debilis}
6423 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6424 \include "gregorian-init.ly"
6426 \notes \transpose c c' {
6427 % Torculus Initio Debilis
6428 \[ \deminutum a \pes b \flexa g \]
6435 \remove "Bar_number_engraver"
6439 \remove "Clef_engraver"
6440 \remove "Key_engraver"
6441 \override StaffSymbol #'transparent = ##t
6442 \remove "Time_signature_engraver"
6443 \remove "Bar_engraver"
6444 minimumVerticalExtent = ##f
6448 \remove Ligature_bracket_engraver
6449 \consists Vaticana_ligature_engraver
6450 \override NoteHead #'style = #'vaticana_punctum
6451 \override Stem #'transparent = ##t
6457 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6458 \include "gregorian-init.ly"
6460 \notes \transpose c c' {
6461 % Torculus Auctus Descendens Initio Debilis
6462 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6469 \remove "Bar_number_engraver"
6473 \remove "Clef_engraver"
6474 \remove "Key_engraver"
6475 \override StaffSymbol #'transparent = ##t
6476 \remove "Time_signature_engraver"
6477 \remove "Bar_engraver"
6478 minimumVerticalExtent = ##f
6482 \remove Ligature_bracket_engraver
6483 \consists Vaticana_ligature_engraver
6484 \override NoteHead #'style = #'vaticana_punctum
6485 \override Stem #'transparent = ##t
6491 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6492 \include "gregorian-init.ly"
6494 \notes \transpose c c' {
6495 % Torculus Deminutus Initio Debilis
6496 \[ \deminutum a \pes b \flexa \deminutum g \]
6503 \remove "Bar_number_engraver"
6507 \remove "Clef_engraver"
6508 \remove "Key_engraver"
6509 \override StaffSymbol #'transparent = ##t
6510 \remove "Time_signature_engraver"
6511 \remove "Bar_engraver"
6512 minimumVerticalExtent = ##f
6516 \remove Ligature_bracket_engraver
6517 \consists Vaticana_ligature_engraver
6518 \override NoteHead #'style = #'vaticana_punctum
6519 \override Stem #'transparent = ##t
6526 @code{12. Porrectus}
6528 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6529 \include "gregorian-init.ly"
6531 \notes \transpose c c' {
6533 \[ a \flexa g \pes b \]
6540 \remove "Bar_number_engraver"
6544 \remove "Clef_engraver"
6545 \remove "Key_engraver"
6546 \override StaffSymbol #'transparent = ##t
6547 \remove "Time_signature_engraver"
6548 \remove "Bar_engraver"
6549 minimumVerticalExtent = ##f
6553 \remove Ligature_bracket_engraver
6554 \consists Vaticana_ligature_engraver
6555 \override NoteHead #'style = #'vaticana_punctum
6556 \override Stem #'transparent = ##t
6562 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6563 \include "gregorian-init.ly"
6565 \notes \transpose c c' {
6566 % Porrectus Auctus Descendens
6567 \[ a \flexa g \pes \auctum \descendens b \]
6574 \remove "Bar_number_engraver"
6578 \remove "Clef_engraver"
6579 \remove "Key_engraver"
6580 \override StaffSymbol #'transparent = ##t
6581 \remove "Time_signature_engraver"
6582 \remove "Bar_engraver"
6583 minimumVerticalExtent = ##f
6587 \remove Ligature_bracket_engraver
6588 \consists Vaticana_ligature_engraver
6589 \override NoteHead #'style = #'vaticana_punctum
6590 \override Stem #'transparent = ##t
6596 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6597 \include "gregorian-init.ly"
6599 \notes \transpose c c' {
6600 % Porrectus Deminutus
6601 \[ a \flexa g \pes \deminutum b \]
6608 \remove "Bar_number_engraver"
6612 \remove "Clef_engraver"
6613 \remove "Key_engraver"
6614 \override StaffSymbol #'transparent = ##t
6615 \remove "Time_signature_engraver"
6616 \remove "Bar_engraver"
6617 minimumVerticalExtent = ##f
6621 \remove Ligature_bracket_engraver
6622 \consists Vaticana_ligature_engraver
6623 \override NoteHead #'style = #'vaticana_punctum
6624 \override Stem #'transparent = ##t
6633 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6634 \include "gregorian-init.ly"
6636 \notes \transpose c c' {
6638 \[ \virga b \inclinatum a \inclinatum g \]
6645 \remove "Bar_number_engraver"
6649 \remove "Clef_engraver"
6650 \remove "Key_engraver"
6651 \override StaffSymbol #'transparent = ##t
6652 \remove "Time_signature_engraver"
6653 \remove "Bar_engraver"
6654 minimumVerticalExtent = ##f
6658 \remove Ligature_bracket_engraver
6659 \consists Vaticana_ligature_engraver
6660 \override NoteHead #'style = #'vaticana_punctum
6661 \override Stem #'transparent = ##t
6667 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6668 \include "gregorian-init.ly"
6670 \notes \transpose c c' {
6672 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6679 \remove "Bar_number_engraver"
6683 \remove "Clef_engraver"
6684 \remove "Key_engraver"
6685 \override StaffSymbol #'transparent = ##t
6686 \remove "Time_signature_engraver"
6687 \remove "Bar_engraver"
6688 minimumVerticalExtent = ##f
6692 \remove Ligature_bracket_engraver
6693 \consists Vaticana_ligature_engraver
6694 \override NoteHead #'style = #'vaticana_punctum
6695 \override Stem #'transparent = ##t
6701 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6702 \include "gregorian-init.ly"
6704 \notes \transpose c c' {
6705 % Climacus Deminutus
6706 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6713 \remove "Bar_number_engraver"
6717 \remove "Clef_engraver"
6718 \remove "Key_engraver"
6719 \override StaffSymbol #'transparent = ##t
6720 \remove "Time_signature_engraver"
6721 \remove "Bar_engraver"
6722 minimumVerticalExtent = ##f
6726 \remove Ligature_bracket_engraver
6727 \consists Vaticana_ligature_engraver
6728 \override NoteHead #'style = #'vaticana_punctum
6729 \override Stem #'transparent = ##t
6736 @code{14. Scandicus}
6738 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6739 \include "gregorian-init.ly"
6741 \notes \transpose c c' {
6743 \[ g \pes a \virga b \]
6750 \remove "Bar_number_engraver"
6754 \remove "Clef_engraver"
6755 \remove "Key_engraver"
6756 \override StaffSymbol #'transparent = ##t
6757 \remove "Time_signature_engraver"
6758 \remove "Bar_engraver"
6759 minimumVerticalExtent = ##f
6763 \remove Ligature_bracket_engraver
6764 \consists Vaticana_ligature_engraver
6765 \override NoteHead #'style = #'vaticana_punctum
6766 \override Stem #'transparent = ##t
6772 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6773 \include "gregorian-init.ly"
6775 \notes \transpose c c' {
6776 % Scandicus Auctus Descendens
6777 \[ g \pes a \pes \auctum \descendens b \]
6784 \remove "Bar_number_engraver"
6788 \remove "Clef_engraver"
6789 \remove "Key_engraver"
6790 \override StaffSymbol #'transparent = ##t
6791 \remove "Time_signature_engraver"
6792 \remove "Bar_engraver"
6793 minimumVerticalExtent = ##f
6797 \remove Ligature_bracket_engraver
6798 \consists Vaticana_ligature_engraver
6799 \override NoteHead #'style = #'vaticana_punctum
6800 \override Stem #'transparent = ##t
6806 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6807 \include "gregorian-init.ly"
6809 \notes \transpose c c' {
6810 % Scandicus Deminutus
6811 \[ g \pes a \pes \deminutum b \]
6818 \remove "Bar_number_engraver"
6822 \remove "Clef_engraver"
6823 \remove "Key_engraver"
6824 \override StaffSymbol #'transparent = ##t
6825 \remove "Time_signature_engraver"
6826 \remove "Bar_engraver"
6827 minimumVerticalExtent = ##f
6831 \remove Ligature_bracket_engraver
6832 \consists Vaticana_ligature_engraver
6833 \override NoteHead #'style = #'vaticana_punctum
6834 \override Stem #'transparent = ##t
6843 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6844 \include "gregorian-init.ly"
6846 \notes \transpose c c' {
6848 \[ g \oriscus a \pes \virga b \]
6855 \remove "Bar_number_engraver"
6859 \remove "Clef_engraver"
6860 \remove "Key_engraver"
6861 \override StaffSymbol #'transparent = ##t
6862 \remove "Time_signature_engraver"
6863 \remove "Bar_engraver"
6864 minimumVerticalExtent = ##f
6868 \remove Ligature_bracket_engraver
6869 \consists Vaticana_ligature_engraver
6870 \override NoteHead #'style = #'vaticana_punctum
6871 \override Stem #'transparent = ##t
6877 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6878 \include "gregorian-init.ly"
6880 \notes \transpose c c' {
6881 % Salicus Auctus Descendens
6882 \[ g \oriscus a \pes \auctum \descendens b \]
6889 \remove "Bar_number_engraver"
6893 \remove "Clef_engraver"
6894 \remove "Key_engraver"
6895 \override StaffSymbol #'transparent = ##t
6896 \remove "Time_signature_engraver"
6897 \remove "Bar_engraver"
6898 minimumVerticalExtent = ##f
6902 \remove Ligature_bracket_engraver
6903 \consists Vaticana_ligature_engraver
6904 \override NoteHead #'style = #'vaticana_punctum
6905 \override Stem #'transparent = ##t
6915 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6916 \include "gregorian-init.ly"
6918 \notes \transpose c c' {
6920 \[ \stropha b \stropha b \stropha a \]
6927 \remove "Bar_number_engraver"
6931 \remove "Clef_engraver"
6932 \remove "Key_engraver"
6933 \override StaffSymbol #'transparent = ##t
6934 \remove "Time_signature_engraver"
6935 \remove "Bar_engraver"
6936 minimumVerticalExtent = ##f
6940 \remove Ligature_bracket_engraver
6941 \consists Vaticana_ligature_engraver
6942 \override NoteHead #'style = #'vaticana_punctum
6943 \override Stem #'transparent = ##t
6954 Unlike most other neumes notation systems, the input language for
6955 neumes does not necessarily reflect directly the typographical
6956 appearance, but is designed to solely focuse on musical meaning. For
6957 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6958 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6959 a Porrectus with a curved flexa shape and only a single Punctum head.
6960 There is no command to explicitly typeset the curved flexa shape; the
6961 decision of when to typeset a curved flexa shape is purely taken from
6962 the musical input. The idea of this approach is to separate the
6963 musical aspects of the input from the notation style of the output.
6964 This way, the same input can be reused to typeset the same music in a
6965 different style of Gregorian chant notation.
6967 The following table shows the code fragments that produce the
6968 ligatures in the above neumes table. The letter in the first column
6969 in each line of the below table indicates to which ligature in the
6970 above table it refers. The second column gives the name of the
6971 ligature. The third column shows the code fragment that produces this
6972 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6974 @multitable @columnfractions .1 .4 .5
6988 Punctum Inclinatum @tab
6989 @code{\[ \inclinatum b \]}
6993 Punctum Auctum Ascendens @tab
6994 @code{\[ \auctum \ascendens b \]}
6998 Punctum Auctum Descendens @tab
6999 @code{\[ \auctum \descendens b \]}
7003 Punctum Inclinatum Auctum @tab
7004 @code{\[ \inclinatum \auctum b \]}
7008 Punctum Inclinatum Parvum @tab
7009 @code{\[ \inclinatum \deminutum b \]}
7014 @code{\[ \virga b \]}
7019 @code{\[ \stropha b \]}
7024 @code{\[ \stropha \auctum b \]}
7029 @code{\[ \oriscus b \]}
7033 Clivis vel Flexa @tab
7034 @code{\[ b \flexa g \]}
7038 Clivis Aucta Descendens @tab
7039 @code{\[ b \flexa \auctum \descendens g \]}
7043 Clivis Aucta Ascendens @tab
7044 @code{\[ b \flexa \auctum \ascendens g \]}
7049 @code{\[ b \flexa \deminutum g \]}
7053 Podatus vel Pes @tab
7054 @code{\[ g \pes b \]}
7058 Pes Auctus Descendens @tab
7059 @code{\[ g \pes \auctum \descendens b \]}
7063 Pes Auctus Ascendens @tab
7064 @code{\[ g \pes \auctum \ascendens b \]}
7069 @code{\[ g \pes \deminutum b \]}
7074 @code{\[ \oriscus g \pes \virga b \]}
7078 Pes Quassus Auctus Descendens @tab
7079 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7084 @code{\[ \quilisma g \pes b \]}
7088 Quilisma Pes Auctus Descendens @tab
7089 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7093 Pes Initio Debilis @tab
7094 @code{\[ \deminutum g \pes b \]}
7098 Pes Auctus Descendens Initio Debilis @tab
7099 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7104 @code{\[ a \pes b \flexa g \]}
7108 Torculus Auctus Descendens @tab
7109 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7113 Torculus Deminutus @tab
7114 @code{\[ a \pes b \flexa \deminutum g \]}
7118 Torculus Initio Debilis @tab
7119 @code{\[ \deminutum a \pes b \flexa g \]}
7123 Torculus Auctus Descendens Initio Debilis @tab
7124 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7128 Torculus Deminutus Initio Debilis @tab
7129 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7134 @code{\[ a \flexa g \pes b \]}
7138 Porrectus Auctus Descendens @tab
7139 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7143 Porrectus Deminutus @tab
7144 @code{\[ a \flexa g \pes \deminutum b \]}
7149 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7153 Climacus Auctus @tab
7154 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7158 Climacus Deminutus @tab
7159 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7164 @code{\[ g \pes a \virga b \]}
7168 Scandicus Auctus Descendens @tab
7169 @code{\[ g \pes a \pes \auctum \descendens b \]}
7173 Scandicus Deminutus @tab
7174 @code{\[ g \pes a \pes \deminutum b \]}
7179 @code{\[ g \oriscus a \pes \virga b \]}
7183 Salicus Auctus Descendens @tab
7184 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7189 @code{\[ \stropha b \stropha b \stropha a \]}
7195 The following head prefixes are supported
7197 @cindex @code{\virga}
7199 @cindex @code{\stropha}
7201 @cindex @code{\inclinatum}
7203 @cindex @code{\auctum}
7205 @cindex @code{\descendens}
7207 @cindex @code{\ascendens}
7209 @cindex @code{\oriscus}
7211 @cindex @code{\quilisma}
7213 @cindex @code{\deminutum}
7216 Head prefixes can be accumulated, though restrictions apply. For
7217 example, either @code{\descendens} or @code{\ascendens} can be applied
7218 to a head, but not both to the same head.
7221 @cindex @code{\flexa}
7222 Two adjacent heads can be tied together with the @code{\pes} and
7223 @code{\flexa} infix commands for a rising and falling line of melody,
7228 @node Vaticana style contexts
7229 @subsection Vaticana style contexts
7231 @cindex VaticanaVoiceContext
7232 @cindex VaticanaStaffContext
7234 The predefined @code{VaticanaVoiceContext} and
7235 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7236 Gregorian Chant in the style of the Editio Vaticana. These contexts
7237 initialize all relevant context properties and grob properties to
7238 proper values. With these contexts, you can immediately go ahead
7239 entering the chant, as the following short excerpt demonstrates
7241 @lilypond[quote,raggedright,verbatim,noindent]
7242 \include "gregorian-init.ly"
7245 \context VaticanaVoice = "cantus" {
7246 \override Score.BarNumber #'transparent = ##t
7248 \[ c'\melisma c' \flexa a \]
7249 \[ a \flexa \deminutum g\melismaEnd \]
7251 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7252 c' \divisioMinima \break
7253 \[ c'\melisma c' \flexa a \]
7254 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7257 \lyricsto "cantus" \new Lyrics \lyrics {
7258 San- ctus, San- ctus, San- ctus
7265 @subsection Figured bass
7267 @cindex Basso continuo
7269 @c TODO: musicological blurb about FB
7272 LilyPond has limited support for figured bass
7274 @lilypond[quote,verbatim,fragment]
7276 \context Voice \notes { \clef bass dis4 c d ais }
7277 \context FiguredBass \figures {
7278 < 6 >4 < 7 >8 < 6+ [_!] >
7284 The support for figured bass consists of two parts: there is an input
7285 mode, introduced by @code{\figures}, where you can enter bass figures
7286 as numbers, and there is a context called @internalsref{FiguredBass} that
7287 takes care of making @internalsref{BassFigure} objects.
7289 In figures input mode, a group of bass figures is delimited by
7290 @code{<} and @code{>}. The duration is entered after the @code{>>}
7294 @lilypond[quote,fragment]
7295 \context FiguredBass
7299 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7305 @lilypond[quote,fragment]
7306 \context FiguredBass
7307 \figures { <4- 6+ 7!> }
7310 Spaces or dashes may be inserted by using @code{_}. Brackets are
7311 introduced with @code{[} and @code{]}
7316 @lilypond[quote,fragment]
7317 \context FiguredBass
7318 \figures { < [4 6] 8 [_! 12]> }
7321 Although the support for figured bass may superficially resemble chord
7322 support, it works much simpler. The @code{\figures} mode simply
7323 stores the numbers , and @internalsref{FiguredBass} context prints
7324 them as entered. There is no conversion to pitches, and no
7325 realizations of the bass are played in the MIDI file.
7327 Internally, the code produces markup texts. You can use any of the
7328 markup text properties to override formatting. For example, the
7329 vertical spacing of the figures may be set with @code{baseline-skip}.
7333 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7334 and @internalsref{FiguredBass} context.
7338 Slash notation for alterations is not supported.
7340 @node Contemporary notation
7341 @section Contemporary notation
7343 In the 20th century, composers have greatly expanded the musical
7344 vocabulary. With this expansion, many innovations in musical notation
7345 have been tried. The book by Stone (1980) gives a comprehensive
7346 overview (see @ref{Literature list}). In general, the use of new,
7347 innovative notation makes a piece harder to understand and perform and
7348 its use should therefore be avoided if possible. For this reason,
7349 support for contemporary notation in LilyPond is limited.
7358 @subsection Clusters
7362 A cluster indicates a continuous range of pitches to be played. They
7363 can be denoted as the envelope of a set of notes. They are entered by
7364 applying the function @code{notes-to-clusters} to a sequence of
7367 @lilypond[quote,relative=2,verbatim]
7368 \apply #notes-to-clusters { <c e > <b f'> }
7371 The following example (from
7372 @inputfileref{input/regression,cluster.ly}) shows what the result
7375 @lilypondfile[quote]{cluster.ly}
7377 Ordinary notes and clusters can be put together in the same staff,
7378 even simultaneously. In such a case no attempt is made to
7379 automatically avoid collisions between ordinary notes and clusters.
7383 Program reference: @internalsref{ClusterSpanner},
7384 @internalsref{ClusterSpannerBeacon},
7385 @internalsref{Cluster_spanner_engraver}, and
7386 @internalsref{ClusterNoteEvent}.
7388 Examples: @inputfileref{input/regression,cluster.ly}.
7392 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7393 accurately. Use @code{<g a>8 <e a>8} instead.
7398 @subsection Fermatas
7404 Contemporary music notation frequently uses special fermata symbols to
7405 indicate fermatas of differing lengths. The following fermatas are
7408 @lilypond[quote,raggedright]
7431 \context Lyrics \lyrics {
7432 \override LyricText #'font-family = #'typewriter
7433 "shortfermata" "fermata" "longfermata" "verylongfermata"
7439 See @ref{Articulations} for general instructions how to apply scripts
7440 such as fermatas to a @code{\notes@{@}} block.
7443 @node Special notation
7444 @section Special notation
7448 * Easy Notation note heads::
7452 @subsection Balloon help
7454 Elements of notation can be marked and named with the help of a square
7455 balloon. The primary purpose of this feature is to explain notation.
7457 The following example demonstrates its use.
7459 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7462 #(add-balloon-text 'NoteHead "heads, or tails?"
7468 The function @code{add-balloon-text} takes the name of a grob, the
7469 label to print and where to put the label relative to the object. In
7470 the above example, the text ``heads or tails?'' ends 3 spaces below
7474 @cindex notation, explaining
7478 Program reference: @internalsref{text-balloon-interface}.
7480 Examples: @inputfileref{input/regression,balloon.ly}.
7482 @node Easy Notation note heads
7483 @subsection Easy Notation note heads
7485 @cindex easy notation
7488 The `easy play' note head includes a name inside the head. It is
7489 used in music for beginners
7491 @lilypond[quote,raggedright,verbatim,staffsize=26]
7496 The command @code{\setEasyHeads} overrides settings for the
7497 @internalsref{NoteHead} object. To make the letters readable, it has
7498 to be printed in a large font size. To print with a larger font, see
7499 @ref{Setting global staff size}.
7504 If you view the result with Xdvi, staff lines may show through the
7505 letters. Printing the PostScript file obtained does produce the
7510 @cindex \setEasyHeads
7511 @code{\setEasyHeads}
7517 Entered music can also be converted to MIDI output. The performance
7518 is intended for proof-hearing the music for errors.
7520 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7521 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7522 marks translate to a fixed fraction of the available MIDI volume
7523 range, crescendi and decrescendi make the volume vary linearly between
7524 their two extremities. The fractions can be adjusted by
7525 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7526 For each type of MIDI instrument, a volume range can be defined. This
7527 gives a basic equalizer control, which can enhance the quality of
7528 the MIDI output remarkably. The equalizer can be controlled by
7529 setting @code{instrumentEqualizer}.
7533 Many musically interesting effects, such as swing, articulation,
7534 slurring, etc., are not translated to MIDI.
7536 The MIDI output allocates a channel for each Staff, and one for global
7537 settings. Hence, the MIDI file should not have more than 15 staves
7538 (or 14 if you do not use drums). Other staves will remain silent.
7543 * MIDI instrument names::
7548 @subsection MIDI block
7552 The MIDI block is analogous to the paper block, but it is somewhat
7553 simpler. The @code{\midi} block can contain
7557 @item a @code{\tempo} definition, and
7558 @item context definitions.
7561 A number followed by a period is interpreted as a real number, so
7562 for setting the tempo for dotted notes, an extra space should be
7563 inserted, for example
7566 \midi @{ \tempo 4 . = 120 @}
7570 @cindex context definition
7572 Context definitions follow precisely the same syntax as within the
7573 \paper block. Translation modules for sound are called performers.
7574 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7577 @node MIDI instrument names
7578 @subsection MIDI instrument names
7580 @cindex instrument names
7581 @cindex @code{Staff.midiInstrument}
7583 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7584 property. The instrument name should be chosen from the list in
7585 @ref{MIDI instruments}.
7589 If the selected string does not exactly match, the default is used,
7590 which is the Grand Piano.