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::
27 * Other instrument specific notation::
31 * Formatting cue notes::
33 * Contemporary notation::
37 @c FIXME: Note entry vs Music entry at top level menu is confusing.
43 This section is about basic notation elements notes, rests and
44 related constructs, such as stems, tuplets and ties.
49 * Chromatic alterations::
67 A note is printed by specifying its pitch and then its duration,
69 @lilypond[quote,verbatim]
70 { cis'4 d'8 e'16 c'16 }
78 @cindex Note specification
80 @cindex entering notes
82 The most common syntax for pitch entry is used in standard notes and
83 @code{\chords} mode. In these modes, pitches may be designated by
84 names. The notes are specified by the letters @code{a} through
85 @code{g}, while the octave is formed with notes ranging from @code{c}
86 to @code{b}. The pitch @code{c} is an octave below middle C and the
87 letters span the octave above that C
89 @lilypond[fragment,verbatim,noindent]
91 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
94 @cindex note names, Dutch
96 A sharp is formed by adding @code{-is} to the end of a pitch name and
97 a flat is formed by adding @code{-es}. Double sharps and double flats
98 are obtained by adding @code{-isis} or @code{-eses}. These
99 names are the Dutch note names. In Dutch, @code{aes} is contracted to
100 @code{as}, but both forms are accepted. Similarly, both
101 @code{es} and @code{ees} are accepted.
103 @lilypond[fragment,quote,verbatim,relative=2]
111 There are predefined sets of note names for various other languages.
112 To use them, include the language specific init file. For
113 example: @code{\include "english.ly"}. The available language files
114 and the note names they define are
119 Note Names sharp flat
120 nederlands.ly c d e f g a bes b -is -es
121 english.ly c d e f g a bf b -s/-sharp -f/-flat
123 deutsch.ly c d e f g a b h -is -es
124 norsk.ly c d e f g a b h -iss/-is -ess/-es
125 svenska.ly c d e f g a b h -iss -ess
126 italiano.ly do re mi fa sol la sib si -d -b
127 catalan.ly do re mi fa sol la sib si -d/-s -b
128 espanol.ly do re mi fa sol la sib si -s -b
137 The optional octave specification takes the form of a series of
138 single quote (`@code{'}') characters or a series of comma
139 (`@code{,}') characters. Each @code{'} raises the pitch by one
140 octave; each @code{,} lowers the pitch by an octave
142 @lilypond[quote,fragment,verbatim]
143 c' c'' es' g' as' gisis' ais'
149 Notes can be hidden and unhidden with the following commands
151 @cindex @code{\hideNotes}
153 @cindex @code{\unHideNotes}
159 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
163 @node Chromatic alterations
164 @subsection Chromatic alterations
166 Normally accidentals are printed automatically, but you may also
167 print them manually. A reminder accidental
168 @cindex reminder accidental
170 can be forced by adding an exclamation mark @code{!}
171 after the pitch. A cautionary accidental
172 @cindex cautionary accidental
173 @cindex parenthesized accidental
174 (i.e. an accidental within parentheses) can be obtained by adding the
175 question mark `@code{?}' after the pitch
177 @lilypond[quote,fragment,verbatim]
178 cis' cis' cis'! cis'?
184 The automatic production of accidentals can be tuned in many
185 ways. For more information, refer to @ref{Accidentals}.
190 @subsection Micro tones
192 Half-flats and half-sharps are formed by adding @code{-eh} and
193 @code{-ih}; the following is a series of Cs with increasing pitches
195 @cindex quarter tones
196 @cindex semi-flats, semi-sharps
198 @lilypond[verbatim,quote,relative=2,fragment]
199 { ceseh ceh cih cisih }
202 Micro tones are also exported to the MIDI file
207 There are no generally accepted standards for denoting three quarter
208 flats, so LilyPond's symbol does not conform to any standard.
213 A chord is formed by a enclosing a set of pitches in @code{<} and
214 @code{>}. A chord may be followed by a duration, and a set of
215 articulations, just like simple notes.
217 @lilypond[verbatim,fragment,quote,relative=1]
228 Rests are entered like notes, with the note name @code{r}
230 @lilypond[fragment,quote,raggedright,verbatim]
234 Whole bar rests, centered in middle of the bar,
235 must be done with multi-measure rests. They are discussed in
236 @ref{Multi measure rests}.
239 A rest's vertical position may be explicitly specified by entering a
240 note with the @code{\rest} keyword appended. This makes manual
241 formatting in polyphonic music easier. Automatic rest collision
242 formatting will leave these rests alone
246 @lilypond[fragment,quote,raggedright,verbatim]
252 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
259 @cindex Invisible rest
262 An invisible rest (also called a `skip') can be entered like a note
263 with note name `@code{s}' or with @code{\skip @var{duration}}
265 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
269 The @code{s} syntax is only available in note mode and chord mode. In
270 other situations, for example, when entering lyrics, you should use
271 the @code{\skip} command
273 @lilypond[quote,raggedright,verbatim]
276 \new Lyrics \lyrics { \skip 2 bla1 }
280 The skip command is merely an empty musical placeholder. It does not
281 produce any output, not even transparent output.
283 The @code{s} skip command does create @internalsref{Staff} and
284 @internalsref{Voice} when necessary, similar to note and rest
285 commands. For example, the following results in an empty staff.
287 @lilypond[quote,raggedright,verbatim]
291 The fragment @code{@{ \skip 4 @} } would produce an empty page.
295 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
300 @subsection Durations
304 @cindex @code{\longa}
305 @cindex @code{\breve}
306 @cindex @code{\maxima}
309 In Note, Chord, and Lyrics mode, durations are designated by numbers
310 and dots: durations are entered as their reciprocal values. For example,
311 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
312 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
313 longer than a whole you must use variables
317 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
319 r1 r2 r4 r8 r16 r32 r64 r64
322 @lilypond[quote,noindent]
325 a\breve*1/2 \autoBeamOff
326 a1 a2 a4 a8 a16 a32 a64 a64
329 r\longa*1/4 r\breve *1/2
330 r1 r2 r4 r8 r16 r32 r64 r64
336 \remove "Clef_engraver"
337 \override StaffSymbol #'transparent = ##t
338 \override TimeSignature #'transparent = ##t
339 \override BarLine #'transparent = ##t
340 \consists "Pitch_squash_engraver"
347 @node Augmentation dots
348 @subsection Augmentation dots
350 If the duration is omitted then it is set to the previously entered
351 duration. The default for the first note is a quarter note. The duration
352 can be followed by dots (`@code{.}') to obtain dotted note
356 @lilypond[quote,fragment,verbatim]
357 a' b' c''8 b' a'4 a'4. b'4.. c'8.
364 Dots are normally moved up to avoid staff lines, except in polyphonic
365 situations. The following commands may be used to force a particular
368 @cindex @code{\dotsUp}
370 @cindex @code{\dotsDown}
372 @cindex @code{\dotsBoth}
377 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
379 @node Scaling durations
380 @subsection Scaling durations
382 You can alter the length of duration by a fraction @var{N/M}
383 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
384 will not affect the appearance of the notes or rests produced.
386 In the following example, the first three notes take up exactly two
387 beats, but no triplet bracket is printed.
388 @lilypond[quote,fragment,relative=2,verbatim]
390 a4*2/3 gis4*2/3 a4*2/3
397 This manual: @ref{Tuplets}
403 Whenever a note is found, a @internalsref{Stem} object is created
404 automatically. For whole notes and rests, they are also created but
409 @cindex @code{\stemUp}
411 @cindex @code{\stemDown}
413 @cindex @code{\stemBoth}
424 A tie connects two adjacent note heads of the same pitch. The tie in
425 effect extends the length of a note. Ties should not be confused with
426 slurs, which indicate articulation, or phrasing slurs, which indicate
427 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
429 @lilypond[quote,fragment,verbatim]
430 e' ~ e' <c' e' g'> ~ <c' e' g'>
433 When a tie is applied to a chord, all note heads whose pitches match
434 are connected. When no note heads match, no ties will be created.
436 A tie is just a way of extending a note duration, similar to the
437 augmentation dot. The following example shows two ways of notating
438 exactly the same concept
440 @lilypond[quote,fragment,raggedright]
441 \time 3/4 c'2. c'2 ~ c'4
445 Ties are used either when the note crosses a bar line, or when dots
446 cannot be used to denote the rhythm. When using ties, larger note
447 values should be aligned to subdivisions of the measure, eg.
451 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
455 If you need to tie a lot of notes over bars, it may be easier to use
456 automatic note splitting (see @ref{Automatic note splitting}). This
457 mechanism automatically splits long notes, and ties them across bar
463 @cindex @code{\tieUp}
465 @cindex @code{\tieDown}
467 @cindex @code{\tieBoth}
469 @cindex @code{\tieDotted}
471 @cindex @code{\tieSolid}
476 In this manual: @ref{Automatic note splitting}.
478 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
483 Switching staves when a tie is active will not produce a slanted tie.
485 Formatting of ties is a difficult subject. The results are often not
493 @cindex @code{\times}
495 Tuplets are made out of a music expression by multiplying all durations
498 @cindex @code{\times}
500 \times @var{fraction} @var{musicexpr}
504 The duration of @var{musicexpr} will be multiplied by the fraction.
505 The fraction's denominator will be printed over the notes, optionally
506 with a bracket. The most common tuplet is the triplet in which 3
507 notes have the length of 2, so the notes are 2/3 of their written
510 @lilypond[quote,fragment,verbatim]
511 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
514 The property @code{tupletSpannerDuration} specifies how long each
515 bracket should last. With this, you can make lots of tuplets while
516 typing @code{\times} only once, thus saving lots of typing. In the next
517 example, there are two triplets shown, while @code{\times} was only
520 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
521 \set tupletSpannerDuration = #(ly:make-moment 1 4)
522 \times 2/3 { c'8 c c c c c }
525 The format of the number is determined by the property
526 @code{tupletNumberFormatFunction}. The default prints only the
527 denominator, but if it is set to the Scheme function
528 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
532 @cindex @code{tupletNumberFormatFunction}
533 @cindex tuplet formatting
538 @cindex @code{\tupletUp}
540 @cindex @code{\tupletDown}
542 @cindex @code{\tupletBoth}
547 User manual: @ref{Changing context properties on the fly} for the
551 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
553 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
557 Nested tuplets are not formatted automatically. In this case, outer
558 tuplet brackets should be moved manually, which is demonstrated in
559 @inputfileref{input/regression,tuplet-nest.ly}.
563 @node Easier music entry
564 @section Easier music entry
567 This section deals with tricks and features of the input language that
568 were added solely to help entering music and finding and correcting
569 mistakes. There are also external tools that make debugging easier.
570 See @ref{Point and click} for more information.
572 It is also possible to enter and edit music using other programs. For
573 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
574 website for more information.
581 * Skipping corrected music::
582 * Automatic note splitting::
588 @node Relative octaves
589 @subsection Relative octaves
591 @cindex relative octave specification
593 Octaves are specified by adding @code{'} and @code{,} to pitch names.
594 When you copy existing music, it is easy to accidentally put a pitch
595 in the wrong octave and hard to find such an error. The relative
596 octave mode prevents these errors: a single error puts the rest of the
597 piece off by one octave
599 @cindex @code{\relative}
601 \relative @var{startpitch} @var{musicexpr}
605 \relative @var{musicexpr}
608 The octave of notes that appear in @var{musicexpr} are calculated as
609 follows: If no octave changing marks are used, the basic interval
610 between this and the last note is always taken to be a fourth or
611 less. This distance is determined without regarding alterations; a
612 @code{fisis} following a @code{ceses} will be put above the
615 The octave changing marks @code{'} and @code{,} can be added to raise
616 or lower the pitch by an extra octave. Upon entering relative mode,
617 an absolute starting pitch can be specified that will act as the
618 predecessor of the first note of @var{musicexpr}. If no starting pitch
619 is specified, then middle C is used as a start.
621 Here is the relative mode shown in action
622 @lilypond[quote,fragment,raggedright,verbatim]
628 Octave changing marks are used for intervals greater than a fourth
629 @lilypond[quote,fragment,verbatim]
635 If the preceding item is a chord, the first note of the chord is used
636 to determine the first note of the next chord
638 @lilypond[quote,fragment,verbatim]
646 The pitch after the @code{\relative} contains a note name.
649 The relative conversion will not affect @code{\transpose},
650 @code{\chords} or @code{\relative} sections in its argument. To use
651 relative within transposed music, an additional @code{\relative} must
652 be placed inside @code{\transpose}.
655 @subsection Octave check
658 Octave checks make octave errors easier to correct: a note may be
659 followed by @code{=}@var{quotes} which indicates what its absolute
660 octave should be. In the following example,
662 \relative c'' @{ c='' b=' d,='' @}
666 @c take care with @code, adds confusing quotes.
667 the d will generate a warning, because a d'' is expected, but a d' is
668 found. In the output, the octave is corrected for this and the
673 There is also a syntax that is separate from the notes. The syntax
679 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
680 quotes) in \relative mode. If not, a warning is printed, and the
681 octave is corrected, for example, the first check is passed
682 successfully. The second check fails with an error message. The
683 octave is adjusted so the following notes are in the correct octave
694 The octave of a note following an octave check is determined with
695 respect to the note preceding it. In the next fragment, the last note
696 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
697 be deleted without changing the meaning of the piece.
699 @lilypond[quote,verbatim,fragment]
708 @subsection Bar check
712 @cindex @code{barCheckSynchronize}
715 Bar checks help detect errors in the durations. A bar check is
716 entered using the bar symbol, `@code{|}'. Whenever it is encountered
717 during interpretation, it should fall on a measure boundary. If it
718 does not, a warning is printed. In the next example, the second bar
719 check will signal an error
721 \time 3/4 c2 e4 | g2 |
724 Bar checks can also be used in lyrics, for example
729 Twin -- kle | Twin -- kle
734 @cindex @code{skipTypesetting}
736 Failed bar checks are caused by entering incorrect
737 durations. Incorrect durations often completely garble up the score,
738 especially if it is polyphonic, so a good place to correcting input is
739 by scanning for failed bar checks and incorrect durations. To speed
740 up this process, the @code{skipTypesetting} feature may be used. It is
741 described in the next section.
744 @cindex @code{pipeSymbol}
746 It is also possible to redefine the meaning of @code{|}. This is done
747 by assigning a music expression to @code{pipeSymbol},
750 pipeSymbol = \bar "||"
752 { c'2 c'2 | c'2 c'2 | }
756 @node Skipping corrected music
757 @subsection Skipping corrected music
759 The property @code{Score.skipTypesetting} can be used to switch on and
760 off typesetting completely during the interpretation phase. When
761 typesetting is switched off, the music is processed much more quickly.
762 This can be used to skip over the parts of a score that have already
763 been checked for errors
765 @lilypond[quote,fragment,raggedright,verbatim]
768 \set Score.skipTypesetting = ##t
770 \set Score.skipTypesetting = ##f
774 @node Automatic note splitting
775 @subsection Automatic note splitting
777 Long notes can be converted automatically to tied notes. This is done
778 by replacing the @internalsref{Note_heads_engraver} by the
779 @internalsref{Completion_heads_engraver}.
780 In the following examples, notes crossing the bar line are split and tied.
783 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
785 \remove "Note_heads_engraver"
786 \consists "Completion_heads_engraver"
788 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
792 This engraver splits all running notes at the bar line, and inserts
793 ties. One of its uses is to debug complex scores: if the measures are
794 not entirely filled, then the ties exactly show how much each measure
799 Not all durations (especially those containing tuplets) can be
800 represented exactly with normal notes and dots, but the engraver will
805 Examples: @inputfileref{input/regression,completion-heads.ly}.
809 Program reference: @internalsref{Completion_heads_engraver}.
813 @section Staff notation
815 This section describes music notation that occurs on staff level,
816 such as key signatures, clefs and time signatures.
818 @cindex Staff notation
829 * Time administration::
830 * Controlling formatting of prefatory matter::
834 @subsection Staff symbol
836 @cindex adjusting staff symbol
838 Notes, dynamic signs, etc. are grouped
839 with a set of horizontal lines, into a staff (plural `staves'). In our
840 system, these lines are drawn using a separate layout object called
844 @cindex staff lines, setting number of
845 @cindex staff lines, setting thickness of
846 @cindex thickness of staff lines, setting
847 @cindex number of staff lines, setting
851 Program reference: @internalsref{StaffSymbol}.
853 Examples: @inputfileref{input/test,staff-lines.ly},
854 @inputfileref{input/test,staff-size.ly}.
858 If a staff is ended halfway a piece, the staff symbol may not end
859 exactly on the bar line.
863 @subsection Key signature
864 @cindex Key signature
868 The key signature indicates the scale in which a piece is played. It
869 is denoted by a set of alterations (flats or sharps) at the start of
873 Setting or changing the key signature is done with the @code{\key}
876 @code{\key} @var{pitch} @var{type}
879 @cindex @code{\minor}
880 @cindex @code{\major}
881 @cindex @code{\minor}
882 @cindex @code{\ionian}
883 @cindex @code{\locrian}
884 @cindex @code{\aeolian}
885 @cindex @code{\mixolydian}
886 @cindex @code{\lydian}
887 @cindex @code{\phrygian}
888 @cindex @code{\dorian}
890 Here, @var{type} should be @code{\major} or @code{\minor} to get
891 @var{pitch}-major or @var{pitch}-minor, respectively.
892 The standard mode names @code{\ionian},
893 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
894 @code{\phrygian}, and @code{\dorian} are also defined.
896 This command sets the context property
897 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
898 can be specified by setting this property directly.
900 Accidentals and key signatures often confuse new users, because
901 unaltered notes get natural signs depending on the key signature. For
902 more information, see @ref{More about pitches}.
907 Program reference: @internalsref{KeyChangeEvent},
908 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
910 @cindex @code{keySignature}
917 The clef indicates which lines of the staff correspond to which
921 The clef can be set with the @code{\clef} command
922 @lilypond[quote,fragment,verbatim]
923 { c''2 \clef alto g'2 }
926 Supported clef-names include
927 @c Moved standard clefs to the top /MB
931 @item treble, violin, G, G2
944 G clef on 1st line, so-called French violin clef
949 @cindex mezzosoprano clef
952 @cindex baritone clef
955 @cindex varbaritone clef
966 By adding @code{_8} or @code{^8} to the clef name, the clef is
967 transposed one octave down or up, respectively, and @code{_15} and
968 @code{^15} transposes by two octaves. The argument @var{clefname}
969 must be enclosed in quotes when it contains underscores or digits. For
973 @cindex choral tenor clef
974 @lilypond[quote,verbatim,fragment,relative=1]
978 This command is equivalent to setting @code{clefGlyph},
979 @code{clefPosition} (which controls the Y position of the clef),
980 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
981 when any of these properties are changed. The following example shows
982 possibilities when setting properties manually.
986 \set Staff.clefGlyph = #"clefs-F"
987 \set Staff.clefPosition = #2
989 \set Staff.clefGlyph = #"clefs-G"
991 \set Staff.clefGlyph = #"clefs-C"
993 \set Staff.clefOctavation = #7
995 \set Staff.clefOctavation = #0
996 \set Staff.clefPosition = #0
1006 Program reference: @internalsref{Clef}.
1010 @node Ottava brackets
1011 @subsection Ottava brackets
1013 ``Ottava'' brackets introduce an extra transposition of an octave for
1014 the staff. They are created by invoking the function
1015 @code{set-octavation}
1021 @lilypond[quote,verbatim,fragment]
1031 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1032 (for 15ma) as arguments. Internally the function sets the properties
1033 @code{ottavation} (e.g. to @code{"8va"}) and
1034 @code{centralCPosition}. For overriding the text of the bracket, set
1035 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1040 \set Staff.ottavation = #"8"
1047 Program reference: @internalsref{OttavaBracket}.
1049 Examples: @inputfileref{input/regression,ottava.ly},
1050 @inputfileref{input/regression,ottava-broken.ly}.
1054 @code{set-octavation} will get confused when clef changes happen
1055 during an octavation bracket.
1060 @node Time signature
1061 @subsection Time signature
1062 @cindex Time signature
1064 @cindex @code{\time}
1066 Time signature indicates the metrum of a piece: a regular pattern of
1067 strong and weak beats. It is denoted by a fraction at the start of the
1071 The time signature is set or changed by the @code{\time}
1073 @lilypond[quote,fragment,verbatim]
1074 \time 2/4 c'2 \time 3/4 c'2.
1077 The symbol that is printed can be customized with the @code{style}
1078 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1081 @lilypond[fragment,verbatim]
1084 \override TimeSignature #'style = #'()
1091 There are many more options for its layout. See @ref{Ancient time
1092 signatures} for more examples.
1095 This command sets the property @code{timeSignatureFraction},
1096 @code{beatLength} and @code{measureLength} in the @code{Timing}
1097 context, which is normally aliased to @internalsref{Score}. The
1098 property @code{measureLength} determines where bar lines should be
1099 inserted, and how automatic beams should be generated. Changing the
1100 value of @code{timeSignatureFraction} also causes the symbol to be
1103 More options are available through the Scheme function
1104 @code{set-time-signature}. In combination with the
1105 @internalsref{Measure_grouping_engraver}, it will create
1106 @internalsref{MeasureGrouping} signs. Such signs ease reading
1107 rhythmically complex modern music. In the following example, the 9/8
1108 measure is subdivided in 2, 2, 2 and 3. This is passed to
1109 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1111 @lilypond[quote,raggedright,verbatim]
1114 #(set-time-signature 9 8 '(2 2 2 3))
1115 g8[ g] d[ d] g[ g] a8[( bes g]) |
1116 #(set-time-signature 5 8 '(3 2))
1122 \consists "Measure_grouping_engraver"
1130 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1135 Automatic beaming does not use the measure grouping specified with
1136 @code{set-time-signature}.
1138 @node Partial measures
1139 @subsection Partial measures
1142 @cindex partial measure
1143 @cindex measure, partial
1144 @cindex shorten measures
1145 @cindex @code{\partial}
1147 Partial measures, for example in upsteps, are entered using the
1148 @code{\partial} command
1149 @lilypond[quote,fragment,verbatim,relative=2]
1150 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1153 The syntax for this command is
1155 \partial @var{duration}
1157 This is internally translated into
1159 \set Timing.measurePosition = -@var{length of duration}
1162 The property @code{measurePosition} contains a rational number
1163 indicating how much of the measure has passed at this point.
1167 This command does not take into account grace notes at the start of
1168 the music. When a piece starts with graces notes in the pickup, then
1169 the @code{\partial} should follow the grace notes
1171 @lilypond[verbatim,relative,fragment]
1181 @node Unmetered music
1182 @subsection Unmetered music
1186 Bar lines and bar numbers are calculated automatically. For unmetered
1187 music (e.g. cadenzas), this is not desirable. By setting
1188 @code{Score.timing} to false, this automatic timing can be switched
1189 off. Empty bar lines,
1196 indicate where line breaks can occur.
1200 @cindex @code{\cadenzaOn}
1202 @cindex @code{\cadenzaOff}
1209 @subsection Bar lines
1213 @cindex measure lines
1217 Bar lines delimit measures, but are also used to indicate repeats.
1218 Normally, they are inserted automatically. Line breaks may only
1219 happen on bar lines.
1221 Special types of bar lines can be forced with the @code{\bar} command
1223 @lilypond[quote,relative=2,fragment,verbatim]
1227 The following bar types are available
1228 @lilypondfile[]{bar-lines.ly}
1230 For allowing line breaks, there is a special command,
1234 This will insert an invisible bar line, and allow line breaks at this
1237 In scores with many staves, a @code{\bar} command in one staff is
1238 automatically applied to all staves. The resulting bar lines are
1239 connected between different staves of a @internalsref{StaffGroup}
1241 @lilypond[quote,fragment,verbatim]
1243 \context StaffGroup <<
1249 \new Staff { \clef bass c4 g e g }
1251 \new Staff { \clef bass c2 c2 }
1256 The command @code{\bar }@var{bartype} is a short cut for doing
1257 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1258 is set to a string, a bar line of that type is created.
1260 A bar line is created whenever the @code{whichBar} property is set.
1261 At the start of a measure it is set to the contents of
1262 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1263 to override default measure bars.
1265 @cindex @code{whichBar}
1266 @cindex @code{repeatCommands}
1267 @cindex @code{defaultBarType}
1269 You are encouraged to use @code{\repeat} for repetitions. See
1276 In this manual: @ref{Repeats}, @ref{System start delimiters}
1279 Program reference: @internalsref{BarLine} (created at
1280 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1282 @cindex bar lines at start of system
1283 @cindex start of system
1287 Examples: @inputfileref{input/test,bar-lines.ly},
1290 @node Time administration
1291 @subsection Time administration
1293 Time is administered by the @internalsref{Time_signature_engraver},
1294 which usually lives in the @internalsref{Score} context.
1295 The bookkeeping deals with the following variables
1298 @item currentBarNumber
1301 the length of the measures in the current time signature. For a 4/4
1302 time this is 1, and for 6/8 it is 3/4.
1303 @item measurePosition
1304 the point within the measure where we currently are. This quantity
1305 is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
1306 @code{currentBarNumber} is incremented.
1308 if set to true, the above variables are updated for every time
1309 step. When set to false, the engraver stays in the current measure
1313 Timing can be changed by setting any of these variables explicitly.
1314 In the next example, the 4/4 time signature is printed, but
1315 @code{measureLength} is set to 5/4. After a while, the measure is
1316 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1317 the measure, so the next bar line will fall at 2/4 + 3/8.
1321 \set Score.measureLength = #(ly:make-moment 5 4)
1325 \set Score.measurePosition = #(ly:make-moment -3 8)
1332 @node Controlling formatting of prefatory matter
1333 @subsection Controlling formatting of prefatory matter
1339 \override Staff.Clef #'break-visibility = #end-of-line-visible
1340 \override Staff.KeySignature #'break-visibility = #end-of-line-visible
1341 \set Staff.explicitClefVisibility = #end-of-line-visible
1342 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1344 % We want the time sig to take space, otherwise there is not
1345 % enough white at the start of the line.
1348 \override Staff.TimeSignature #'transparent = ##t
1349 \set Score.defaultBarType = #"empty"
1370 The easiest way to enter fragments with more than one voice on a staff
1371 is to split chords using the separator @code{\\}. You can use it for
1372 small, short-lived voices or for single chords
1376 @lilypond[quote,verbatim,fragment]
1377 \context Staff \relative c'' {
1378 c4 << { f d e } \\ { b c2 } >>
1379 c4 << g' \\ b, \\ f' \\ d >>
1383 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1384 voices are sometimes called "layers" in other notation packages}
1386 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1387 each of these contexts, vertical direction of slurs, stems, etc. is set
1390 @cindex @code{\voiceOne}
1391 @cindex @code{\voiceFour}
1393 This can also be done by instantiating @internalsref{Voice} contexts
1394 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1395 a stem directions and horizontal shift for each part
1398 @lilypond[quote,raggedright,verbatim]
1401 \new Voice { \voiceOne cis2 b }
1402 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1403 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1407 The command @code{\oneVoice} will revert back to the normal setting.
1408 @cindex @code{\oneVoice}
1411 Normally, note heads with a different number of dots are not merged, but
1412 when the object property @code{merge-differently-dotted} is set in
1413 the @internalsref{NoteCollision} object, they are merged
1414 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1417 \override Staff.NoteCollision
1418 #'merge-differently-dotted = ##t
1420 } \\ { g8.[ f16] g8.[ f16] } >>
1423 Similarly, you can merge half note heads with eighth notes, by setting
1424 @code{merge-differently-headed}
1425 @lilypond[quote,fragment,relative=2,verbatim]
1428 \override Staff.NoteCollision
1429 #'merge-differently-headed = ##t
1430 c8 c4. } \\ { c2 c2 } >>
1433 LilyPond also vertically shifts rests that are opposite of a stem,
1436 @lilypond[quote,raggedright,fragment,verbatim]
1437 \context Voice << c''4 \\ r4 >>
1445 @cindex @code{\oneVoice}
1447 @cindex @code{\voiceOne}
1449 @cindex @code{\voiceTwo}
1451 @cindex @code{\voiceThree}
1453 @cindex @code{\voiceFour}
1458 @cindex @code{\shiftOn}
1460 @cindex @code{\shiftOnn}
1462 @cindex @code{\shiftOnnn}
1464 @cindex @code{\shiftOff}
1465 @code{\shiftOff}: these commands specify in what chords of the current
1466 voice should be shifted. The outer voices (normally: voice one and
1467 two) have @code{\shiftOff}, while the inner voices (three and four)
1468 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1469 further shift levels.
1472 When LilyPond cannot cope, the @code{force-hshift}
1473 property of the @internalsref{NoteColumn} object and pitched rests can
1474 be used to override typesetting decisions.
1476 @lilypond[verbatim,raggedright]
1483 \once \override NoteColumn #'force-hshift = #1.7
1492 Program reference: the objects responsible for resolving collisions are
1493 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1496 @inputfileref{input/regression,collision-dots.ly},
1497 @inputfileref{input/regression,collision-head-chords.ly},
1498 @inputfileref{input/regression,collision-heads.ly},
1499 @inputfileref{input/regression,collision-mesh.ly}, and
1500 @inputfileref{input/regression,collisions.ly}.
1506 When using @code{merge-differently-headed} with an upstem eighth or a
1507 shorter note, and a downstem half note, the eighth note gets the wrong
1510 There is no support for clusters where the same note occurs with
1511 different accidentals in the same chord. In this case, it is
1512 recommended to use enharmonic transcription, or to use special cluster
1513 notation (see @ref{Clusters}).
1518 Beams are used to group short notes into chunks that are aligned with
1519 the metrum. They are inserted automatically
1521 @lilypond[quote,fragment,verbatim,relative=2]
1522 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1525 When these automatic decisions are not good enough, beaming can be
1526 entered explicitly. It is also possible to define beaming patterns
1527 that differ from the defaults.
1529 Individual notes may be marked with @code{\noBeam}, to prevent them
1532 @lilypond[quote,fragment,verbatim,relative=2]
1533 \time 2/4 c8 c\noBeam c c
1539 Program reference: @internalsref{Beam}.
1542 @cindex Automatic beams
1545 * Setting automatic beam behavior::
1550 @subsection Manual beams
1551 @cindex beams, manual
1555 In some cases it may be necessary to override the automatic beaming
1556 algorithm. For example, the autobeamer will not put beams over rests
1557 or bar lines. Such beams are specified manually by marking the begin
1558 and end point with @code{[} and @code{]}
1560 @lilypond[quote,fragment,relative=1,verbatim]
1562 r4 r8[ g' a r8] r8 g[ | a] r8
1566 @cindex @code{stemLeftBeamCount}
1568 Normally, beaming patterns within a beam are determined automatically.
1569 If necessary, the properties @code{stemLeftBeamCount} and
1570 @code{stemRightBeamCount} can be used to override the defaults. If
1571 either property is set, its value will be used only once, and then it
1574 @lilypond[quote,fragment,relative=1,verbatim]
1577 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1580 @cindex @code{stemRightBeamCount}
1583 The property @code{subdivideBeams} can be set in order to subdivide
1584 all 16th or shorter beams at beat positions, as defined by the
1585 @code{beatLength} property.
1588 @lilypond[fragment,quote,relative=2,verbatim,noindent]
1590 \set subdivideBeams = ##t
1592 \set Score.beatLength = #(ly:make-moment 1 8)
1595 @cindex @code{subdivideBeams}
1597 Normally, line breaks are forbidden when beams cross bar lines. This
1598 behavior can be changed by setting @code{allowBeamBreak}.
1600 @cindex @code{allowBeamBreak}
1601 @cindex beams and line breaks
1603 @cindex beams, kneed
1605 @cindex auto-knee-gap
1610 User manual: @ref{Changing context properties on the fly} for the
1616 @cindex Frenched staves
1617 Kneed beams are inserted automatically, when a large gap is detected
1618 between the note heads. This behavior can be tuned through the object
1621 Automatically kneed cross-staff beams cannot be used together with
1622 hidden staves. See @ref{Hiding staves}.
1624 Beams do not avoid collisions with symbols around the notes, such as
1625 texts and accidentals.
1630 @node Setting automatic beam behavior
1631 @subsection Setting automatic beam behavior
1633 @cindex @code{autoBeamSettings}
1634 @cindex @code{(end * * * *)}
1635 @cindex @code{(begin * * * *)}
1636 @cindex automatic beams, tuning
1637 @cindex tuning automatic beaming
1639 @c [TODO: use \applycontext]
1641 In normal time signatures, automatic beams can start on any note but can
1642 only end in a few positions within the measure: beams can end on a beat,
1643 or at durations specified by the properties in
1644 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1645 are defined in @file{scm/auto-beam.scm}.
1647 The value of @code{autoBeamSettings} is changed with two functions,
1649 #(override-auto-beam-setting
1650 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1652 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1654 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1655 @var{context} is an optional context (default: @code{'Voice}). It
1656 determines whether the rule applies to begin or end-points. The
1657 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1658 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1659 to a time signature (wildcards `@code{* *}' may be entered to
1660 designate all time signatures), @var{a}/@var{b} is a duration. By
1661 default, this command changes settings for the current voice. It is
1662 also possible to adjust settings at higher contexts, by adding a
1663 @var{context} argument.
1665 For example, if automatic beams should end on every quarter note, use
1668 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1670 Since the duration of a quarter note is 1/4 of a whole note, it is
1671 entered as @code{(ly:make-moment 1 4)}.
1673 The same syntax can be used to specify beam starting points. In this
1674 example, automatic beams can only end on a dotted quarter note
1676 #(override-auto-beam-setting '(end * * * *) 3 8)
1678 In 4/4 time signature, this means that automatic beams could end only on
1679 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1680 3/8, has passed within the measure).
1682 Rules can also be restricted to specific time signatures. A rule that
1683 should only be applied in @var{N}/@var{M} time signature is formed by
1684 replacing the second asterisks by @var{N} and @var{M}. For example, a
1685 rule for 6/8 time exclusively looks like
1687 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1690 If a rule should be to applied only to certain types of beams, use the
1691 first pair of asterisks. Beams are classified according to the
1692 shortest note they contain. For a beam ending rule that only applies
1693 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1696 @cindex automatic beam generation
1698 @cindex @code{autoBeaming}
1701 If beams are used to indicate melismata in songs, then automatic
1702 beaming should be switched off. This is done by setting
1703 @code{autoBeaming} to @code{#f}.
1707 @cindex @code{\autoBeamOff}
1708 @code{\autoBeamOff},
1709 @cindex @code{\autoBeamOn}
1715 If a score ends while an automatic beam has not been ended and is
1716 still accepting notes, this last beam will not be typeset at all. The
1717 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1718 >>}. If a polyphonic voice ends while an automatic beam is still
1719 accepting notes, it is not typeset.
1721 The rules for ending a beam depend on the shortest note in a beam.
1722 So, while it is possible to have different ending rules for eight
1723 beams and sixteenth beams, a beam that contains both eight and
1724 sixteenth notes will use the rules for the sixteenth beam.
1726 In the example below, the autobeamer makes eighth beams and sixteenth
1727 end at three eighths. The third beam can only be corrected by
1728 specifying manual beaming.
1730 @lilypond[quote,raggedright,fragment,relative=1]
1731 #(override-auto-beam-setting '(end * * * *) 3 8)
1732 % rather show case where it goes wrong
1733 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1734 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1736 It is not possible to specify beaming parameters that act differently in
1737 different parts of a measure. This means that it is not possible to use
1738 automatic beaming in irregular meters such as @code{5/8}.
1740 @node Beam formatting
1741 @subsection Beam formatting
1744 When a beam falls in the middle of the staff, the beams point normally
1745 down. However, this behaviour can be altered with the
1746 @code{neutral-direction} property.
1752 \override Beam #'neutral-direction = #-1
1754 \override Beam #'neutral-direction = #1
1760 @section Accidentals
1763 This section describes how to change the way that accidentals are
1764 inserted automatically before the running notes.
1766 Common rules for typesetting accidentals have been canned in a
1767 function. This function is called as follows
1769 @cindex @code{set-accidental-style}
1771 #(set-accidental-style 'modern 'Voice)
1774 The function takes two arguments: a symbol that denotes the style (in
1775 the example, @code{modern}), and another symbol that denotes the
1776 context name (in this example, @code{Voice}). If no context name is
1777 supplied, @code{Staff} is the default.
1779 The following styles are supported
1782 This is the default typesetting behavior. It should correspond
1783 to 18th century common practice: Accidentals are
1784 remembered to the end of the measure in which they occur and
1785 only on their own octave.
1789 The normal behavior is to remember the accidentals on
1790 Staff-level. This variable, however, typesets accidentals
1791 individually for each voice. Apart from that, the rule is similar to
1795 accidentals from one voice do not get canceled in other
1796 voices, which is often unwanted result
1798 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1800 #(set-accidental-style 'voice)
1807 The @code{voice} option should be used if the voices
1808 are to be read solely by individual musicians. If the staff is to be
1809 used by one musician (e.g. a conductor) then
1810 @code{modern} or @code{modern-cautionary}
1811 should be used instead.
1814 @cindex @code{modern} style accidentals
1815 This rule corresponds to the common practice in the 20th
1817 This rule prints the same accidentals as @code{default}, but temporary
1818 accidentals also are canceled in other octaves. Furthermore,
1819 in the same octave, they also get canceled in the following
1822 @lilypond[quote,raggedright,fragment,verbatim]
1823 #(set-accidental-style 'modern)
1824 cis' c'' cis'2 | c'' c'
1827 @item @code{modern-cautionary}
1828 @cindex @code{modern-cautionary}
1829 This rule is similar to @code{modern}, but the
1830 ``extra'' accidentals (the ones not typeset by
1831 @code{default}) are typeset as cautionary accidentals.
1832 They are printed in reduced size or with parentheses
1833 @lilypond[quote,raggedright,fragment,verbatim]
1834 #(set-accidental-style 'modern-cautionary)
1835 cis' c'' cis'2 | c'' c'
1838 @cindex @code{modern-voice}
1840 This rule is used for multivoice accidentals to be read both by musicians
1841 playing one voice and musicians playing all voices. Accidentals are
1842 typeset for each voice, but they @emph{are} canceled across voices in
1843 the same @internalsref{Staff}.
1845 @cindex @code{modern-voice-cautionary}
1846 @item modern-voice-cautionary
1847 This rule is the same as @code{modern-voice}, but with the extra
1848 accidentals (the ones not typeset by @code{voice}) typeset
1849 as cautionaries. Even though all accidentals typeset by
1850 @code{default} @emph{are} typeset by this variable then
1851 some of them are typeset as cautionaries.
1854 @cindex @code{piano} accidentals
1855 This rule reflects 20th century practice for piano notation. Very similar to
1856 @code{modern} but accidentals also get canceled
1857 across the staves in the same @internalsref{GrandStaff} or
1858 @internalsref{PianoStaff}.
1860 @item piano-cautionary
1861 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1862 As @code{#(set-accidental-style 'piano)} but with the extra accidentals
1863 typeset as cautionaries.
1866 @cindex @code{no-reset} accidental style
1868 This is the same as @code{default} but with accidentals lasting
1869 ``forever'' and not only until the next measure
1870 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1871 #(set-accidental-style 'no-reset)
1876 This is sort of the opposite of @code{no-reset}: Accidentals
1877 are not remembered at all---and hence all accidentals are
1878 typeset relative to the key signature, regardless of what was
1881 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1882 #(set-accidental-style 'forget)
1883 \key d\major c4 c cis cis d d dis dis
1890 Program reference: @internalsref{Accidental_engraver},
1891 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1896 Simultaneous notes are considered to be entered in sequential
1897 mode. This means that in a chord the accidentals are typeset as if the
1898 notes in the chord happened once at a time - in the order in which
1899 they appear in the input file.
1901 This is a problem when accidentals in a chord depend on each other,
1902 which does not happen for the default accidental style. The problem
1903 can be solved by manually inserting @code{!} and @code{?} for the
1907 @node Expressive marks
1908 @section Expressive marks
1911 @c todo: should change ordering
1912 @c where to put text spanners, metronome marks,
1921 * Analysis brackets::
1924 * Fingering instructions::
1935 A slur indicates that notes are to be played bound or @emph{legato}.
1937 They are entered using parentheses
1938 @lilypond[quote,relative=2,fragment,verbatim]
1939 f( g a) a8 b( a4 g2 f4)
1943 The direction of a slur can be set with the
1947 \override Slur #'direction = #UP
1948 \slurUp % shortcut for the previous line
1952 However, there is a convenient shorthand for forcing slur
1953 directions. By adding @code{_} or @code{^} before the opening
1954 parentheses, the direction is also set. For example,
1956 @lilypond[relative=2,verbatim,fragment]
1960 Some composers write two slurs when they want legato chords. This can
1961 be achieved in LilyPond, by setting @code{doubleSlurs},
1963 @lilypond[verbatim,raggedright]
1965 \set doubleSlurs = ##t
1966 <c e>4 ( <d f> <c e> <d f> )
1974 @cindex @code{\slurUp}
1976 @cindex @code{\slurDown}
1978 @cindex @code{\slurBoth}
1980 @cindex @code{\slurDotted}
1982 @cindex @code{\slurSolid}
1987 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1990 @node Phrasing slurs
1991 @subsection Phrasing slurs
1993 @cindex phrasing slurs
1994 @cindex phrasing marks
1996 A phrasing slur (or phrasing mark) connects chords and is used to
1997 indicate a musical sentence. It is started using @code{\(} and @code{\)}
2000 @lilypond[quote,fragment,verbatim,relative=1]
2001 \time 6/4 c'\( d( e) f( e) d\)
2004 Typographically, the phrasing slur behaves almost exactly like a
2005 normal slur. However, they are treated as different objects. A
2006 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2007 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2008 @code{\phrasingSlurBoth}.
2010 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
2011 will only affect normal slurs and not phrasing slurs.
2015 @cindex @code{\phrasingSlurUp}
2016 @code{\phrasingSlurUp},
2017 @cindex @code{\phrasingSlurDown}
2018 @code{\phrasingSlurDown},
2019 @cindex @code{\phrasingSlurBoth}
2020 @code{\phrasingSlurBoth}.
2024 Program reference: see also @internalsref{PhrasingSlur}, and
2025 @internalsref{PhrasingSlurEvent}.
2029 Putting phrasing slurs over rests leads to spurious warnings.
2032 @subsection Breath marks
2034 Breath marks are entered using @code{\breathe}
2037 @lilypond[quote,fragment,relative=1,verbatim]
2041 The glyph of the breath mark can be tuned by overriding the
2042 @code{text} property of the @code{BreathingSign} layout object with
2043 any markup text. For example,
2044 @lilypond[quote,fragment,verbatim,relative=1]
2046 \override BreathingSign #'text
2047 = #(make-musicglyph-markup "scripts-rvarcomma")
2054 Program reference: @internalsref{BreathingSign},
2055 @internalsref{BreathingSignEvent}.
2057 Examples: @inputfileref{input/regression,breathing-sign.ly}.
2060 @node Metronome marks
2061 @subsection Metronome marks
2064 @cindex beats per minute
2065 @cindex metronome marking
2067 Metronome settings can be entered as follows
2069 i \tempo @var{duration} = @var{per-minute}
2072 In the MIDI output, they are interpreted as a tempo change, and in the
2073 paper output, a metronome marking is printed
2074 @cindex @code{\tempo}
2075 @lilypond[quote,fragment,verbatim]
2081 Program reference: @internalsref{MetronomeChangeEvent}.
2086 @subsection Text spanners
2087 @cindex Text spanners
2089 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2090 are written as texts, and extended over many measures with dotted
2091 lines. Such texts are created using text spanners: attach
2092 @code{\startTextSpan} and @code{\stopTextSpan} to the start and ending
2093 note of the spanner.
2095 The string to be printed, as well as the style, is set through object
2098 @lilypond[quote,fragment,relative=1,verbatim]
2101 \override TextSpanner #'direction = #-1
2102 \override TextSpanner #'edge-text = #'("rall " . "")
2103 c2\startTextSpan b c\stopTextSpan a
2110 Internals @internalsref{TextSpanEvent},
2111 @internalsref{TextSpanner}.
2113 Examples: @inputfileref{input/regression,text-spanner.ly}.
2116 @node Analysis brackets
2117 @subsection Analysis brackets
2119 @cindex phrasing brackets
2120 @cindex musicological analysis
2121 @cindex note grouping bracket
2123 Brackets are used in musical analysis to indicate structure in musical
2124 pieces. LilyPond supports a simple form of nested horizontal brackets.
2125 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2126 @internalsref{Staff} context. A bracket is started with
2127 @code{\startGroup} and closed with @code{\stopGroup}
2129 @lilypond[quote,raggedright,verbatim]
2132 c4\startGroup\startGroup
2135 c4\stopGroup\stopGroup
2139 \Staff \consists "Horizontal_bracket_engraver"
2145 Program reference: @internalsref{HorizontalBracket},
2146 @internalsref{NoteGroupingEvent}.
2148 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2152 @subsection Articulations
2153 @cindex Articulations
2155 @cindex articulations
2159 A variety of symbols can appear above and below notes to indicate
2160 different characteristics of the performance. They are added to a note
2161 by adding a dash and the character signifying the
2162 articulation. They are demonstrated here
2164 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2166 The meanings of these shorthands can be changed. See
2167 @file{ly/script-init.ly} for examples.
2170 The script is automatically placed, but the direction can be forced as
2171 well. @code{_} will put them down, and @code{^} will put them up,
2174 @lilypond[quote,fragment,verbatim]
2178 Other symbols can be added using the syntax
2179 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2180 can be forced up or down using @code{^} and @code{_},
2183 @lilypond[quote,verbatim,fragment,relative=2]
2184 c\fermata c^\fermata c_\fermata
2191 @cindex staccatissimo
2200 @cindex organ pedal marks
2209 @cindex prallmordent
2213 @cindex thumb marking
2218 Here is a chart showing all scripts available,
2220 @lilypondfile[quote]{script-chart.ly}
2223 The vertical ordering of scripts is controlled with the
2224 @code{script-priority} property. The lower this number, the closer it
2225 will be put to the note. In this example, the
2226 @internalsref{TextScript} (the sharp symbol) first has the lowest
2227 priority, so it is put lowest in the first example. In the second, the
2228 prall trill (the @internalsref{Script}) has the lowest, so it on the
2229 inside. When two objects have the same priority, the order in which
2230 they are entered decides which one comes first.
2233 @lilypond[verbatim,raggedright]
2235 \once \override TextScript #'script-priority = #-100
2236 a4^\prall^\markup { \sharp }
2238 \once \override Script #'script-priority = #-100
2239 a4^\prall^\markup { \sharp }
2248 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2252 These signs appear in the printed output but have no effect on the
2253 MIDI rendering of the music.
2257 @node Running trills
2258 @subsection Running trills
2260 Long running trills are made with @code{\startTrillSpan} and
2261 @code{\stopTrillSpan},
2264 @lilypond[verbatim,raggedright]
2265 \relative \new Voice {
2266 << { c1 \startTrillSpan }
2267 { s2. \grace { d16[\stopTrillSpan e] } } >>
2273 @code{\startTrillSpan},
2274 @cindex @code{\startTrillSpan}
2275 @code{\stopTrillSpan}.
2276 @cindex @code{\stopTrillSpan}
2280 Program reference: @internalsref{TrillSpanner},
2281 @internalsref{TrillSpanEvent}.
2283 @node Fingering instructions
2284 @subsection Fingering instructions
2288 Fingering instructions can be entered using
2290 @var{note}-@var{digit}
2292 For finger changes, use markup texts
2294 @lilypond[quote,verbatim,raggedright,fragment]
2295 c'4-1 c'4-2 c'4-3 c'4-4
2296 c'^\markup { \finger "2-3" }
2299 @cindex finger change
2304 You can use the thumb-script to indicate that a note should be
2305 played with the thumb (e.g. in cello music)
2307 @lilypond[quote,verbatim,raggedright,fragment]
2308 <a'_\thumb a''-3>8 <b'_\thumb b''-3>
2311 Fingerings for chords can also be added to individual notes
2312 of the chord by adding them after the pitches
2313 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2314 < c-1 e-2 g-3 b-5 >4
2318 In this case, setting @code{fingeringOrientations} will put fingerings next
2321 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2322 \set fingeringOrientations = #'(left down)
2323 <c-1 es-2 g-4 bes-5 > 4
2324 \set fingeringOrientations = #'(up right down)
2325 <c-1 es-2 g-4 bes-5 > 4
2328 Using this feature, it is also possible to put fingering instructions
2329 very close to note heads in monophonic music,
2331 @lilypond[verbatim,raggedright]
2333 \set fingeringOrientations = #'(right)
2341 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2343 Examples: @inputfileref{input/regression,finger-chords.ly}.
2346 @subsection Text scripts
2347 @cindex Text scripts
2349 @cindex text items, non-empty
2350 @cindex non-empty texts
2352 It is possible to place arbitrary strings of text or markup text (see
2353 @ref{Text markup}) above or below notes by using a string
2354 @code{c^"text"}. By default, these indications do not influence the
2355 note spacing, but by using the command @code{\fatText}, the widths
2356 will be taken into account
2358 @lilypond[quote,fragment,raggedright,verbatim]
2360 c4^"longtext" \fatText c4_"longlongtext" c4
2364 More complex formatting may also be added to a note by using the
2366 @lilypond[fragment,raggedright,verbatim]
2368 c'4^\markup { bla \bold bla }
2372 The @code{\markup} is described in more detail in
2378 @cindex @code{\fatText}
2380 @cindex @code{\emptyText}
2385 In this manual: @ref{Text markup}.
2387 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2393 @subsection Grace notes
2396 @c should have blurb about accaciatura / appogiatura
2398 @cindex @code{\grace}
2402 Grace notes are ornaments that are written out. The most common ones
2403 are acciaccatura, which should be played as very short. It is denoted
2404 by a slurred small note with a slashed stem. The appoggiatura is a
2405 grace note that takes a fixed fraction of the main note, is and
2406 denoted as a slurred note in small print without a slash.
2407 They are entered with the commands @code{\acciaccatura} and
2408 @code{\appoggiatura}, as demonstrated in the following example
2411 @cindex appoggiatura
2412 @cindex acciaccatura
2414 @lilypond[quote,relative=2,verbatim,fragment]
2415 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2416 \acciaccatura { g16[ f] } e4
2419 Both are special forms of the @code{\grace} command. By prefixing this
2420 keyword to a music expression, a new one is formed, which will be
2421 printed in a smaller font and takes up no logical time in a measure.
2423 @lilypond[quote,relative=2,verbatim,fragment]
2425 \grace { c16[ d16] } c2 c4
2429 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2430 @code{\grace} command does not start a slur.
2432 Internally, timing for grace notes is done using a second, `grace'
2433 time. Every point in time consists of two rational numbers: one
2434 denotes the logical time, one denotes the grace timing. The above
2435 example is shown here with timing tuples
2437 @lilypond[quote,raggedright]
2440 c4 \grace c16 c4 \grace {
2443 \new Lyrics \lyrics {
2444 \override LyricText #'font-family = #'typewriter
2448 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2449 \markup { (\fraction 1 4 , 0 ) } 4
2451 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2452 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2454 \markup { ( \fraction 2 4 , 0 ) }
2460 The placement of grace notes is synchronized between different staves.
2461 In the following example, there are two sixteenth graces notes for
2462 every eighth grace note
2464 @lilypond[quote,relative=2,verbatim,fragment]
2465 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2466 \new Staff { c4 \grace { g8[ b] } c4 } >>
2471 If you want to end a note with a grace, the standard trick is to put
2472 the grace notes after a ``space note''
2474 @lilypond[quote,fragment,verbatim,relative=2]
2477 { s2 \grace { c16[ d] } } >>
2483 By adjusting the duration of the skip note (here it is a half-note),
2484 the space between the main-note and the grace is adjusted.
2487 A @code{\grace} section will introduce special typesetting settings,
2488 for example, to produce smaller type, and set directions. Hence, when
2489 introducing layout tweaks, they should be inside the grace section,
2491 @lilypond[quote,fragment,verbatim,relative=2]
2494 \override Stem #'direction = #-1
2496 \revert Stem #'direction
2503 The overrides should also be reverted inside the grace section.
2505 The layout of grace sections can be changed throughout the music using
2506 the function @code{add-grace-property}. The following example
2507 undefines the Stem direction for this grace, so stems do not always
2512 #(add-grace-property 'Voice 'Stem 'direction '())
2518 Another option is to change the variables @code{startGraceMusic},
2519 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2520 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2521 @code{stopAppoggiaturaMusic}. More information is in the file
2522 @file{ly/grace-init.ly}.
2527 Program reference: @internalsref{GraceMusic}.
2531 A score that starts with a @code{\grace} section needs an explicit
2532 @code{\context Voice} declaration, otherwise the main note and grace
2533 note end up on different staves.
2535 Grace note synchronization can also lead to surprises. Staff notation,
2536 such as key signatures, bar lines, etc. are also synchronized. Take
2537 care when you mix staves with grace notes and staves without, for example,
2539 @lilypond[quote,relative=2,verbatim,fragment]
2540 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2541 \new Staff { c4 \bar "|:" d4 } >>
2545 This can be remedied by inserting grace skips, for the above example
2548 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2551 Grace sections should only be used within sequential music
2552 expressions. Nesting or juxtaposing grace sections is not supported,
2553 and might produce crashes or other errors.
2557 @subsection Glissando
2560 @cindex @code{\glissando}
2562 A glissando is a smooth change in pitch. It is denoted by a line or a
2563 wavy line between two notes. It is requested by attaching
2564 @code{\glissando} to a note
2566 @lilypond[quote,fragment,relative=1,verbatim]
2572 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2574 Example files: @file{input/regression,glissando.ly}
2580 Printing text over the line (such as @emph{gliss.}) is not supported.
2584 @subsection Dynamics
2597 @cindex @code{\ffff}
2607 Absolute dynamic marks are specified using a command after a note
2608 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2609 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2610 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2611 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2613 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2614 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2624 A crescendo mark is started with @code{\<} and terminated with
2625 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2626 with @code{\!}. Because these marks are bound to notes, if you must
2627 use spacer notes if multiple marks are needed during one note
2629 @lilypond[quote,fragment,verbatim]
2630 c''\< c''\! d''\> e''\!
2631 << f''1 { s4 s4\< s4\! \> s4\! } >>
2633 This may give rise to very short hairpins. Use @code{minimum-length}
2634 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2638 \override Staff.Hairpin #'minimum-length = #5
2641 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2642 is an example how to do it
2644 @lilypond[quote,fragment,relative=2,verbatim]
2654 You can also supply your own texts
2655 @lilypond[quote,fragment,relative=1,verbatim]
2657 \set crescendoText = \markup { \italic "cresc. poco" }
2658 \set crescendoSpanner = #'dashed-line
2668 @cindex @code{\dynamicUp}
2670 @cindex @code{\dynamicDown}
2671 @code{\dynamicDown},
2672 @cindex @code{\dynamicBoth}
2673 @code{\dynamicBoth}.
2675 @cindex direction, of dynamics
2679 Program reference: @internalsref{CrescendoEvent},
2680 @internalsref{DecrescendoEvent}, and
2681 @internalsref{AbsoluteDynamicEvent}.
2683 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2684 objects. Vertical positioning of these symbols is handled by the
2685 @internalsref{DynamicLineSpanner} object.
2693 @cindex @code{\repeat}
2696 Repetition is a central concept in music, and multiple notations exist
2697 for repetitions. In LilyPond, most of these notations can be captured
2698 in a uniform syntax. One of the advantages is that repeats entered in
2699 this way can be rendered in MIDI accurately.
2701 The following types of repetition are supported
2705 Repeated music is fully written (played) out. Useful for MIDI
2706 output, and entering repetitive music.
2709 Repeats are not written out, but alternative endings (volte) are
2710 printed, left to right with brackets. This is the standard notation
2711 for repeats with alternatives.
2715 Alternative endings are written stacked. This has limited use but may be
2716 used to typeset two lines of lyrics in songs with repeats, see
2717 @inputfileref{input,star-spangled-banner.ly}.
2725 Make beat or measure repeats. These look like percent signs.
2731 * Repeats and MIDI::
2732 * Manual repeat commands::
2734 * Tremolo subdivisions::
2739 @subsection Repeat syntax
2742 LilyPond has one syntactic construct for specifying different types of
2743 repeats. The syntax is
2746 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2749 If you have alternative endings, you may add
2750 @cindex @code{\alternative}
2752 \alternative @code{@{} @var{alternative1}
2754 @var{alternative3} @dots{} @code{@}}
2756 where each @var{alternative} is a music expression. If you do not
2757 give enough alternatives for all of the repeats, the first alternative
2758 is assumed to be played more than once.
2760 Standard repeats are used like this
2761 @lilypond[quote,fragment,verbatim,relative=2]
2763 \repeat volta 2 { c4 d e f }
2764 \repeat volta 2 { f e d c }
2767 With alternative endings
2768 @lilypond[quote,fragment,verbatim,relative=2]
2770 \repeat volta 2 {c4 d e f}
2771 \alternative { {d2 d} {f f,} }
2775 @lilypond[quote,fragment,verbatim,relative=2]
2778 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2779 \alternative { { g4 g g } { a | a a a a | b2. } }
2783 It is possible to shorten volta brackets
2784 by setting @code{voltaSpannerDuration}. In the next example, the
2785 bracket only lasts one measure, which is a duration of 3/4.
2789 @lilypond[verbatim,raggedright]
2793 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2794 \repeat "volta" 5 { d d d }
2795 \alternative { { e e e f f f }
2805 Brackets for the repeat are normally only printed over the topmost
2806 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2807 property @inputfileref{input/regression,volta-multi-staff.ly},
2808 @inputfileref{input/regression,volta-chord-names.ly}
2813 A nested repeat like
2822 is ambiguous, since it is is not clear to which @code{\repeat} the
2823 @code{\alternative} belongs. This ambiguity is resolved by always
2824 having the @code{\alternative} belong to the inner @code{\repeat}.
2825 For clarity, it is advisable to use braces in such situations.
2830 Timing information is not remembered at the start of an alternative,
2831 so after a repeat timing information must be reset by hand, for
2832 example by setting @code{Score.measurePosition} or entering
2833 @code{\partial}. Similarly, slurs or ties are also not repeated.
2838 @node Repeats and MIDI
2839 @subsection Repeats and MIDI
2841 @cindex expanding repeats
2843 An advantage of the unified syntax for repeats, is that all repeats
2844 may be played out for the MIDI output. This is achieved by
2845 applying the @code{\unfoldrepeats} music function.
2847 @lilypond[verbatim,raggedright]
2850 \repeat tremolo 8 {c'32 e' }
2851 \repeat percent 2 { c''8 d'' }
2852 \repeat volta 2 {c'4 d' e' f'}
2861 When creating a score file using @code{\unfoldrepeats} for midi, then
2862 it is necessary to make two @code{\score} blocks. One for MIDI, with
2863 unfolded repeats, and one for notation, eg.
2871 \unfoldrepeats @var{..music..}
2876 @node Manual repeat commands
2877 @subsection Manual repeat commands
2879 @cindex @code{repeatCommands}
2881 The property @code{repeatCommands} can be used to control the layout of
2882 repeats. Its value is a Scheme list of repeat commands, where each repeat
2886 @item @code{start-repeat},
2887 which prints a @code{|:} bar line;
2888 @item @code{end-repeat},
2889 which prints a @code{:|} bar line;
2890 @item @code{(volta @var{text})},
2891 which prints a volta bracket saying @var{text}: The text can be specified as
2892 a text string or as a markup text, see @ref{Text markup}. Do not
2893 forget to change the font, as the default number font does not contain
2894 alphabetic characters;
2895 @item @code{(volta #f)}, which
2896 stops a running volta bracket.
2899 @lilypond[quote,verbatim,fragment,relative=2]
2901 \set Score.repeatCommands = #'((volta "93") end-repeat)
2903 \set Score.repeatCommands = #'((volta #f))
2911 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2912 @internalsref{VoltaRepeatedMusic},
2913 @internalsref{UnfoldedRepeatedMusic}, and
2914 @internalsref{FoldedRepeatedMusic}.
2916 @node Tremolo repeats
2917 @subsection Tremolo repeats
2918 @cindex tremolo beams
2920 To place tremolo marks between notes, use @code{\repeat} with tremolo
2922 @lilypond[quote,verbatim,raggedright]
2923 \context Voice \relative c' {
2924 \repeat "tremolo" 8 { c16 d16 }
2925 \repeat "tremolo" 4 { c16 d16 }
2926 \repeat "tremolo" 2 { c16 d16 }
2930 Tremolo marks can also be put on a single note. In this case, the
2931 note should not be surrounded by braces.
2932 @lilypond[quote,verbatim,raggedright]
2933 \repeat "tremolo" 4 c'16
2936 Similar output is obtained using the tremolo subdivision, described in
2937 @ref{Tremolo subdivisions}.
2941 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2943 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2944 tremolos are @internalsref{StemTremolo} objects. The music expression is
2945 @internalsref{TremoloEvent}.
2947 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2948 @inputfileref{input/regression,stem-tremolo.ly}.
2950 @node Tremolo subdivisions
2951 @subsection Tremolo subdivisions
2952 @cindex tremolo marks
2953 @cindex @code{tremoloFlags}
2955 Tremolo marks can be printed on a single note by adding
2956 `@code{:}[@var{number}]' after the note. The number indicates the
2957 duration of the subdivision, and it must be at least 8. A
2958 @var{length} value of 8 gives one line across the note stem. If the
2959 length is omitted, the last value (stored in @code{tremoloFlags}) is
2962 @lilypond[quote,verbatim,fragment]
2963 c'2:8 c':32 | c': c': |
2966 @c [TODO : stok is te kort bij 32en]
2970 Tremolos entered in this way do not carry over into the MIDI output.
2974 In this manual: @ref{Tremolo repeats}.
2976 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2978 @node Measure repeats
2979 @subsection Measure repeats
2981 @cindex percent repeats
2982 @cindex measure repeats
2984 In the @code{percent} style, a note pattern can be repeated. It is
2985 printed once, and then the pattern is replaced with a special sign.
2986 Patterns of one and two measures are replaced by percent-like signs,
2987 patterns that divide the measure length are replaced by slashes
2989 @lilypond[quote,verbatim,raggedright]
2991 \repeat "percent" 4 { c'4 }
2992 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2998 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2999 @internalsref{PercentRepeatedMusic}, and
3000 @internalsref{DoublePercentRepeat}.
3004 @node Rhythmic music
3005 @section Rhythmic music
3009 * Showing melody rhythms::
3010 * Entering percussion::
3011 * Percussion staves::
3015 @node Showing melody rhythms
3016 @subsection Showing melody rhythms
3018 Sometimes you might want to show only the rhythm of a melody. This
3019 can be done with the rhythmic staff. All pitches of notes on such a
3020 staff are squashed, and the staff itself has a single line
3022 @lilypond[quote,fragment,relative=1,verbatim]
3023 \context RhythmicStaff {
3025 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3031 Program reference: @internalsref{RhythmicStaff}.
3033 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
3036 @node Entering percussion
3037 @subsection Entering percussion
3043 Percussion notes may be entered in @code{\drums} mode, which is
3044 similar to the standard mode for entering notes. Each piece of
3045 percussion has a full name and an abbreviated name, and both can be used
3048 @lilypond[quote,raggedright,verbatim]
3049 \new DrumStaff \drums {
3050 hihat hh bassdrum bd
3054 The complete list of drum names is in the init file
3055 @file{ly/drumpitch-init.ly}.
3056 @c TODO: properly document this.
3060 Program reference: @internalsref{DrumNoteEvent}.
3062 @node Percussion staves
3063 @subsection Percussion staves
3067 A percussion part for more than one instrument typically uses a
3068 multi line staff where each position in the staff refers to one piece
3072 To typeset the music, the notes must be interpreted in a
3073 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3076 @lilypond[quote,raggedright,verbatim]
3077 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3078 down = \drums { bassdrum4 snare8 bd r bd sn4 }
3080 \new DrumVoice { \voiceOne \up }
3081 \new DrumVoice { \voiceTwo \down }
3085 The above example shows verbose polyphonic notation. The short
3086 polyphonic notation, described in @ref{Polyphony}, can also be used if
3087 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3089 @lilypond[quote,fragment,verbatim]
3091 \context DrumVoice = "1" { s1 *2 }
3092 \context DrumVoice = "2" { s1 *2 }
3096 { \repeat unfold 16 hh16 }
3105 There are also other layout possibilities. To use these, set the
3106 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3107 The following variables have been predefined
3111 This is the default. It typesets a typical drum kit on a five-line staff
3113 @lilypond[quote,noindent]
3114 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
3115 bd sn ss tomh tommh tomml toml tomfh tomfl }
3116 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
3117 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3119 << \new DrumStaff\with {
3120 \remove Bar_engraver
3121 \remove Time_signature_engraver
3122 \override Stem #'transparent = ##t
3123 \override Stem #'Y-extent-callback = ##f
3124 minimumVerticalExtent = #'(-4.0 . 5.0)
3126 \context Lyrics \nam
3129 %% need to do this, because of indented @itemize
3132 \override LyricText #'font-family = #'typewriter
3133 \override BarNumber #'transparent =##T
3137 The drum scheme supports six different toms. When there fewer toms, simply
3138 select the toms that produce the desired result, i.e. to get toms on
3139 the three middle lines you use @code{tommh}, @code{tomml} and
3142 @item timbales-style
3143 This typesets timbales on a two line staff
3145 @lilypond[quote,raggedright]
3146 nam = \lyrics { timh ssh timl ssl cb }
3147 mus = \drums { timh ssh timl ssl cb s16 }
3150 \context DrumStaff \with {
3151 \remove Bar_engraver
3152 \remove Time_signature_engraver
3153 \override Stem #'transparent = ##t
3154 \override Stem #'Y-extent-callback = ##f
3155 \override StaffSymbol #'line-count = #2
3156 \override StaffSymbol #'staff-space = #2
3157 minimumVerticalExtent = #'(-3.0 . 4.0)
3158 drumStyleTable = #timbales-style
3161 \override LyricText #'font-family = #'typewriter
3167 This typesets congas on a two line staff
3169 @lilypond[quote,raggedright]
3170 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
3171 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3173 \context DrumStaff\with {
3174 \remove Bar_engraver
3175 \remove Time_signature_engraver
3176 drumStyleTable = #congas-style
3177 \override StaffSymbol #'line-count = #2
3179 %% this sucks; it will lengthen stems.
3180 \override StaffSymbol #'staff-space = #2
3181 \override Stem #'transparent = ##t
3182 \override Stem #'Y-extent-callback = ##f
3185 \override LyricText #'font-family = #'typewriter
3190 This typesets bongos on a two line staff
3192 @lilypond[quote,raggedright]
3193 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
3194 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
3196 \context DrumStaff\with {
3197 \remove Bar_engraver
3198 \remove Time_signature_engraver
3199 \override StaffSymbol #'line-count = #2
3200 drumStyleTable = #bongos-style
3202 %% this sucks; it will lengthen stems.
3203 \override StaffSymbol #'staff-space = #2
3204 \override Stem #'transparent = ##t
3205 \override Stem #'Y-extent-callback = ##f
3208 \override LyricText #'font-family = #'typewriter
3213 @item percussion-style
3214 to typeset all kinds of simple percussion on one line staves
3215 @lilypond[quote,raggedright]
3216 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
3217 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3219 \context DrumStaff\with{
3220 \remove Bar_engraver
3221 drumStyleTable = #percussion-style
3222 \override StaffSymbol #'line-count = #1
3223 \remove Time_signature_engraver
3224 \override Stem #'transparent = ##t
3225 \override Stem #'Y-extent-callback = ##f
3228 \override LyricText #'font-family = #'typewriter
3235 If you do not like any of the predefined lists you can define your own
3236 list at the top of your file
3238 @lilypond[quote,raggedright,verbatim]
3240 (bassdrum default #f -1)
3241 (snare default #f 0)
3243 (pedalhihat xcircle "stopped" 2)
3244 (lowtom diamond #f 3)))
3245 up = \drums { hh8 hh hh hh hhp4 hhp }
3246 down = \drums { bd4 sn bd toml8 toml }
3249 \set DrumStaff.drumStyleTable
3250 = #(alist->hash-table mydrums)
3251 \new DrumVoice { \voiceOne \up }
3252 \new DrumVoice { \voiceTwo \down }
3259 Init files: @file{ly/drumpitch-init.ly}.
3261 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3265 Because general MIDI does not contain rim shots, the sidestick is used
3266 for this purpose instead.
3269 @section Piano music
3271 Piano staves are two normal staves coupled with a brace. The staves
3272 are largely independent, but sometimes voices can cross between the
3273 two staves. The same notation is also used for harps and other key
3274 instruments. The @internalsref{PianoStaff} is especially built to
3275 handle this cross-staffing behavior. In this section we discuss the
3276 @internalsref{PianoStaff} and some other pianistic peculiarities.
3280 * Automatic staff changes::
3281 * Manual staff switches::
3284 * Staff switch lines::
3285 * Cross staff stems::
3290 Dynamics are not centered, but workarounds do exist. See
3291 @inputfileref{input/template,piano-dynamics.ly}.
3293 @cindex cross staff stem
3294 @cindex stem, cross staff
3295 @cindex distance between staves in piano music
3297 The distance between the two staves is the same for all systems in the
3298 score. It is possible to override this per system, but it does require
3299 an arcane command incantation. See
3300 @inputfileref{input/test,piano-staff-distance.ly}.
3303 @node Automatic staff changes
3304 @subsection Automatic staff changes
3305 @cindex Automatic staff changes
3307 Voices can be made to switch automatically between the top and the bottom
3308 staff. The syntax for this is
3312 \autochange @dots{}@var{music}@dots{}
3317 This will create two staves inside the current PianoStaff, called
3318 @code{up} and @code{down}. The lower staff will be in bass clef by
3321 A @code{\relative} section that is outside of @code{\autochange} has
3322 no effect on the pitches of @var{music}, so, if necessary, put
3323 @code{\relative} inside @code{\autochange} like
3327 \autochange \relative @dots{} @dots{}
3332 The autochanger switches on basis of pitch (middle C is the turning
3333 point), and it looks ahead skipping over rests to switch in
3334 advance. Here is a practical example
3336 @lilypond[quote,verbatim,raggedright]
3338 \autochange \relative c'
3347 In this manual: @ref{Manual staff switches}.
3349 Program reference: @internalsref{AutoChangeMusic}.
3355 The staff switches may not end up in optimal places. For high
3356 quality output, staff switches should be specified manually.
3359 @code{\autochange} cannot be inside @code{\times}.
3361 Internally, the @code{\partcombine} interprets both arguments as
3362 @code{Voice}s named @code{one} and @code{two}, and then decides when
3363 the parts can be combined. Consequently, if the arguments switch to
3364 differently named @internalsref{Voice} contexts, the events in those
3368 @node Manual staff switches
3369 @subsection Manual staff switches
3371 @cindex manual staff switches
3372 @cindex staff switch, manual
3374 Voices can be switched between staves manually, using the command
3376 \change Staff = @var{staffname} @var{music}
3380 The string @var{staffname} is the name of the staff. It switches the
3381 current voice from its current staff to the Staff called
3382 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3383 @code{"down"}. The @context{Staff} referred to must already exist, so
3384 usually the setup for a score will start with a setup of the staves,
3388 \context Staff = up @{
3389 \skip 1 * 10 %@emph{ keep staff alive}
3391 \context Staff = down @{
3392 \skip 1 * 10 %@emph{idem}
3398 and the @context{Voice} is inserted afterwards
3401 \context Staff = down
3402 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3410 Pianos have pedals that alter the way sound is produced. Generally, a
3411 piano has three pedals, sustain, una corda, and sostenuto.
3414 Piano pedal instruction can be expressed by attaching
3415 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3416 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3419 @lilypond[quote,fragment,verbatim]
3420 c'4\sustainDown c'4\sustainUp
3423 What is printed can be modified by setting @code{pedal@var{X}Strings},
3424 where @var{X} is one of the pedal types: @code{Sustain},
3425 @code{Sostenuto} or @code{UnaCorda}. Refer to
3426 @internalsref{SustainPedal} in the program reference for more
3429 Pedals can also be indicated by a sequence of brackets, by setting the
3430 @code{pedalSustainStyle} property to bracket objects
3432 @lilypond[quote,fragment,verbatim,relative=2]
3433 \set Staff.pedalSustainStyle = #'bracket
3435 b\sustainUp\sustainDown
3436 b g \sustainUp a \sustainDown \bar "|."
3439 A third style of pedal notation is a mixture of text and brackets,
3440 obtained by setting the @code{pedalSustainStyle} style property to
3443 @lilypond[quote,fragment,verbatim,relative=2]
3444 \set Staff.pedalSustainStyle = #'mixed
3446 b\sustainUp\sustainDown
3447 b g \sustainUp a \sustainDown \bar "|."
3450 The default `*Ped.' style for sustain and damper pedals corresponds to
3451 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3454 @lilypond[quote,fragment,verbatim,relative=2]
3455 c\sostenutoDown d e c, f g a\sostenutoUp
3458 For fine-tuning of the appearance of a pedal bracket, the properties
3459 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3460 @code{PianoPedalBracket} objects (see
3461 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3462 bracket may be extended to the right edge of the note head
3464 @lilypond[quote,fragment,verbatim,relative=2]
3465 \override Staff.PianoPedalBracket
3466 #'shorten-pair = #'(0 . -1.0)
3467 c\sostenutoDown d e c, f g a\sostenutoUp
3471 @subsection Arpeggio
3474 @cindex broken arpeggio
3475 @cindex @code{\arpeggio}
3477 You can specify an arpeggio sign on a chord by attaching an
3478 @code{\arpeggio} to a chord
3481 @lilypond[quote,fragment,relative=1,verbatim]
3485 When an arpeggio crosses staves, you attach an arpeggio to the chords
3486 in both staves, and set
3487 @internalsref{PianoStaff}.@code{connectArpeggios}
3489 @lilypond[quote,fragment,relative=1,verbatim]
3490 \context PianoStaff <<
3491 \set PianoStaff.connectArpeggios = ##t
3492 \new Staff { <c' e g c>\arpeggio }
3493 \new Staff { \clef bass <c,, e g>\arpeggio }
3497 The direction of the arpeggio is sometimes denoted by adding an
3498 arrowhead to the wiggly line
3500 @lilypond[quote,fragment,relative=1,verbatim]
3509 A square bracket on the left indicates that the player should not
3510 arpeggiate the chord
3512 @c todo: ugh, lousy typography. Look for real example. --hwn
3514 @lilypond[quote,fragment,relative=1,verbatim]
3521 @cindex @code{\arpeggio}
3523 @cindex @code{\arpeggioUp}
3525 @cindex @code{\arpeggioDown}
3526 @code{\arpeggioDown},
3527 @cindex @code{\arpeggioBoth}
3528 @code{\arpeggioBoth},
3529 @cindex @code{\arpeggioBracket}
3530 @code{\arpeggioBracket}.
3534 Program reference: @internalsref{ArpeggioEvent},
3535 @internalsref{Arpeggio}.
3539 It is not possible to mix connected arpeggios and unconnected
3540 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3542 @node Staff switch lines
3543 @subsection Staff switch lines
3546 @cindex follow voice
3547 @cindex staff switching
3550 @cindex @code{followVoice}
3552 Whenever a voice switches to another staff a line connecting the notes
3553 can be printed automatically. This is switched on by setting
3554 @code{PianoStaff.followVoice} to true
3556 @lilypond[quote,fragment,relative=1,verbatim]
3557 \context PianoStaff <<
3558 \set PianoStaff.followVoice = ##t
3559 \context Staff \context Voice {
3564 \context Staff=two { \clef bass \skip 1*2 }
3570 Program reference: @internalsref{VoiceFollower}.
3574 @cindex @code{\showStaffSwitch}
3575 @code{\showStaffSwitch},
3576 @cindex @code{\hideStaffSwitch}
3577 @code{\hideStaffSwitch}.
3580 @node Cross staff stems
3581 @subsection Cross staff stems
3583 The chords which cross staves may be produced by increasing the length
3584 of the stem in the lower stave, so it reaches the stem in the upper
3585 stave, or vice versa.
3587 @lilypond[raggedright,verbatim]
3588 stemExtend = \once \override Stem #'length = #22
3589 noFlag = \once \override Stem #'flag-style = #'no-flag
3590 \context PianoStaff <<
3592 \stemDown \stemExtend
3606 @section Vocal music
3608 There are three different issues when printing vocal music
3612 Song texts must be entered as texts, not notes. For example, for
3613 lyrics, the input @code{a} should be interpreted as
3614 a one letter text, and not the note A.
3616 Song texts must be printed as text, and not as notes.
3618 Song texts must be aligned with the notes of their melody
3621 The simplest solution to printing music uses the @code{\addlyrics}
3622 function to deal with these three problems in one go. However, these
3623 three functions can be controlled separately, which is necessary
3624 for complex vocal music.
3628 * Setting simple songs::
3630 * Hyphens and extenders::
3631 * The Lyrics context::
3632 * Flexibility in alignment::
3637 @node Setting simple songs
3638 @subsection Setting simple songs
3640 The easiest way to add lyrics to a melody is to append
3643 \addlyrics @{ @var{the lyrics} @}
3647 to a melody. Here is an example,
3649 @lilypond[raggedright,verbatim]
3652 \relative { c2 e4 g2. }
3653 \addlyrics { play the game }
3657 More stanzas can be added by adding more
3658 @code{\addlyrics} sections
3660 @lilypond[raggedright,verbatim]
3663 \relative { c2 e4 g2. }
3664 \addlyrics { play the game }
3665 \addlyrics { speel het spel }
3666 \addlyrics { joue le jeu }
3670 @node Entering lyrics
3671 @subsection Entering lyrics
3675 @cindex @code{\lyrics}
3678 Lyrics are entered in a special input mode. This mode is is introduced
3679 by the keyword @code{\lyrics}. In this mode you can enter lyrics,
3680 with punctuation and accents, and the input @code{a} is not parsed as
3681 a pitch, but rather as a one letter syllable. Syllables are entered
3682 like notes, but with pitches replaced by text. For example,
3684 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3688 A word lyrics mode begins with an alphabetic character, and ends with
3689 any space or digit. The following characters can be any character
3690 that is not a digit or white space. One important consequence of this
3691 is that a word can end with @code{@}}. The following example is
3692 usually a bug. The syllable includes a @code{@}}, so the
3693 opening brace is not balanced
3695 \lyrics @{ twinkle@}
3698 @cindex @code{\property}, in @code{\lyrics}
3700 Similarly, a period following an alphabetic sequence, is included in
3701 the resulting string. As a consequence, spaces must be inserted around
3704 \override Score . LyricText #'font-shape = #'italic
3708 @cindex spaces, in lyrics
3709 @cindex quotes, in lyrics
3711 Any @code{_} character which appears in an unquoted word is converted
3712 to a space. This provides a mechanism for introducing spaces into words
3713 without using quotes. Quoted words can also be used in Lyrics mode to
3714 specify words that cannot be written with the above rules. The
3715 following example incorporates double quotes
3718 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3721 This example is slightly academic, since it gives better looking
3722 results to use single quotes, @code{``} and @code{''}
3724 \lyrics @{ He said: ``Let my peo ple go'' @}
3728 The full definition of a word start in Lyrics mode is somewhat more
3731 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3732 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3733 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3734 any 8-bit character with ASCII code over 127, or a two-character
3735 combination of a backslash followed by one of @code{`}, @code{'},
3736 @code{"}, or @code{^}.
3742 Program reference: events @internalsref{LyricEvent}, and
3743 @internalsref{LyricText}.
3747 The definition of lyrics mode is too complex.
3749 @node Hyphens and extenders
3750 @subsection Hyphens and extenders
3754 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3755 The hyphen will have variable length depending on the space between
3756 the syllables and it will be centered between the syllables.
3761 When a lyric is sung over many notes (this is called a melisma), this is
3762 indicated with a horizontal line centered between a syllable and the
3763 next one. Such a line is called an extender line, and it is entered as
3769 Program reference: @internalsref{HyphenEvent},
3770 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3771 @internalsref{LyricExtender}
3773 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3777 @node The Lyrics context
3778 @subsection The Lyrics context
3781 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3783 \context Lyrics \lyrics @dots{}
3786 @cindex automatic syllable durations
3787 @cindex @code{\lyricsto}
3788 @cindex lyrics and melodies
3790 This will place the lyrics according to the durations that were
3791 entered. The lyrics can also be aligned under a given melody
3792 automatically. In this case, it is no longer necessary to enter the
3793 correct duration for each syllable. This is achieved by combining the
3794 melody and the lyrics with the @code{\lyricsto} expression
3796 \lyricsto @var{name} \new Lyrics @dots{}
3799 This aligns the lyrics to the
3801 notes of the @internalsref{Voice} context called @var{name}, which has
3802 to exist. Therefore, normally the @code{Voice} is specified first, and
3803 then the lyrics are specified with @code{\lyricsto}. The command
3804 @code{\lyricsto} switches to @code{\lyrics} mode automatically, so the
3805 @code{\lyrics} keyword may be omitted.
3807 For different or more complex orderings, the best way is to setup the
3808 hierarchy of staves and lyrics first, e.g.
3810 \context ChoirStaff <<
3811 \context Lyrics = sopranoLyrics @{ s1 @}
3812 \context Voice = soprano @{ @emph{music} @}
3813 \context Lyrics = tenorLyrics @{ s1 @}
3814 \context Voice = tenor @{ @emph{music} @}
3817 and then combine the appropriate melodies and lyric lines
3819 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3824 The final input would resemble
3827 << \context ChoirStaff << @emph{setup the music} >>
3828 \lyricsto "soprano" @emph{etc}
3829 \lyricsto "alto" @emph{etc}
3835 The @code{\lyricsto} command detects melismata: it only puts one
3836 syllable under a tied or slurred group of notes. If you want to force
3837 an unslurred group of notes to be a melisma, insert @code{\melisma}
3838 after the first note of the group, and @code{\melismaEnd} after the
3841 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3843 \context Voice = "lala" {
3851 \lyricsto "lala" \new Lyrics {
3857 In addition, notes are considered a melisma if they are manually
3858 beamed, and automatic beaming (see @ref{Setting automatic beam
3859 behavior}) is switched off.
3865 The criteria for deciding melismata can
3866 be tuned with the property @code{melismaBusyProperties}. See
3867 @internalsref{Melisma_translator} in the program reference for more
3872 Lyrics can also be entered without @code{\lyricsto}. In this case the
3873 durations of each syllable must be entered explicitly, for example,
3880 The alignment to a melody can be specified with the
3881 @code{associatedVoice} property,
3884 \set associatedVoice = #"lala"
3888 The value of the property (here: @code{"lala"}) should be the name of
3889 a @internalsref{Voice} context. Without this setting, extender lines
3890 will not be formatted properly.
3892 Here is an example demonstrating manual lyric durations,
3894 @lilypond[relative=1,verbatim,fragment]
3895 << \context Voice = melody {
3899 \new Lyrics \lyrics {
3900 \set associatedVoice = #"melody"
3906 @cindex choral score
3908 A complete example of a SATB score setup is in the file
3909 @inputfileref{input/template,satb.ly}.
3914 @code{\melisma}, @code{\melismaEnd}
3915 @cindex @code{\melismaEnd}
3916 @cindex @code{\melisma}
3920 Program reference: @internalsref{LyricCombineMusic},
3921 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3923 Examples: @inputfileref{input/template,satb.ly},
3924 @inputfileref{input/regression,lyric-combine-new.ly},
3925 @c TODO: make separate section for melismata
3926 @inputfileref{input/test,lyrics-melisma-variants.ly}.
3927 @inputfileref{input/test,lyrics-melisma-faster.ly}.
3931 Melismata are not detected automatically, and extender lines must be
3935 @c TODO: document \new Staff << Voice \lyricsto >> bug
3937 @node Flexibility in alignment
3938 @subsection Flexibility in alignment
3941 Often, different stanzas of one song are put to one melody in slightly
3942 differing ways. Such variations can still be captured with
3945 One possibility is that the text has a melisma in one stanza, but
3946 multiple syllables in another one. One solution is to make the faster
3947 voice ignore the melisma. This is done by setting
3948 @code{ignoreMelismata} in the Lyrics context.
3950 There has one tricky aspect. The setting for @code{ignoreMelismata}
3951 must be set one syllable @emph{before} the non-melismatic syllable
3952 in the text, as shown here,
3954 @lilypond[verbatim,raggedright]
3956 \relative \context Voice = "lahlah" {
3957 \set Staff.autoBeaming = ##f
3963 \new Lyrics \lyricsto "lahlah" {
3966 \new Lyrics \lyricsto "lahlah" {
3967 \set ignoreMelismata = ##t % applies to "fas"
3969 \unset ignoreMelismata
3976 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
3977 should bev entered before ``go''.
3979 The reverse is also possible: making a lyric line slower than the
3980 standard. This can be achieved by insert @code{\skip}s into the
3981 lyrics. For every @code{\skip}, the text will be delayed another note.
3984 @lilypond[verbatim,raggedright]
3985 \relative { c c g' }
3992 More complex variations in text underlay are possible. It is possible
3993 to switch the melody for a line of lyrics during the text. This is
3994 done by setting the @code{associatedVoice} property. In the example
3996 @lilypond[raggedright]
3998 \relative \context Voice = "lahlah" {
3999 \set Staff.autoBeaming = ##f
4002 \context Voice = alternative {
4006 % show associations clearly.
4007 \override NoteColumn #'force-hshift = #-3
4019 \new Lyrics \lyricsto "lahlah" {
4020 Ju -- ras -- sic Park
4022 \new Lyrics \lyricsto "lahlah" {
4024 % Tricky: need to set associatedVoice
4025 % one syllable too soon!
4026 \set associatedVoice = alternative % applies to "ran"
4030 \set associatedVoice = lahlah % applies to "rus"
4036 the text for the first stanza is set to a melody called ``lahlah'',
4039 \new Lyrics \lyricsto "lahlah" {
4040 Ju -- ras -- sic Park
4045 The second stanza initially is set to the @code{lahlah} context, but
4046 for the syllable ``ran'', it switches to a different melody.
4047 This is achieved with
4049 \set associatedVoice = alternative
4053 Here, @code{alternative} is the name of the @code{Voice} context
4054 containing the triplet.
4056 Again, the command must be one syllable too early, before ``Ty'' in
4060 \new Lyrics \lyricsto "lahlah" {
4061 \set associatedVoice = alternative % applies to "ran"
4065 \set associatedVoice = lahlah % applies to "rus"
4071 The underlay is switched back to the starting situation by assigning
4072 @code{lahlah} to @code{associatedVoice}.
4078 @subsection More stanzas
4080 @cindex phrasing, in lyrics
4083 @cindex stanza number
4084 @cindex singer's names
4085 @cindex name of singer
4087 Stanza numbers can be added by setting @code{stanza}, e.g.
4089 @lilypond[quote,verbatim,relative=2,fragment]
4091 \time 3/4 g2 e4 a2 f4 g2.
4094 Hi, my name is Bert.
4097 Oh, che -- ri, je t'aime
4101 These numbers are put just before the start of first syllable.
4103 Names of singers can also be added. They are printed at the start of
4104 the line, just like instrument names. They are created by setting
4105 @code{vocalName}. A short version may be entered as @code{vocNam}.
4108 @lilypond[fragment,quote,verbatim,relative=2]
4110 \time 3/4 g2 e4 a2 f4 g2.
4112 \set vocalName = "Bert "
4113 Hi, my name is Bert.
4115 \set vocalName = "Ernie "
4116 Oh, che -- ri, je t'aime
4122 Program reference: Layout objects @internalsref{LyricText} and
4123 @internalsref{VocalName}. Music expressions
4124 @internalsref{LyricEvent}.
4132 The term @emph{ambitus} denotes a range of pitches for a given voice
4133 in a part of music. It also may denote the pitch range that a musical
4134 instrument is capable of playing. Ambits are printed on vocal parts,
4135 so performers can easily determine it meets their capabilities.
4137 It denoted at the beginning of a piece near the initial clef. The
4138 range is graphically specified by two note heads, that represent the
4139 minimum and maximum pitch. To print such ambits, add the
4140 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4147 \consists Ambitus_engraver
4152 This results in the following output
4154 @lilypond[quote,raggedright]
4158 \consists Ambitus_engraver
4162 \relative \new Staff {
4167 If you have multiple voices in a single staff, and you want a single
4168 ambitus per staff rather than per each voice, add the
4169 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4170 rather than to the @internalsref{Voice} context. Here is an example,
4172 @lilypond[verbatim,raggedright]
4175 \consists "Ambitus_engraver"
4177 \override Ambitus #'X-offset-callbacks
4178 = #(list (lambda (grob axis) -1.0))
4183 \consists "Ambitus_engraver"
4192 This example uses one advanced feature,
4195 \override Ambitus #'X-offset-callbacks
4196 = #(list (lambda (grob axis) -1.0))
4200 This code moves the ambitus to the left. The same effect could have
4201 been achieved with @code{extra-offset}, but then the formatting system
4202 would not reserve space for the moved object.
4206 Program reference: @internalsref{Ambitus},
4207 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4208 @internalsref{AmbitusAccidental}.
4210 Examples: @inputfileref{input/regression,ambitus.ly}.
4214 There is no collision handling in the case of multiple per-voice
4217 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4218 @section Other instrument specific notation
4224 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4225 @subsection Harmonic notes
4227 @cindex artificial harmonics
4230 Artificial harmonics are notated with a different notehead style. They
4232 marking the harmonic pitch with @code{\harmonic}.
4234 @lilypond[raggedright,verbatim]
4241 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4245 @cindex guitar tablature
4247 Tablature notation is used for notating music for plucked string
4248 instruments. Pitches are not denoted with note heads, but by
4249 indicating on which string and fret a note must be played. LilyPond
4250 offers limited support for tablature.
4253 * Tablatures basic::
4254 * Non-guitar tablatures::
4257 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4258 @subsection Tablatures basic
4259 @cindex Tablatures basic
4261 The string number associated to a note is given as a backslash
4262 followed by a number, e.g. @code{c4\3} for a C quarter on the third
4263 string. By default, string 1 is the highest one, and the tuning
4264 defaults to the standard guitar tuning (with 6 strings). The notes
4265 are printed as tablature, by using @internalsref{TabStaff} and
4266 @internalsref{TabVoice} contexts
4268 @lilypond[quote,fragment,verbatim]
4275 @cindex @code{minimumFret}
4278 When no string is specified, the first string that does not give a
4279 fret number less than @code{minimumFret} is selected. The default
4280 value for @code{minimumFret} is 0
4285 \set TabStaff.minimumFret = #8
4288 @lilypond[quote,noindent,raggedright]
4292 \set TabStaff.minimumFret = #8
4295 \context StaffGroup <<
4296 \context Staff { \clef "G_8" \frag }
4297 \context TabStaff { \frag }
4303 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4304 @internalsref{StringNumberEvent}.
4308 Chords are not handled in a special way, and hence the automatic
4309 string selector may easily select the same string to two notes in a
4313 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4314 @subsection Non-guitar tablatures
4315 @cindex Non-guitar tablatures
4317 You can change the number of strings, by setting the number of lines
4318 in the @internalsref{TabStaff}.
4320 You can change the tuning of the strings. A string tuning is given as
4321 a Scheme list with one integer number for each string, the number
4322 being the pitch (measured in semitones relative to middle C) of an
4323 open string. The numbers specified for @code{stringTuning} are the
4324 numbers of semitones to subtract or add, starting the specified pitch
4325 by default middle C, in string order. In the next example,
4326 @code{stringTunings} is set for the pitches e, a, d, and g
4328 @lilypond[quote,fragment,verbatim]
4329 \context TabStaff <<
4330 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4333 a,4 c' a e' e c' a e'
4340 No guitar special effects have been implemented.
4344 Program reference: @internalsref{Tab_note_heads_engraver}.
4347 @node Popular music, Orchestral music, Tablatures, Notation manual
4348 @section Popular music
4355 * Printing chord names::
4359 @node Chord names, Chords mode, Popular music, Popular music
4360 @subsection Chord names
4363 LilyPond has support for both printing chord names. Chords may be
4364 entered in musical chord notation, i.e. @code{< .. >}, but they can
4365 also be entered by name. Internally, the chords are represented as a
4366 set of pitches, so they can be transposed
4369 @lilypond[quote,verbatim,raggedright]
4370 twoWays = \transpose c c' {
4379 << \context ChordNames \twoWays
4380 \context Voice \twoWays >>
4383 This example also shows that the chord printing routines do not try to
4384 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4390 * Printing chord names::
4395 @subsection Chords mode
4398 In chord mode sets of pitches (chords) are entered with common names.
4399 A chord is entered by the root, which is entered like a common pitch
4401 @lilypond[quote,fragment,verbatim,relative=2]
4402 \chords { es4. d8 c2 }
4406 The mode is introduced by the keyword @code{\chords}.
4411 Other chords may be entered by suffixing a colon, and introducing a
4412 modifier, and optionally, a number
4414 @lilypond[quote,fragment,verbatim]
4415 \chords { e1:m e1:7 e1:m7 }
4417 The first number following the root is taken to be the `type' of the
4418 chord, thirds are added to the root until it reaches the specified
4420 @lilypond[quote,fragment,verbatim]
4421 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4424 @cindex root of chord
4425 @cindex additions, in chords
4426 @cindex removals, in chords
4428 More complex chords may also be constructed adding separate steps
4429 to a chord. Additions are added after the number following
4430 the colon, and are separated by dots
4432 @lilypond[quote,verbatim,fragment]
4433 \chords { c:5.6 c:3.7.8 c:3.6.13 }
4435 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4437 @lilypond[quote,verbatim,fragment]
4438 \chords { c:7+ c:5+.3- c:3-.5-.7- }
4440 Removals are specified similarly, and are introduced by a caret. They
4441 must come after the additions
4442 @lilypond[quote,verbatim,fragment]
4443 \chords { c^3 c:7^5 c:9^3.5 }
4446 Modifiers can be used to change pitches. The following modifiers are
4450 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4452 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
4455 is the augmented chord. This modifier raises the 5th step.
4457 is the major 7th chord. This modifier raises the 7th step if present.
4459 is the suspended 4th or 2nd. This modifier removes the 3rd
4460 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4463 Modifiers can be mixed with additions
4464 @lilypond[quote,verbatim,fragment]
4465 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
4468 @cindex modifiers, in chords.
4475 Since an unaltered 11 does not sound good when combined with an
4476 unaltered 3, the 11 is removed in this case (unless it is added
4479 @lilypond[quote,fragment,verbatim]
4480 \chords { c:13 c:13.11 c:m13 }
4485 An inversion (putting one pitch of the chord on the bottom), as well
4486 as bass notes, can be specified by appending
4487 @code{/}@var{pitch} to the chord
4488 @lilypond[quote,fragment,verbatim]
4489 \chords { c1 c/g c/f }
4493 A bass note can be added instead of transposed out of the chord,
4494 by using @code{/+}@var{pitch}.
4496 @lilypond[quote,fragment,verbatim]
4497 \chords { c1 c/+g c/+f }
4500 Chords is a mode similar to @code{\lyrics} etc. Most
4501 of the commands continue to work, for example, @code{r} and
4502 @code{\skip} can be used to insert rests and spaces, and property
4503 commands may be used to change various settings.
4509 Each step can only be present in a chord once. The following
4510 simply produces the augmented chord, since @code{5+} is interpreted
4513 @lilypond[quote,verbatim,fragment]
4514 \chords { c:5.5-.5+ }
4518 @node Printing chord names
4519 @subsection Printing chord names
4521 @cindex printing chord names
4525 For displaying printed chord names, use the @internalsref{ChordNames} context.
4526 The chords may be entered either using the notation
4527 described above, or directly using @code{<} and @code{>}
4529 @lilypond[quote,verbatim,raggedright]
4531 \chords {a1 b c} <d' f' a'> <e' g' b'>
4535 \context ChordNames \scheme
4536 \context Staff \scheme
4540 You can make the chord changes stand out by setting
4541 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4542 display chord names when there is a change in the chords scheme and at
4543 the start of a new line
4545 @lilypond[quote,verbatim,linewidth=9\cm]
4547 c1:m c:m \break c:m c:m d
4550 \context ChordNames {
4551 \set chordChanges = ##t
4553 \context Staff \transpose c c' \scheme
4557 The previous examples all show chords over a staff. This is not
4558 necessary. Chords may also be printed separately. It may be necessary
4559 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4560 for showing repeats.
4562 @lilypond[raggedright,verbatim]
4563 \new ChordNames \with {
4564 \override BarLine #'bar-size = #4
4565 voltaOnThisStaff = ##t
4566 \consists Bar_engraver
4567 \consists "Volta_engraver"
4569 \repeat volta 2 \chords {
4578 The default chord name layout is a system for Jazz music, proposed by
4579 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4580 following properties
4583 @cindex @code{chordNameExceptions}
4584 @item chordNameExceptions
4585 This is a list that contains the chords that have special formatting.
4586 For an example of tuning this property, see
4587 @inputfileref{input/regression,chord-name-exceptions.ly}.
4588 @cindex exceptions, chord names.
4591 @cindex @code{majorSevenSymbol}
4592 @item majorSevenSymbol
4593 This property contains the markup object used for the 7th step, when
4594 it is major. Predefined options are @code{whiteTriangleMarkup} and
4595 @code{blackTriangleMarkup}. See
4596 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4598 @cindex @code{chordNameSeparator}
4599 @item chordNameSeparator
4600 Different parts of a chord name are normally separated by a
4601 slash. By setting @code{chordNameSeparator}, you can specify other
4603 @lilypond[quote,fragment,verbatim]
4604 \context ChordNames \chords {
4606 \set chordNameSeparator
4607 = \markup { \typewriter "|" }
4612 @cindex @code{chordRootNamer}
4613 @item chordRootNamer
4614 The root of a chord is usually printed as a letter with an optional
4615 alteration. The transformation from pitch to letter is done by this
4616 function. Special note names (for example, the German ``H'' for a
4617 B-chord) can be produced by storing a new function in this property.
4619 @cindex @code{chordNoteNamer}
4620 @item chordNoteNamer
4621 The default is to print single pitch, e.g. the bass note, using the
4622 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4623 to a specialized function to change this behavior. For example, the
4624 base can be printed in lower case.
4628 The predefined variables @code{\germanChords},
4629 @code{\semiGermanChords} set these variables. The effect is
4632 @lilypondfile[]{chord-names-german.ly}
4634 There are also two other chord name schemes implemented: an alternate
4635 Jazz chord notation, and a systematic scheme called Banter chords. The
4636 alternate jazz notation is also shown on the chart in @ref{Chord name
4637 chart}. Turning on these styles is described in the input file
4638 @inputfileref{input/test,chord-names-jazz.ly}.
4642 @cindex chords, jazz
4647 @cindex @code{\germanChords}
4648 @code{\germanChords},
4649 @cindex @code{\semiGermanChords}
4650 @code{\semiGermanChords}.
4657 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4658 @inputfileref{input/regression,chord-name-exceptions.ly},
4659 @inputfileref{input/test,chord-names-jazz.ly},
4660 @inputfileref{input/test,chords-without-melody.ly}.
4663 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4668 Chord names are determined solely from the list of pitches. Chord
4669 inversions are not identified, and neither are added bass notes. This
4670 may result in strange chord names when chords are entered with the
4671 @code{< .. >} syntax.
4675 @subsection Improvisation
4677 Improvisation is sometimes denoted with slashed note heads. Such note
4678 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4679 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4683 \set squashedPosition = #0
4684 \override NoteHead #'style = #'slash
4688 switches on the slashes.
4690 There are shortcuts @code{\improvisationOn} (and an accompanying
4691 @code{\improvisationOff}) for this command sequence. They are used in
4692 the following example
4694 @lilypond[verbatim,raggedright]
4696 \consists Pitch_squash_engraver
4698 e8 e g a a16(bes)(a8) g \improvisationOn
4701 ~fis2 \improvisationOff a16(bes) a8 g e
4707 @node Orchestral music
4708 @section Orchestral music
4710 @cindex Writing parts
4712 Orchestral music involves some special notation, both in the full
4713 score and the individual parts. This section explains how to tackle
4714 some common problems in orchestral music.
4719 * System start delimiters::
4720 * Aligning to cadenzas::
4723 * Instrument names::
4725 * Instrument transpositions::
4726 * Multi measure rests::
4727 * Automatic part combining::
4729 * Different editions from one source::
4730 * Quoting other voices::
4733 @node System start delimiters
4734 @subsection System start delimiters
4736 Polyphonic scores consist of many staves. These staves can be
4737 constructed in three different ways
4739 @item The group is started with a brace at the left, and bar lines are
4740 connected. This is done with the @internalsref{GrandStaff} context.
4751 @item The group is started with a bracket, and bar lines are connected. This is done with the
4752 @internalsref{StaffGroup} context
4763 @item The group is started with a vertical line. Bar lines are not
4764 connected. This is the default for the score.
4775 @cindex Staff, multiple
4776 @cindex bracket, vertical
4777 @cindex brace, vertical
4784 The bar lines at the start of each system are
4785 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
4786 @internalsref{SystemStartBracket}. Only one of these types is created
4787 in every context, and that type is determined by the property
4788 @code{systemStartDelimiter}.
4790 @node Aligning to cadenzas
4791 @subsection Aligning to cadenzas
4794 In an orchestral context, cadenzas present a special problem:
4795 when constructing a score that includes a cadenza, all other
4796 instruments should skip just as many notes as the length of the
4797 cadenza, otherwise they will start too soon or too late.
4799 A solution to this problem are the functions @code{mmrest-of-length}
4800 and @code{skip-of-length}. These Scheme functions take a piece music
4801 as argument, and generate a @code{\skip} or multi rest, exactly as
4802 long as the piece. The use of @code{mmrest-of-length} is demonstrated
4803 in the following example.
4805 @lilypond[verbatim,raggedright]
4806 cadenza = \relative c' {
4807 c4 d8 << { e f g } \\ { d4. } >>
4812 \new Staff { \cadenza c'4 }
4814 #(ly:export (mmrest-of-length cadenza))
4824 @node Rehearsal marks
4825 @subsection Rehearsal marks
4826 @cindex Rehearsal marks
4828 @cindex @code{\mark}
4830 To print a rehearsal mark, use the @code{\mark} command
4832 @lilypond[quote,fragment,verbatim,relative=1]
4843 (The letter I is skipped in accordance with engraving traditions.)
4845 @c FIXME - should make that tunable.
4847 The mark is incremented automatically if you use @code{\mark
4848 \default}, but you can also use an integer argument to set the mark
4849 manually. The value to use is stored in the property
4850 @code{rehearsalMark}.
4852 The style is defined by the property @code{markFormatter}. It is a
4853 function taking the current mark (an integer) and the current context
4854 as argument. It should return a markup object. In the following
4855 example, @code{markFormatter} is set to a canned procedure. After a
4856 few measures, it is set to function that produces a boxed number.
4858 @lilypond[quote,verbatim,fragment,relative=2]
4859 \set Score.markFormatter = #format-mark-numbers
4862 \set Score.markFormatter
4863 = #(lambda (mark context)
4865 (make-box-markup (number->string mark))))
4870 The file @file{scm/translation-functions.scm} contains the definitions
4871 of @code{format-mark-numbers} (the default format) and
4872 @code{format-mark-letters}. These can be used as inspiration for other
4873 formatting functions.
4876 @cindex coda on bar line
4877 @cindex segno on bar line
4878 @cindex fermata on bar line
4879 @cindex bar lines, symbols on
4881 The @code{\mark} command can also be used to put signs like coda,
4882 segno and fermatas on a bar line. Use @code{\markup} to
4883 to access the appropriate symbol
4885 @lilypond[quote,fragment,verbatim,relative=2]
4886 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4890 In the case of a line break, marks must also be printed at the end of
4891 the line, and not at the beginning. Use the following to force that
4894 \override Score.RehearsalMark
4895 #'break-visibility = #begin-of-line-invisible
4901 @cindex bar lines, putting symbols on
4905 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4907 Init files: @file{scm/translation-functions.scm} contains the
4908 definition of @code{format-mark-numbers} and
4909 @code{format-mark-letters}. They can be used as inspiration for other
4910 formatting functions.
4912 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4914 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4918 @subsection Bar numbers
4922 @cindex measure numbers
4923 @cindex @code{currentBarNumber}
4925 Bar numbers are printed by default at the start of the line. The
4926 number itself is stored in the @code{currentBarNumber} property, which
4927 is normally updated automatically for every measure.
4929 Bar numbers can be typeset at regular intervals instead of at the
4930 beginning of each line. This is illustrated in the following example,
4931 whose source is available as
4932 @inputfileref{input/test,bar-number-regular-interval.ly}
4934 @lilypondfile[quote]{bar-number-regular-interval.ly}
4938 Program reference: @internalsref{BarNumber}.
4940 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4941 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4945 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4946 there is one at the top. To solve this, the
4947 @code{padding} property of @internalsref{BarNumber} can be
4948 used to position the number correctly.
4950 @node Instrument names
4951 @subsection Instrument names
4953 In an orchestral score, instrument names are printed left side of the
4956 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4957 and @internalsref{Staff}.@code{instr}. This will print a string before
4958 the start of the staff. For the first start, @code{instrument} is
4959 used, for the next ones @code{instr} is used.
4961 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
4962 \set Staff.instrument = "Ploink "
4963 \set Staff.instr = "Plk "
4969 You can also use markup texts to construct more complicated instrument
4972 @lilypond[quote,fragment,verbatim,raggedright]
4974 \set Staff.instrument = \markup {
4975 \column < "Clarinetti" { "in B"
4976 \smaller \flat } > }
4981 For longer instrument names, it may be useful to increase the
4982 @code{indent} setting in the @code{\paper} block.
4986 Program reference: @internalsref{InstrumentName}.
4990 When you put a name on a grand staff or piano staff the width of the
4991 brace is not taken into account. You must add extra spaces to the end of
4992 the name to avoid a collision.
4995 @subsection Transpose
4997 @cindex transposition of pitches
4998 @cindex @code{\transpose}
5000 A music expression can be transposed with @code{\transpose}. The
5003 \transpose @var{from} @var{to} @var{musicexpr}
5006 This means that @var{musicexpr} is transposed by the interval between
5007 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5008 is changed to @code{to}.
5011 For example, consider a piece written in the key of D major. If
5012 this piece is a little too low for its performer, it can be
5013 transposed up to E major with
5015 \transpose d e @dots{}
5018 Consider a part written for violin (a C instrument). If
5019 this part is to be played on the A clarinet, the following
5020 transposition will produce the appropriate part
5023 \transpose a c @dots{}
5026 @code{\transpose} distinguishes between enharmonic pitches: both
5027 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5028 half a tone. The first version will print sharps and the second
5029 version will print flats
5031 @lilypond[quote,raggedright,verbatim]
5032 mus = { \key d \major cis d fis g }
5036 \transpose c g' \mus
5037 \transpose c f' \mus
5044 Program reference: @internalsref{TransposedMusic}, and
5045 @internalsref{UntransposableMusic}.
5049 If you want to use both @code{\transpose} and @code{\relative},
5050 you must put @code{\transpose} outside of @code{\relative}, since
5051 @code{\relative} will have no effect music that appears inside a
5054 @node Instrument transpositions
5055 @subsection Instrument transpositions
5057 The key of a transposing instrument can also be specified. This
5058 applies to many wind instruments, for example, clarinets (B-flat, A and
5059 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
5062 The transposition is entered after the keyword @code{\transposition}
5065 \transposition bes %% B-flat clarinet
5068 This command sets the property @code{instrumentTransposition}. The value of
5069 this property is used for MIDI output and quotations. It does not
5070 affect how notes are printed in the current staff.
5072 @cindex transposition, MIDI
5073 @cindex transposition, instrument
5076 @node Multi measure rests
5077 @subsection Multi measure rests
5078 @cindex multi measure rests
5079 @cindex Rests, multi measure
5083 Multi measure rests are entered using `@code{R}'. It is specifically
5084 meant for full bar rests and for entering parts: the rest can expand
5085 to fill a score with rests, or it can be printed as a single
5086 multimeasure rest. This expansion is controlled by the property
5087 @code{Score.skipBars}. If this is set to true, empty measures will not
5088 be expanded, and the appropriate number is added automatically
5090 @lilypond[quote,fragment,verbatim]
5091 \time 4/4 r1 | R1 | R1*2
5092 \set Score.skipBars = ##t R1*17 R1*4
5095 The @code{1} in @code{R1} is similar to the duration notation used for
5096 notes. Hence, for time signatures other than 4/4, you must enter other
5097 durations. This can be done with augmentation dots or fractions
5099 @lilypond[quote,fragment,verbatim]
5100 \set Score.skipBars = ##t
5108 An @code{R} spanning a single measure is printed as either a whole rest
5109 or a breve, centered in the measure regardless of the time signature.
5111 @cindex text on multi-measure rest
5112 @cindex script on multi-measure rest
5113 @cindex fermata on multi-measure rest
5115 Texts can be added to multi-measure rests by using the
5116 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
5117 replaced. If you need both texts and the number, you must add the
5118 number by hand. A variable (@code{\fermataMarkup}) is provided for
5122 @lilypond[quote,verbatim,fragment]
5124 R2._\markup { "Ad lib" }
5128 If you want to have a text on the left end of a multi-measure rest,
5129 attach the text to a zero-length skip note, i.e.
5137 @cindex whole rests for a full measure
5141 Program reference: @internalsref{MultiMeasureRestEvent},
5142 @internalsref{MultiMeasureTextEvent},
5143 @internalsref{MultiMeasureRestMusicGroup}, and
5144 @internalsref{MultiMeasureRest}.
5146 The layout object @internalsref{MultiMeasureRestNumber} is for the
5147 default number, and @internalsref{MultiMeasureRestText} for user
5152 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
5153 over multi-measure rests.
5155 @cindex condensing rests
5157 There is no way to automatically condense multiple rests into a single
5158 multimeasure rest. Multi measure rests do not take part in rest
5161 Be careful when entering multimeasure rests followed by whole
5162 notes. The following will enter two notes lasting four measures each
5166 When @code{skipBars} is set, the result will look OK, but the bar
5167 numbering will be off.
5169 @node Automatic part combining
5170 @subsection Automatic part combining
5171 @cindex automatic part combining
5172 @cindex part combiner
5175 Automatic part combining is used to merge two parts of music onto a
5176 staff. It is aimed at typesetting orchestral scores. When the two
5177 parts are identical for a period of time, only one is shown. In
5178 places where the two parts differ, they are typeset as separate
5179 voices, and stem directions are set automatically. Also, solo and
5180 @emph{a due} parts are identified and can be marked.
5182 The syntax for part combining is
5185 \partcombine @var{musicexpr1} @var{musicexpr2}
5190 The following example demonstrates the basic functionality of the part
5191 combiner: putting parts on one staff, and setting stem directions and
5194 @lilypond[quote,verbatim,raggedright,fragment]
5195 \new Staff \partcombine
5196 \relative g' { g g a( b) c c r r }
5197 \relative g' { g g r4 r e e g g }
5200 The first @code{g} appears only once, although it was
5201 specified twice (once in each part). Stem, slur and tie directions are
5202 set automatically, depending whether there is a solo or unisono. The
5203 first part (with context called @code{one}) always gets up stems, and
5204 `solo', while the second (called @code{two}) always gets down stems and
5207 If you just want the merging parts, and not the textual markings, you
5208 may set the property @code{printPartCombineTexts} to false
5210 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5212 \set Staff.printPartCombineTexts = ##f
5214 \relative g' { g a( b) r }
5215 \relative g' { g r4 r f }
5220 Both arguments to @code{\partcombine} will be interpreted as
5221 @internalsref{Voice} contexts. If using relative octaves,
5222 @code{\relative} should be specified for both music expressions, i.e.
5226 \relative @dots{} @var{musicexpr1}
5227 \relative @dots{} @var{musicexpr2}
5231 A @code{\relative} section that is outside of @code{\partcombine} has
5232 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5236 Program reference: @internalsref{PartCombineMusic},
5237 @internalsref{SoloOneEvent}, and
5238 @internalsref{SoloTwoEvent}, and
5239 @internalsref{UnisonoEvent}.
5243 When @code{printPartCombineTexts} is set, when the two voices play the
5244 same notes on and off, the part combiner may typeset @code{a2} more
5245 than once in a measure.
5247 @code{\partcombine} cannot be inside @code{\times}.
5249 @code{\partcombine} cannot be inside @code{\relative}.
5251 Internally, the @code{\partcombine} interprets both arguments as
5252 @code{Voice}s named @code{one} and @code{two}, and then decides when
5253 the parts can be combined. Consequently, if the arguments switch to
5254 differently named @internalsref{Voice} contexts, the events in those
5258 @subsection Hiding staves
5260 @cindex Frenched scores
5261 @cindex Hiding staves
5263 In orchestral scores, staff lines that only have rests are usually
5264 removed. This saves some space. This style is called `French Score'.
5265 For @internalsref{Lyrics},
5266 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5267 switched on by default. When these line of these contexts turn out
5268 empty after the line-breaking process, they are removed.
5270 For normal staves, a specialized @internalsref{Staff} context is
5271 available, which does the same: staves containing nothing (or only
5272 multi measure rests) are removed. The context definition is stored in
5273 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5274 in this example disappears in the second line
5277 @lilypond[quote,verbatim]
5279 \context { \RemoveEmptyStaffContext }
5284 \new Staff { e4 f g a \break c1 }
5285 \new Staff { c4 d e f \break R1 }
5290 The first system shows all staves in full. If empty staves should be
5291 removed from the first system too, set @code{remove-first} to false in
5292 @internalsref{RemoveEmptyVerticalGroup}.
5294 Another application is making ossia sections, i.e. alternative
5295 melodies on a separate piece of staff, with help of a Frenched
5296 staff. See @inputfileref{input/test,ossia.ly} for an example.
5299 @node Different editions from one source
5300 @subsection Different editions from one source
5302 The @code{\tag} command marks music expressions with a name. These
5303 tagged expressions can be filtered out later. With this mechanism it
5304 is possible to make different versions of the same music source.
5306 In the following example, we see two versions of a piece of music, one
5307 for the full score, and one with cue notes for the instrumental part
5323 The same can be applied to articulations, texts, etc.: they are
5326 -\tag #@var{your-tag}
5328 to an articulation, for example,
5333 This defines a note with a conditional fingering indication.
5335 By applying the @code{remove-tag} function, tagged expressions can be
5336 filtered. For example,
5340 \applymusic #(remove-tag 'score) @var{the music}
5341 \applymusic #(remove-tag 'part) @var{the music}
5346 @lilypondfile[quote]{tag-filter.ly}
5348 The argument of the @code{\tag} command should be a symbol, or a list
5349 of symbols, for example,
5351 \tag #'(original-part transposed-part) @dots{}
5356 Examples: @inputfileref{input/regression,tag-filter.ly}.
5359 @node Quoting other voices
5360 @subsection Quoting other voices
5362 With quotations, fragments of other parts can be inserted into a part
5363 directly. Before a part can be quoted, it must be marked especially as
5364 quotable. This is done with code @code{\addquote} command.
5367 \addquote @var{name} @var{music}
5372 Here, @var{name} is an identifying string. The @var{music} is any kind
5373 of music. This is an example of @code{\addquote}
5376 \addquote clarinet \relative c' {
5381 This command must be entered at toplevel, i.e. outside any music
5384 After calling @code{\addquote}, the quotation may then be done with
5388 \quote @var{name} @var{duration}
5391 During a part, a piece of music can be quoted with the @code{\quote}
5398 This would cite three quarter notes (@code{2.} is a dotted half note)
5399 of the previously added @code{clarinet} voice.
5401 More precisely, it takes the current time-step of the part being
5402 printed, and extracts the notes at the corresponding point of the
5403 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5404 should be the entire part of the voice to be quoted, including any
5405 rests at the beginning.
5407 Quotations take into account the transposition of both source and target
5408 instruments, if they are specified using the @code{\transposition} command.
5410 @lilypond[quote,raggedright,verbatim]
5411 \addquote clarinet \relative c' {
5417 e'8 f'8 \quote clarinet 2
5423 Only the contents of the first @internalsref{Voice} occurring in an
5424 @code{\addquote} command will be considered for quotation, so
5425 @var{music} can not contain @code{\new} and @code{\context Voice}
5426 statements that would switch to a different Voice.
5431 In this manual: @ref{Instrument transpositions}.
5433 Examples: @inputfileref{input/regression,quote.ly}
5434 @inputfileref{input/regression,quote-transposition.ly}
5436 Program reference: @internalsref{QuoteMusic}.
5438 @node Formatting cue notes
5439 @section Formatting cue notes
5442 The previous section deals with inserting notes from another
5443 voice. When making a part, these notes need to be specially formatted.
5444 Here is an example of formatted cue notes
5449 \override Stem #'length = #5.5
5450 \override Beam #'thickness = #0.384
5451 \override Beam #'space-function =
5452 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5456 \set Staff.instrument = #"Horn in F"
5457 \set Score.skipBars = ##t
5460 \once \override Staff.MultiMeasureRest #'staff-position = #-6
5467 r8^"Bsn." c'8 f'8[ f'8]
5477 There are a couple of points to take care of:
5481 The multi rest of the original part should be moved up or down during
5484 Cue notes have smaller font sizes.
5486 When cued notes have a clef change relative to the original part, the
5487 clef should be restored after the cue section. This minimizes
5488 confusion for the reader,
5490 When the original part starts, this should be marked with the name of
5491 the instrument, in this case ``Horn.'' Of course, the cue part is
5492 marked with the instrument playing the cue.
5497 @node Ancient notation
5498 @section Ancient notation
5500 @cindex Vaticana, Editio
5501 @cindex Medicaea, Editio
5506 Support for ancient notation includes features for mensural notation
5507 and Gregorian Chant notation. There is also limited support for
5508 figured bass notation.
5510 Many graphical objects provide a @code{style} property, see
5513 @ref{Ancient note heads},
5515 @ref{Ancient accidentals},
5520 @ref{Ancient clefs},
5524 @ref{Ancient time signatures}.
5527 By manipulating such a grob property, the typographical appearance of
5528 the affected graphical objects can be accommodated for a specific
5529 notation flavor without need for introducing any new notational
5532 Other aspects of ancient notation can not that easily be expressed as
5533 in terms of just changing a style property of a graphical object.
5534 Therefore, some notational concepts are introduced specifically for
5549 * Ancient note heads::
5550 * Ancient accidentals::
5554 * Ancient time signatures::
5558 * Vaticana style contexts::
5562 If this all is too much of documentation for you, and you just want to
5563 dive into typesetting without worrying too much about the details on
5564 how to customize a context, you may have a look at the predefined
5565 contexts (see @ref{Vaticana style contexts}). Use them to set up
5566 predefined style-specific voice and staff contexts, and directly go
5567 ahead with the note entry.
5569 @node Ancient note heads
5570 @subsection Ancient note heads
5575 For ancient notation, a note head style other than the @code{default}
5576 style may be chosen. This is accomplished by setting the @code{style}
5577 property of the NoteHead object to @code{baroque}, @code{neomensural}
5578 or @code{mensural}. The @code{baroque} style differs from the
5579 @code{default} style only in using a square shape for @code{\breve}
5580 note heads. The @code{neomensural} style differs from the
5581 @code{baroque} style in that it uses rhomboidal heads for whole notes
5582 and all smaller durations. Stems are centered on the note heads.
5583 This style is in particular useful when transcribing mensural music,
5584 e.g. for the incipit. The @code{mensural} style finally produces note
5585 heads that mimic the look of note heads in historic printings of the
5588 The following example demonstrates the @code{neomensural} style
5590 @lilypond[quote,fragment,raggedright]
5591 \set Score.skipBars = ##T
5592 \override NoteHead #'style = #'neomensural
5593 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5596 When typesetting a piece in Gregorian Chant notation, the
5597 @internalsref{Gregorian_ligature_engraver} will automatically select
5598 the proper note heads, such there is no need to explicitly set the
5599 note head style. Still, the note head style can be set e.g.@: to
5600 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5601 @internalsref{Mensural_ligature_engraver} is used to automatically
5602 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5607 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
5608 overview over all available note head styles.
5611 @node Ancient accidentals
5612 @subsection Ancient accidentals
5617 Use the @code{style} property of grob @internalsref{Accidental} to
5618 select ancient accidentals. Supported styles are
5619 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5621 @lilypond[quote,raggedright,staffsize=26]
5629 { " " \musicglyph #"accidentals-vaticana-1"
5630 " " \musicglyph #"accidentals-vaticana0" }
5634 { " " \musicglyph #"accidentals-medicaea-1" }
5638 { " " \musicglyph #"accidentals-hufnagel-1" }
5642 { " " \musicglyph #"accidentals-mensural-1"
5643 " " \musicglyph #"accidentals-mensural1" }
5652 \remove "Bar_number_engraver"
5656 \remove "Clef_engraver"
5657 \remove "Key_engraver"
5658 \remove "Time_signature_engraver"
5659 \remove "Staff_symbol_engraver"
5660 minimumVerticalExtent = ##f
5666 As shown, not all accidentals are supported by each style. When
5667 trying to access an unsupported accidental, LilyPond will switch to a
5668 different style, as demonstrated in
5669 @inputfileref{input/test,ancient-accidentals.ly}.
5671 Similarly to local accidentals, the style of the key signature can be
5672 controlled by the @code{style} property of the
5673 @internalsref{KeySignature} grob.
5677 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5678 @ref{Accidentals} give a general introduction into the use of
5679 accidentals. @ref{Key signature} gives a general introduction into
5680 the use of key signatures.
5682 Program reference: @internalsref{KeySignature}.
5684 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
5687 @subsection Ancient rests
5692 Use the @code{style} property of grob @internalsref{Rest} to select
5693 ancient accidentals. Supported styles are @code{classical},
5694 @code{neomensural} and @code{mensural}. @code{classical} differs
5695 from the @code{default} style only in that the quarter rest looks like
5696 a horizontally mirrored 8th rest. The @code{neomensural} style suits
5697 well for e.g. the incipit of a transcribed mensural piece of music.
5698 The @code{mensural} style finally mimics the appearance of rests as
5699 in historic prints of the 16th century.
5701 The following example demonstrates the @code{neomensural} style
5703 @lilypond[quote,fragment,raggedright]
5704 \override Rest #'style = #'neomensural
5705 \set Score.skipBars = ##t
5706 r\longa r\breve r1 r2 r4 r8 r16
5709 There are no 32th and 64th rests specifically for the mensural or
5710 neo-mensural style. Instead, the rests from the default style will be
5711 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5714 There are no rests in Gregorian Chant notation; instead, it uses
5719 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5723 @subsection Ancient clefs
5728 LilyPond supports a variety of clefs, many of them ancient.
5730 The following table shows all ancient clefs that are supported via the
5731 @code{\clef} command. Some of the clefs use the same glyph, but
5732 differ only with respect to the line they are printed on. In such
5733 cases, a trailing number in the name is used to enumerate these clefs.
5734 Still, you can manually force a clef glyph to be typeset on an
5735 arbitrary line, as described in @ref{Clef}. The note printed to the
5736 right side of each clef in the example column denotes the @code{c'}
5737 with respect to that clef.
5739 @multitable @columnfractions .4 .4 .2
5742 @b{Description} @tab
5743 @b{Supported Clefs} @tab
5747 modern style mensural C clef @tab
5748 @code{neomensural_c1}, @code{neomensural_c2},
5749 @code{neomensural_c3}, @code{neomensural_c4} @tab
5750 @lilypond[fragment,quote,relative=1,notime]
5752 \clef "neomensural_c2" c
5756 petrucci style mensural C clefs, for use on different staff lines
5757 (the examples shows the 2nd staff line C clef).
5767 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5769 \clef "petrucci_c2" c
5773 petrucci style mensural F clef @tab
5774 @code{petrucci_f} @tab
5775 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5777 \clef "petrucci_f" c
5781 petrucci style mensural G clef @tab
5782 @code{petrucci_g} @tab
5783 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5785 \clef "petrucci_g" c
5789 historic style mensural C clef @tab
5790 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5791 @code{mensural_c4} @tab
5792 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5794 \clef "mensural_c2" c
5798 historic style mensural F clef @tab
5799 @code{mensural_f} @tab
5800 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5802 \clef "mensural_f" c
5806 historic style mensural G clef @tab
5807 @code{mensural_g} @tab
5808 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5810 \clef "mensural_g" c
5814 Editio Vaticana style do clef @tab
5815 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5816 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5817 \override Staff.StaffSymbol #'line-count = #4
5819 \clef "vaticana_do2" c
5823 Editio Vaticana style fa clef @tab
5824 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5825 @lilypond[quote,relative=1,notime,indent=0.0\mm,fragment]
5826 \override Staff.StaffSymbol #'line-count = #4
5828 \clef "vaticana_fa2" c
5832 Editio Medicaea style do clef @tab
5833 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5834 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5835 \override Staff.StaffSymbol #'line-count = #4
5837 \clef "medicaea_do2" c
5841 Editio Medicaea style fa clef @tab
5842 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5843 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5844 \override Staff.StaffSymbol #'line-count = #4
5846 \clef "medicaea_fa2" c
5850 historic style hufnagel do clef @tab
5851 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5852 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5853 \override Staff.StaffSymbol #'line-count = #4
5855 \clef "hufnagel_do2" c
5859 historic style hufnagel fa clef @tab
5860 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5861 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5862 \override Staff.StaffSymbol #'line-count = #4
5864 \clef "hufnagel_fa2" c
5868 historic style hufnagel combined do/fa clef @tab
5869 @code{hufnagel_do_fa} @tab
5870 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5871 \clef "hufnagel_do_fa" c
5878 @emph{Modern style} means ``as is typeset in contemporary editions of
5879 transcribed mensural music''.
5881 @emph{Petrucci style} means ``inspired by printings published by the
5882 famous engraver Petrucci (1466-1539)''.
5884 @emph{Historic style} means ``as was typeset or written in historic
5885 editions (other than those of Petrucci)''.
5887 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5889 Petrucci used C clefs with differently balanced left-side vertical
5890 beams, depending on which staff line it is printed.
5894 In this manual: see @ref{Clef}.
5898 The mensural g clef is mapped to the Petrucci g clef.
5903 @subsection Ancient flags
5908 Use the @code{flag-style} property of grob @internalsref{Stem} to
5909 select ancient flags. Besides the @code{default} flag style,
5910 only @code{mensural} style is supported
5912 @lilypond[quote,fragment,raggedright,verbatim]
5913 \override Stem #'flag-style = #'mensural
5914 \override Stem #'thickness = #1.0
5915 \override NoteHead #'style = #'mensural
5917 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
5918 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5921 Note that the innermost flare of each mensural flag always is
5922 vertically aligned with a staff line. If you do not like this
5923 behavior, you can set the @code{adjust-if-on-staffline} property of
5924 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5925 of the end of each flare is different between notes on staff lines and
5926 notes between staff lines
5928 @lilypond[quote,fragment,raggedright]
5929 \override Stem #'flag-style = #'mensural
5930 \override Stem #'thickness = #1.0
5931 \override Stem #'adjust-if-on-staffline = ##f
5932 \override NoteHead #'style = #'mensural
5934 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
5935 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5938 There is no particular flag style for neo-mensural notation. Hence,
5939 when typesetting the incipit of a transcribed piece of mensural
5940 music, the default flag style should be used. There are no flags in
5941 Gregorian Chant notation.
5944 @node Ancient time signatures
5945 @subsection Ancient time signatures
5947 @cindex time signatures
5950 There is limited support for mensural time signatures. The
5951 glyphs are hard-wired to particular time fractions. In other words,
5952 to get a particular mensural signature glyph with the @code{\time n/m}
5953 command, @code{n} and @code{m} have to be chosen according to the
5962 \remove Staff_symbol_engraver
5963 \remove Clef_engraver
5964 \remove Time_signature_engraver
5967 \set Score.timing = ##f
5968 \set Score.barAlways = ##t
5969 s_\markup { "$\\backslash$time 4/4" }
5970 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
5972 s_\markup { "$\\backslash$time 2/2" }
5973 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
5975 s_\markup { "$\\backslash$time 6/4" }
5976 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
5978 s_\markup { "$\\backslash$time 6/8" }
5979 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
5981 s_\markup { "$\\backslash$time 3/2" }
5982 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
5984 s_\markup { "$\\backslash$time 3/4" }
5985 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
5987 s_\markup { "$\\backslash$time 9/4" }
5988 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
5990 s_\markup { "$\\backslash$time 9/8" }
5991 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
5993 s_\markup { "$\\backslash$time 4/8" }
5994 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
5996 s_\markup { "$\\backslash$time 2/4" }
5997 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6002 Use the @code{style} property of grob @internalsref{TimeSignature} to
6003 select ancient time signatures. Supported styles are
6004 @code{neomensural} and @code{mensural}. The above table uses the
6005 @code{neomensural} style. This style is appropriate for the
6006 incipit of transcriptions of mensural pieces. The @code{mensural}
6007 style mimics the look of historical printings of the 16th century.
6009 The following examples shows the differences in style,
6010 @lilypond[raggedright]
6013 c1^\markup { \hspace #-2.0 \typewriter default }
6015 \override Staff.TimeSignature #'style = #'numbered
6017 c1^\markup { \hspace #-2.0 \typewriter numbered }
6019 \override Staff.TimeSignature #'style = #'mensural
6021 c1^\markup { \hspace #-2.0 \typewriter mensural }
6023 \override Staff.TimeSignature #'style = #'neomensural
6025 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6026 \override Staff.TimeSignature #'style = #'single-digit
6028 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6034 This manual: @ref{Time signature} gives a general introduction into
6035 the use of time signatures.
6039 Ratios of note durations do not change with the time signature. For
6040 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6041 be made by hand, by setting
6044 breveTP = #(ly:make-duration -1 0 3 2)
6050 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6052 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6053 addressable with @code{\time}. Use a @code{\markup} instead
6056 @subsection Custodes
6061 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6062 symbol that appears at the end of a staff. It anticipates the pitch
6063 of the first note(s) of the following line thus helping the performer
6064 to manage line breaks during performance.
6066 Custodes were frequently used in music notation until the 17th
6067 century. Nowadays, they have survived only in a few particular forms
6068 of musical notation such as contemporary editions of Gregorian chant
6069 like the @emph{editio vaticana}. There are different custos glyphs
6070 used in different flavors of notational style.
6072 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6073 @internalsref{Staff} context when declaring the @code{\paper} block,
6074 as shown in the following example
6080 \consists Custos_engraver
6081 Custos \override #'style = #'mensural
6086 The result looks like this
6088 @lilypond[quote,raggedright]
6092 \override Staff.Custos #'style = #'mensural
6099 \consists Custos_engraver
6105 The custos glyph is selected by the @code{style} property. The styles
6106 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
6107 @code{mensural}. They are demonstrated in the following fragment
6111 \new Lyrics \lyrics {
6114 \typewriter "vaticana"
6115 { " " \musicglyph #"custodes-vaticana-u0" }
6118 \typewriter "medicaea"
6119 { " " \musicglyph #"custodes-medicaea-u0" }
6123 \typewriter "hufnagel"
6124 { " " \musicglyph #"custodes-hufnagel-u0" }
6128 \typewriter "mensural"
6129 { " " \musicglyph #"custodes-mensural-u0" }
6141 Program reference: @internalsref{Custos}.
6143 Examples: @inputfileref{input/regression,custos.ly}.
6147 @subsection Divisiones
6153 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6154 `division') is a staff context symbol that is used to structure
6155 Gregorian music into phrases and sections. The musical meaning of
6156 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
6157 can be characterized as short, medium and long pause, somewhat like
6158 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6159 only marks the end of a chant, but is also frequently used within a
6160 single antiphonal/responsorial chant to mark the end of each section.
6163 To use divisiones, include the file @code{gregorian-init.ly}. It
6164 contains definitions that you can apply by just inserting
6165 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6166 and @code{\finalis} at proper places in the input. Some editions use
6167 @emph{virgula} or @emph{caesura} instead of divisio minima.
6168 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
6171 @lilypondfile[quote,raggedright]{divisiones.ly}
6175 @cindex @code{\virgula}
6177 @cindex @code{\caesura}
6179 @cindex @code{\divisioMinima}
6180 @code{\divisioMinima},
6181 @cindex @code{\divisioMaior}
6182 @code{\divisioMaior},
6183 @cindex @code{\divisioMaxima}
6184 @code{\divisioMaxima},
6185 @cindex @code{\finalis}
6190 In this manual: @ref{Breath marks}.
6192 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6194 Examples: @inputfileref{input/test,divisiones.ly}.
6197 @subsection Ligatures
6201 @c TODO: Should double check if I recalled things correctly when I wrote
6202 @c down the following paragraph by heart.
6204 A ligature is a graphical symbol that represents at least two distinct
6205 notes. Ligatures originally appeared in the manuscripts of Gregorian
6206 chant notation to denote ascending or descending sequences of notes.
6208 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6209 Some ligature styles may need additional input syntax specific for
6210 this particular type of ligature. By default, the
6211 @internalsref{LigatureBracket} engraver just puts a square bracket
6214 @lilypond[quote,raggedright,verbatim]
6222 To select a specific style of ligatures, a proper ligature engraver
6223 has to be added to the @internalsref{Voice} context, as explained in
6224 the following subsections. Only white mensural ligatures
6225 are supported with certain limitations.
6231 Ligatures need special spacing that has not yet been implemented. As
6232 a result, there is too much space between ligatures most of the time,
6233 and line breaking often is unsatisfactory. Also, lyrics do not
6234 correctly align with ligatures.
6236 Accidentals must not be printed within a ligature, but instead need to
6237 be collected and printed in front of it.
6239 Augmentum dots within ligatures are not handled correctly.
6243 * White mensural ligatures::
6244 * Gregorian square neumes ligatures::
6247 @node White mensural ligatures
6248 @subsubsection White mensural ligatures
6250 @cindex Mensural ligatures
6251 @cindex White mensural ligatures
6253 There is limited support for white mensural ligatures.
6255 To engrave white mensural ligatures, in the paper block the
6256 @internalsref{Mensural_ligature_engraver} has to be put into the
6257 @internalsref{Voice} context, and remove the
6258 @internalsref{Ligature_bracket_engraver}
6264 \remove Ligature_bracket_engraver
6265 \consists Mensural_ligature_engraver
6270 There is no additional input language to describe the shape of a
6271 white mensural ligature. The shape is rather determined solely from
6272 the pitch and duration of the enclosed notes. While this approach may
6273 take a new user a while to get accustomed, it has the great advantage
6274 that the full musical information of the ligature is known internally.
6275 This is not only required for correct MIDI output, but also allows for
6276 automatic transcription of the ligatures.
6281 \set Score.timing = ##f
6282 \set Score.defaultBarType = "empty"
6283 \override NoteHead #'style = #'neomensural
6284 \override Staff.TimeSignature #'style = #'neomensural
6286 \[ g\longa c\breve a\breve f\breve d'\longa \]
6288 \[ e1 f1 a\breve g\longa \]
6290 @lilypond[quote,raggedright]
6293 \set Score.timing = ##f
6294 \set Score.defaultBarType = "empty"
6295 \override NoteHead #'style = #'neomensural
6296 \override Staff.TimeSignature #'style = #'neomensural
6298 \[ g\longa c\breve a\breve f\breve d'\longa \]
6300 \[ e1 f1 a\breve g\longa \]
6305 \remove Ligature_bracket_engraver
6306 \consists Mensural_ligature_engraver
6312 Without replacing @internalsref{Ligature_bracket_engraver} with
6313 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6316 @lilypond[quote,raggedright]
6318 \set Score.timing = ##f
6319 \set Score.defaultBarType = "empty"
6320 \override NoteHead #'style = #'neomensural
6321 \override Staff.TimeSignature #'style = #'neomensural
6323 \[ g\longa c\breve a\breve f\breve d'\longa \]
6325 \[ e1 f1 a\breve g\longa \]
6331 The implementation is experimental. It may output strange warnings,
6332 incorrect results, and might even crash on more complex ligatures.
6334 @node Gregorian square neumes ligatures
6335 @subsubsection Gregorian square neumes ligatures
6337 @cindex Square neumes ligatures
6338 @cindex Gregorian square neumes ligatures
6340 There is limited support for Gregorian square neumes notation
6341 (following the style of the Editio Vaticana). Core ligatures can
6342 already be typeset, but essential issues for serious typesetting are
6343 still lacking, such as (among others) horizontal alignment of multiple
6344 ligatures, lyrics alignment and proper accidentals handling.
6347 The following table contains the extended neumes table of the 2nd
6348 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6349 1983 by the monks of Solesmes.
6351 @multitable @columnfractions .4 .2 .2 .2
6354 @b{Neuma aut@*Neumarum Elementa} @tab
6355 @b{Figurae@*Rectae} @tab
6356 @b{Figurae@*Liquescentes Auctae} @tab
6357 @b{Figurae@*Liquescentes Deminutae}
6359 @c TODO: \paper block is identical in all of the below examples.
6360 @c Therefore, it should somehow be included rather than duplicated all
6363 @c why not make identifiers in ly/engraver-init.ly? --hwn
6365 @c Because it's just used to typeset plain notes without
6366 @c a staff for demonstration purposes rather than something
6367 @c special of Gregorian chant notation. --jr
6372 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
6373 \include "gregorian-init.ly"
6378 \noBreak s^\markup {"a"} \noBreak
6380 % Punctum Inclinatum
6382 \noBreak s^\markup {"b"}
6384 \paper { \neumeDemoPaper }}
6387 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
6388 \include "gregorian-init.ly"
6391 % Punctum Auctum Ascendens
6392 \[ \auctum \ascendens b \]
6393 \noBreak s^\markup {"c"} \noBreak
6395 % Punctum Auctum Descendens
6396 \[ \auctum \descendens b \]
6397 \noBreak s^\markup {"d"} \noBreak
6399 % Punctum Inclinatum Auctum
6400 \[ \inclinatum \auctum b \]
6401 \noBreak s^\markup {"e"}
6403 \paper { \neumeDemoPaper }}
6406 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6407 \include "gregorian-init.ly"
6410 % Punctum Inclinatum Parvum
6411 \[ \inclinatum \deminutum b \]
6412 \noBreak s^\markup {"f"}
6414 \paper { \neumeDemoPaper }}
6420 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6421 \include "gregorian-init.ly"
6426 \noBreak s^\markup {"g"}
6428 \paper { \neumeDemoPaper }}
6434 @code{3. Apostropha vel Stropha}
6436 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6437 \include "gregorian-init.ly"
6442 \noBreak s^\markup {"h"}
6444 \paper { \neumeDemoPaper }}
6447 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6448 \include "gregorian-init.ly"
6452 \[ \stropha \auctum b \]
6453 \noBreak s^\markup {"i"}
6455 \paper { \neumeDemoPaper }}
6462 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6463 \include "gregorian-init.ly"
6468 \noBreak s^\markup {"j"}
6470 \paper { \neumeDemoPaper }}
6476 @code{5. Clivis vel Flexa}
6478 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6479 \include "gregorian-init.ly"
6486 \paper { \neumeDemoPaper }}
6489 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6490 \include "gregorian-init.ly"
6493 % Clivis Aucta Descendens
6494 \[ b \flexa \auctum \descendens g \]
6495 \noBreak s^\markup {"l"} \noBreak
6497 % Clivis Aucta Ascendens
6498 \[ b \flexa \auctum \ascendens g \]
6499 \noBreak s^\markup {"m"}
6501 \paper { \neumeDemoPaper }}
6504 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6505 \include "gregorian-init.ly"
6509 \[ b \flexa \deminutum g \]
6512 \paper { \neumeDemoPaper }}
6516 @code{6. Podatus vel Pes}
6518 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6519 \include "gregorian-init.ly"
6526 \paper { \neumeDemoPaper }}
6529 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6530 \include "gregorian-init.ly"
6533 % Pes Auctus Descendens
6534 \[ g \pes \auctum \descendens b \]
6535 \noBreak s^\markup {"p"} \noBreak
6537 % Pes Auctus Ascendens
6538 \[ g \pes \auctum \ascendens b \]
6539 \noBreak s^\markup {"q"}
6541 \paper { \neumeDemoPaper }}
6544 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6545 \include "gregorian-init.ly"
6549 \[ g \pes \deminutum b \]
6552 \paper { \neumeDemoPaper }}
6556 @code{7. Pes Quassus}
6558 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6559 \include "gregorian-init.ly"
6563 \[ \oriscus g \pes \virga b \]
6566 \paper { \neumeDemoPaper }}
6569 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6570 \include "gregorian-init.ly"
6573 % Pes Quassus Auctus Descendens
6574 \[ \oriscus g \pes \auctum \descendens b \]
6577 \paper { \neumeDemoPaper }}
6582 @code{8. Quilisma Pes}
6584 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6585 \include "gregorian-init.ly"
6589 \[ \quilisma g \pes b \]
6592 \paper { \neumeDemoPaper }}
6595 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6596 \include "gregorian-init.ly"
6599 % Quilisma Pes Auctus Descendens
6600 \[ \quilisma g \pes \auctum \descendens b \]
6603 \paper { \neumeDemoPaper }}
6608 @code{9. Podatus Initio Debilis}
6610 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6611 \include "gregorian-init.ly"
6614 % Pes Initio Debilis
6615 \[ \deminutum g \pes b \]
6618 \paper { \neumeDemoPaper }}
6621 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6622 \include "gregorian-init.ly"
6625 % Pes Auctus Descendens Initio Debilis
6626 \[ \deminutum g \pes \auctum \descendens b \]
6629 \paper { \neumeDemoPaper }}
6636 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6637 \include "gregorian-init.ly"
6641 \[ a \pes b \flexa g \]
6644 \paper { \neumeDemoPaper }}
6647 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6648 \include "gregorian-init.ly"
6651 % Torculus Auctus Descendens
6652 \[ a \pes b \flexa \auctum \descendens g \]
6655 \paper { \neumeDemoPaper }}
6658 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6659 \include "gregorian-init.ly"
6662 % Torculus Deminutus
6663 \[ a \pes b \flexa \deminutum g \]
6666 \paper { \neumeDemoPaper }}
6670 @code{11. Torculus Initio Debilis}
6672 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6673 \include "gregorian-init.ly"
6676 % Torculus Initio Debilis
6677 \[ \deminutum a \pes b \flexa g \]
6680 \paper { \neumeDemoPaper }}
6683 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6684 \include "gregorian-init.ly"
6687 % Torculus Auctus Descendens Initio Debilis
6688 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6691 \paper { \neumeDemoPaper }}
6694 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6695 \include "gregorian-init.ly"
6698 % Torculus Deminutus Initio Debilis
6699 \[ \deminutum a \pes b \flexa \deminutum g \]
6702 \paper { \neumeDemoPaper }}
6706 @code{12. Porrectus}
6708 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6709 \include "gregorian-init.ly"
6713 \[ a \flexa g \pes b \]
6716 \paper { \neumeDemoPaper }}
6719 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6720 \include "gregorian-init.ly"
6723 % Porrectus Auctus Descendens
6724 \[ a \flexa g \pes \auctum \descendens b \]
6727 \paper { \neumeDemoPaper }}
6730 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6731 \include "gregorian-init.ly"
6734 % Porrectus Deminutus
6735 \[ a \flexa g \pes \deminutum b \]
6738 \paper { \neumeDemoPaper }}
6744 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6745 \include "gregorian-init.ly"
6749 \[ \virga b \inclinatum a \inclinatum g \]
6752 \paper { \neumeDemoPaper }
6756 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6757 \include "gregorian-init.ly"
6761 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6764 \paper { \neumeDemoPaper }}
6767 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6768 \include "gregorian-init.ly"
6771 % Climacus Deminutus
6772 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6775 \paper { \neumeDemoPaper }}
6779 @code{14. Scandicus}
6781 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6782 \include "gregorian-init.ly"
6786 \[ g \pes a \virga b \]
6789 \paper { \neumeDemoPaper }}
6792 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6793 \include "gregorian-init.ly"
6796 % Scandicus Auctus Descendens
6797 \[ g \pes a \pes \auctum \descendens b \]
6800 \paper { \neumeDemoPaper }}
6803 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6804 \include "gregorian-init.ly"
6807 % Scandicus Deminutus
6808 \[ g \pes a \pes \deminutum b \]
6811 \paper { \neumeDemoPaper }}
6817 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6818 \include "gregorian-init.ly"
6822 \[ g \oriscus a \pes \virga b \]
6825 \paper { \neumeDemoPaper }}
6828 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6829 \include "gregorian-init.ly"
6832 % Salicus Auctus Descendens
6833 \[ g \oriscus a \pes \auctum \descendens b \]
6836 \paper { \neumeDemoPaper }}
6843 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6844 \include "gregorian-init.ly"
6848 \[ \stropha b \stropha b \stropha a \]
6851 \paper { \neumeDemoPaper }
6860 Unlike most other neumes notation systems, the input language for
6861 neumes does not reflect the typographical appearance, but is designed
6862 to focus on musical meaning. For example, @code{\[ a \pes b
6863 \flexa g \]} produces a Torculus consisting of three Punctum heads,
6864 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
6865 curved flexa shape and only a single Punctum head. There is no
6866 command to explicitly typeset the curved flexa shape; the decision of
6867 when to typeset a curved flexa shape is based on the musical
6868 input. The idea of this approach is to separate the musical aspects
6869 of the input from the notation style of the output. This way, the
6870 same input can be reused to typeset the same music in a different
6871 style of Gregorian chant notation.
6873 The following table shows the code fragments that produce the
6874 ligatures in the above neumes table. The letter in the first column
6875 in each line of the below table indicates to which ligature in the
6876 above table it refers. The second column gives the name of the
6877 ligature. The third column shows the code fragment that produces this
6878 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6880 @multitable @columnfractions .1 .4 .5
6894 Punctum Inclinatum @tab
6895 @code{\[ \inclinatum b \]}
6899 Punctum Auctum Ascendens @tab
6900 @code{\[ \auctum \ascendens b \]}
6904 Punctum Auctum Descendens @tab
6905 @code{\[ \auctum \descendens b \]}
6909 Punctum Inclinatum Auctum @tab
6910 @code{\[ \inclinatum \auctum b \]}
6914 Punctum Inclinatum Parvum @tab
6915 @code{\[ \inclinatum \deminutum b \]}
6920 @code{\[ \virga b \]}
6925 @code{\[ \stropha b \]}
6930 @code{\[ \stropha \auctum b \]}
6935 @code{\[ \oriscus b \]}
6939 Clivis vel Flexa @tab
6940 @code{\[ b \flexa g \]}
6944 Clivis Aucta Descendens @tab
6945 @code{\[ b \flexa \auctum \descendens g \]}
6949 Clivis Aucta Ascendens @tab
6950 @code{\[ b \flexa \auctum \ascendens g \]}
6955 @code{\[ b \flexa \deminutum g \]}
6959 Podatus vel Pes @tab
6960 @code{\[ g \pes b \]}
6964 Pes Auctus Descendens @tab
6965 @code{\[ g \pes \auctum \descendens b \]}
6969 Pes Auctus Ascendens @tab
6970 @code{\[ g \pes \auctum \ascendens b \]}
6975 @code{\[ g \pes \deminutum b \]}
6980 @code{\[ \oriscus g \pes \virga b \]}
6984 Pes Quassus Auctus Descendens @tab
6985 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6990 @code{\[ \quilisma g \pes b \]}
6994 Quilisma Pes Auctus Descendens @tab
6995 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6999 Pes Initio Debilis @tab
7000 @code{\[ \deminutum g \pes b \]}
7004 Pes Auctus Descendens Initio Debilis @tab
7005 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7010 @code{\[ a \pes b \flexa g \]}
7014 Torculus Auctus Descendens @tab
7015 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7019 Torculus Deminutus @tab
7020 @code{\[ a \pes b \flexa \deminutum g \]}
7024 Torculus Initio Debilis @tab
7025 @code{\[ \deminutum a \pes b \flexa g \]}
7029 Torculus Auctus Descendens Initio Debilis @tab
7030 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7034 Torculus Deminutus Initio Debilis @tab
7035 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7040 @code{\[ a \flexa g \pes b \]}
7044 Porrectus Auctus Descendens @tab
7045 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7049 Porrectus Deminutus @tab
7050 @code{\[ a \flexa g \pes \deminutum b \]}
7055 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7059 Climacus Auctus @tab
7060 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7064 Climacus Deminutus @tab
7065 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7070 @code{\[ g \pes a \virga b \]}
7074 Scandicus Auctus Descendens @tab
7075 @code{\[ g \pes a \pes \auctum \descendens b \]}
7079 Scandicus Deminutus @tab
7080 @code{\[ g \pes a \pes \deminutum b \]}
7085 @code{\[ g \oriscus a \pes \virga b \]}
7089 Salicus Auctus Descendens @tab
7090 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7095 @code{\[ \stropha b \stropha b \stropha a \]}
7101 The following head prefixes are supported
7103 @cindex @code{\virga}
7105 @cindex @code{\stropha}
7107 @cindex @code{\inclinatum}
7109 @cindex @code{\auctum}
7111 @cindex @code{\descendens}
7113 @cindex @code{\ascendens}
7115 @cindex @code{\oriscus}
7117 @cindex @code{\quilisma}
7119 @cindex @code{\deminutum}
7122 Head prefixes can be accumulated, though restrictions apply. For
7123 example, either @code{\descendens} or @code{\ascendens} can be applied
7124 to a head, but not both to the same head.
7127 @cindex @code{\flexa}
7128 Two adjacent heads can be tied together with the @code{\pes} and
7129 @code{\flexa} infix commands for a rising and falling line of melody,
7134 @node Vaticana style contexts
7135 @subsection Vaticana style contexts
7137 @cindex VaticanaVoiceContext
7138 @cindex VaticanaStaffContext
7140 The predefined @code{VaticanaVoiceContext} and
7141 @code{VaticanaStaffContext} can be used to engrave a piece of
7142 Gregorian Chant in the style of the Editio Vaticana. These contexts
7143 initialize all relevant context properties and grob properties to
7144 proper values, so you can immediately go ahead entering the chant, as
7145 the following excerpt demonstrates
7147 @lilypond[quote,raggedright,verbatim,noindent]
7148 \include "gregorian-init.ly"
7151 \context VaticanaVoice = "cantus" {
7152 \override Score.BarNumber #'transparent = ##t
7154 \[ c'\melisma c' \flexa a \]
7155 \[ a \flexa \deminutum g\melismaEnd \]
7157 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7158 c' \divisioMinima \break
7159 \[ c'\melisma c' \flexa a \]
7160 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7163 \lyricsto "cantus" \new Lyrics {
7164 San- ctus, San- ctus, San- ctus
7171 @subsection Figured bass
7173 @cindex Basso continuo
7175 @c TODO: musicological blurb about FB
7178 LilyPond has limited support for figured bass
7180 @lilypond[quote,verbatim,fragment]
7182 \context Voice { \clef bass dis4 c d ais }
7183 \context FiguredBass \figures {
7184 < 6 >4 < 7 >8 < 6+ [_!] >
7190 The support for figured bass consists of two parts: there is an input
7191 mode, introduced by @code{\figures}, where you can enter bass figures
7192 as numbers, and there is a context called @internalsref{FiguredBass} that
7193 takes care of making @internalsref{BassFigure} objects.
7195 In figures input mode, a group of bass figures is delimited by
7196 @code{<} and @code{>}. The duration is entered after the @code{>}
7200 @lilypond[quote,fragment]
7201 \context FiguredBass
7205 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7211 @lilypond[quote,fragment]
7212 \context FiguredBass
7213 \figures { <4- 6+ 7!> }
7216 Spaces or dashes may be inserted by using @code{_}. Brackets are
7217 introduced with @code{[} and @code{]}
7222 @lilypond[quote,fragment]
7223 \context FiguredBass
7224 \figures { < [4 6] 8 [_! 12]> }
7227 Although the support for figured bass may superficially resemble chord
7228 support, it works much simpler. The @code{\figures} mode simply
7229 stores the numbers , and @internalsref{FiguredBass} context prints
7230 them as entered. There is no conversion to pitches, and no
7231 realizations of the bass are played in the MIDI file.
7233 Internally, the code produces markup texts. You can use any of the
7234 markup text properties to override formatting. For example, the
7235 vertical spacing of the figures may be set with @code{baseline-skip}.
7239 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7240 and @internalsref{FiguredBass} context.
7244 Slash notation for alterations is not supported.
7246 @node Contemporary notation
7247 @section Contemporary notation
7249 In the 20th century, composers have greatly expanded the musical
7250 vocabulary. With this expansion, many innovations in musical notation
7251 have been tried. The book ``Music Notation in the 20th century'' by
7252 Kurt Stone gives a comprehensive overview (see @ref{Literature
7253 list}). In general, the use of new, innovative notation makes a piece
7254 harder to understand and perform and its use should therefore be
7255 avoided. For this reason, support for contemporary notation in
7256 LilyPond is limited.
7260 * Polymetric notation::
7262 * Special fermatas::
7266 @node Polymetric notation
7267 @subsection Polymetric notation
7269 Double time signatures are not supported explicitly, but they can be
7270 faked. In the next example, the markup for the time signature is
7271 created with a markup text. This markup text is inserted in the
7272 @internalsref{TimeSignature} grob.
7274 @lilypond[verbatim,raggedright]
7280 \musicglyph #"scripts-stopped"
7281 \bracket \column < "5" "8" >
7286 \override Staff.TimeSignature #'print-function = #Text_item::print
7287 \override Staff.TimeSignature #'text = #tsMarkup
7289 c'2 \bar ":" c'4 c'4.
7293 Each staff can also have its own time signature. This is done by
7294 moving the @internalsref{Timing_engraver} to @internalsref{Staff}
7301 \remove "Timing_engraver"
7305 \consists "Timing_engraver"
7311 Now, each staff has its own time signature.
7325 c4. c8 c c c4. c8 c c
7330 @lilypond[raggedright]
7334 \remove "Timing_engraver"
7338 \consists "Timing_engraver"
7354 c4. c8 c c c4. c8 c c
7360 A different form of polymetric notation is where note lengths have
7361 different values across staves.
7363 This notation can be created by setting a common time signature for
7364 each staff but replacing it manually using
7365 @code{timeSignatureFraction} to the desired fraction. Then the printed
7366 durations in each staff are scaled to the common time signature.
7367 The latter is done with @code{\compressmusic}, which is similar to
7368 @code{\times}, but does not create a tuplet bracket.
7371 In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
7372 used in parallel. In the second staff, shown durations are multiplied by
7373 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7374 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7376 @lilypond[raggedright,verbatim]
7384 \set Staff.timeSignatureFraction = #'(9 . 8)
7385 \compressmusic #'(2 . 3)
7386 \repeat unfold 6 { c8[ c c] }
7390 \set Staff.timeSignatureFraction = #'(10 . 8)
7391 \compressmusic #'(3 . 5)
7392 { \repeat unfold 2 { c8[ c c] }
7393 \repeat unfold 2 { c8[ c] }
7394 | c4. c4. \times 2/3 { c8 c c } c4 }
7404 When using different time signatures in parallel, the spacing is
7405 aligned vertically, but bar lines distort the regular spacing.
7410 @subsection Clusters
7414 A cluster indicates a continuous range of pitches to be played. They
7415 can be denoted as the envelope of a set of notes. They are entered by
7416 applying the function @code{makeClusters} to a sequence of
7419 @lilypond[quote,verbatim]
7421 \makeClusters { <c e > <b f'> }
7424 The following example (from
7425 @inputfileref{input/regression,cluster.ly}) shows what the result
7428 @lilypondfile[quote]{cluster.ly}
7430 Ordinary notes and clusters can be put together in the same staff,
7431 even simultaneously. In such a case no attempt is made to
7432 automatically avoid collisions between ordinary notes and clusters.
7436 Program reference: @internalsref{ClusterSpanner},
7437 @internalsref{ClusterSpannerBeacon},
7438 @internalsref{Cluster_spanner_engraver}, and
7439 @internalsref{ClusterNoteEvent}.
7441 Examples: @inputfileref{input/regression,cluster.ly}.
7445 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7446 accurately. Use @code{<g a>8 <e a>8} instead.
7450 @node Special fermatas
7451 @subsection Special Fermatas
7453 @cindex fermatas, special
7455 In contemporary music notation, special fermata symbols denote breaks
7456 of differing lengths. The following fermatas are supported
7458 @lilypond[quote,raggedright]
7480 \context Lyrics \lyrics {
7481 \override LyricText #'font-family = #'typewriter
7482 "shortfermata" "fermata" "longfermata" "verylongfermata"
7487 See @ref{Articulations} for general instructions how to apply scripts
7488 such as fermatas to notes.
7490 @node Feathered beams
7491 @subsection Feathered beams
7493 Feathered beams are not supported natively, but they can be faked by
7494 forcing two beams to overlap. Here is an example,
7496 @lilypond[raggedright]
7497 \relative \new Staff <<
7501 \once \override Voice.Beam #'positions = #'(0 . 0.5)
7506 \once \override Voice.Beam #'positions = #'(0 . -0.5)
7514 @node Educational use
7515 @section Educational use
7519 * Blank music paper::
7520 * Notation for excercises::
7521 * Easy Notation note heads::
7525 @subsection Balloon help
7527 Elements of notation can be marked and named with the help of a square
7528 balloon. The primary purpose of this feature is to explain notation.
7530 The following example demonstrates its use.
7532 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7535 #(add-balloon-text 'NoteHead "heads, or tails?"
7541 The function @code{add-balloon-text} takes the name of a grob, the
7542 label to print, and the position where to put the label relative to
7543 the object. In the above example, the text ``heads or tails?'' ends
7544 3 spaces below and 1 space to the right of the marked head.
7547 @cindex notation, explaining
7551 Program reference: @internalsref{text-balloon-interface}.
7553 Examples: @inputfileref{input/regression,balloon.ly}.
7558 @node Blank music paper
7559 @subsection Blank music paper
7561 A blank music paper can be produced also by using invisible notes, and
7562 removing @code{Bar_number_engraver}.
7567 \repeat unfold 2 % Change this for more lines.
7572 \override TimeSignature #'transparent = ##t
7573 defaultBarType = #""
7574 \remove Bar_number_engraver
7576 \context Staff \emptymusic
7577 \context TabStaff \emptymusic
7582 @node Notation for excercises
7583 @subsection Notation for excercises
7587 Invisible (or transparent) notes can be useful, when weird tricks are
7588 needed; especially, a slur cannot be attach to a rest or spacer rest.
7592 blanknotes = { \override NoteHead #'transparent = ##t
7593 \override Stem #'transparent = ##t }
7594 unblanknotes = { \revert NoteHead #'transparent
7595 \revert Stem #'transparent }
7600 \blanknotes e4 f4 \unblanknotes
7606 @node Easy Notation note heads
7607 @subsection Easy Notation note heads
7609 @cindex easy notation
7612 The `easy play' note head includes a note name inside the head. It is
7613 used in music for beginners
7615 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
7620 The command @code{\setEasyHeads} overrides settings for the
7621 @internalsref{NoteHead} object. To make the letters readable, it has
7622 to be printed in a large font size. To print with a larger font, see
7623 @ref{Setting global staff size}.
7627 @cindex @code{\setEasyHeads}
7628 @code{\setEasyHeads}