2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration:
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C:
90 @lilypond[fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches:
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[verbatim,relative=2]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are:
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave:
153 @lilypond[fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands:
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch:
186 @lilypond[fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
220 Rests are entered like notes, with the note name @code{r}:
222 @lilypond[raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone:
236 @lilypond[raggedright,verbatim]
242 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}:
255 @lilypond[raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command:
262 @lilypond[raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables:
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
348 In the following example, the first three notes take up exactly two
350 @lilypond[fragment,relative=2,verbatim]
352 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
377 Whenever a note is found, a @internalsref{Stem} object is created
378 automatically. For whole notes and rests, they are also created but
383 @cindex @code{\stemUp}
385 @cindex @code{\stemDown}
387 @cindex @code{\stemBoth}
398 A tie connects two adjacent note heads of the same pitch. The tie in
399 effect extends the length of a note. Ties should not be confused with
400 slurs, which indicate articulation, or phrasing slurs, which indicate
401 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
403 @lilypond[fragment,verbatim]
404 e' ~ e' <c' e' g'> ~ <c' e' g'>
407 When a tie is applied to a chord, all note heads whose pitches match
408 are connected. When no note heads match, no ties will be created.
410 In its meaning a tie is just a way of extending a note duration, similar
411 to the augmentation dot; in the following example there are two ways of
412 notating exactly the same concept:
414 @lilypond[fragment,raggedright]
415 \time 3/4 c'2. c'2 ~ c'4
417 If you need to tie a lot of notes over bars, it may be easier to use automatic
418 note splitting (see @ref{Automatic note splitting}).
423 @cindex @code{\tieUp}
425 @cindex @code{\tieDown}
427 @cindex @code{\tieBoth}
429 @cindex @code{\tieDotted}
431 @cindex @code{\tieSolid}
436 In this manual: @ref{Automatic note splitting}.
438 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
440 For tying only a subset of the note heads of a pair of chords, see
441 @inputfileref{input/regression,tie-chord-partial.ly}.
446 Switching staves when a tie is active will not produce a slanted tie.
448 Formatting of ties is a difficult subject. The results are often not
458 @cindex @code{\times}
460 Tuplets are made out of a music expression by multiplying all durations
463 @cindex @code{\times}
465 \times @var{fraction} @var{musicexpr}
469 The duration of @var{musicexpr} will be multiplied by the fraction.
470 The fraction's denominator will be printed over the notes, optionally
471 with a bracket. The most common tuplet is the triplet in which 3
472 notes have the length of 2, so the notes are 2/3 of their written
475 @lilypond[fragment,verbatim]
476 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
479 The property @code{tupletSpannerDuration} specifies how long each
480 bracket should last. With this, you can make lots of tuplets while
481 typing @code{\times} only once, saving lots of typing. In the next
482 example, there are two triplets shown, while @code{\times} was only
485 @lilypond[fragment,relative,raggedright,verbatim]
486 \set tupletSpannerDuration = #(ly:make-moment 1 4)
487 \times 2/3 { c'8 c c c c c }
490 The format of the number is determined by the property
491 @code{tupletNumberFormatFunction}. The default prints only the
492 denominator, but if it is set to the Scheme function
493 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
497 @cindex @code{tupletNumberFormatFunction}
498 @cindex tuplet formatting
503 @cindex @code{\tupletUp}
505 @cindex @code{\tupletDown}
507 @cindex @code{\tupletBoth}
512 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
514 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
518 Nested tuplets are not formatted automatically. In this case, outer
519 tuplet brackets should be moved manually, which is demonstrated in
520 @inputfileref{input/regression,tuplet-nest.ly}.
524 @node Easier music entry
525 @section Easier music entry
528 This section deals with tricks and features of the input language that
529 were added solely to help entering music, finding and correcting
530 mistakes. There are also external tools that make debugging easier.
531 See @ref{Point and click} for more information.
533 It is also possible to enter and edit music using other programs. For
534 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
535 website for more information.
542 * Skipping corrected music::
543 * Automatic note splitting::
549 @node Relative octaves
550 @subsection Relative octaves
552 @cindex relative octave specification
554 Octaves are specified by adding @code{'} and @code{,} to pitch names.
555 When you copy existing music, it is easy to accidentally put a pitch
556 in the wrong octave and hard to find such an error. The relative
557 octave mode prevents these errors: a single error puts the rest of the
558 piece off by one octave:
560 @cindex @code{\relative}
562 \relative @var{startpitch} @var{musicexpr}
565 The octave of notes that appear in @var{musicexpr} are calculated as
566 follows: If no octave changing marks are used, the basic interval
567 between this and the last note is always taken to be a fourth or
568 less. This distance is determined without regarding alterations; a
569 @code{fisis} following a @code{ceses} will be put above the
572 The octave changing marks @code{'} and @code{,} can be added to raise
573 or lower the pitch by an extra octave. Upon entering relative mode,
574 an absolute starting pitch must be specified that will act as the
575 predecessor of the first note of @var{musicexpr}.
577 Here is the relative mode shown in action:
578 @lilypond[fragment,raggedright,verbatim]
584 Octave changing marks are used for intervals greater than a fourth:
585 @lilypond[fragment,verbatim]
590 If the preceding item is a chord, the first note of the chord is used
591 to determine the first note of the next chord:
593 @lilypond[fragment,verbatim]
600 @cindex @code{\notes}
602 The pitch after the @code{\relative} contains a note name. To parse
603 the note name as a pitch, it must surrounded by @code{\notes}
605 The relative conversion will not affect @code{\transpose},
606 @code{\chords} or @code{\relative} sections in its argument. If you
607 want to use relative within transposed music, you must place an
608 additional @code{\relative} inside the @code{\transpose}.
611 @subsection Octave check
614 Octave checks make octave errors easier to correct: a note may be
615 followed by @code{=}@var{quotes} which indicates what its absolute
616 octave should be. In the following example,
618 \relative c'' @{ c='' b=' d,='' @}
622 @c take care with @code, adds confusing quotes.
623 the d will generate a warning, because a d'' is expected, but a d' is
624 found. In the output, the octave is corrected for this and the
629 There is also a syntax that is separate from the notes.
634 This checks that @var{pitch} (without octave) yields @var{pitch} (with
635 octave) in \relative mode. If not, a warning is printed, and the
636 octave is corrected, for example, the first check is passed
637 successfully. The second check fails with an error message. The
638 octave is adjusted so the following notes are in the correct octave
649 The octave of a note following an octave check is determined with
650 respect to the note preceding it. In the next fragment, the last note
651 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
652 be deleted without changing the meaning of the piece.
654 @lilypond[verbatim,fragment]
663 @subsection Bar check
667 @cindex @code{barCheckSynchronize}
670 Bar checks help detect errors in the durations. A bar check is
671 entered using the bar symbol, `@code{|}'. Whenever it is encountered
672 during interpretation, it should fall on a measure boundary. If it
673 does not, a warning is printed. In the next example, the second bar
674 check will signal an error:
676 \time 3/4 c2 e4 | g2 |
679 Bar checks can also be used in lyrics, for example
684 Twin -- kle | Twin -- kle
689 @cindex skipTypesetting
691 Failed bar checks are caused by entering incorrect
692 durations. Incorrect durations often completely garble up the score,
693 especially if it is polyphonic, so you should start correcting the
694 score by scanning for failed bar checks and incorrect durations. To
695 speed up this process, you can use @code{skipTypesetting}, described
698 @node Skipping corrected music
699 @subsection Skipping corrected music
701 The property @code{Score.skipTypesetting} can be used to switch on and
702 off typesetting completely during the interpretation phase. When
703 typesetting is switched off, the music is processed much more quickly.
704 This can be used to skip over the parts of a score that have already
705 been checked for errors:
707 @lilypond[fragment,raggedright,verbatim]
709 \set Score.skipTypesetting = ##t
711 \set Score.skipTypesetting = ##f
715 @node Automatic note splitting
716 @subsection Automatic note splitting
718 Long notes can be converted automatically to tied notes. This is done
719 by replacing the @internalsref{Note_heads_engraver} by the
720 @internalsref{Completion_heads_engraver}.
721 In the following examples, notes crossing the bar line are split and tied.
724 @lilypond[noindent,verbatim,relative=1]
726 \remove "Note_heads_engraver"
727 \consists "Completion_heads_engraver"
729 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
733 This engraver splits all running notes at the bar line, and inserts
734 ties. One of its uses is to debug complex scores: if the measures are
735 not entirely filled, then the ties exactly show how much each measure
740 Not all durations (especially those containing tuplets) can be
741 represented exactly; the engraver will not insert tuplets.
745 Examples: @inputfileref{input/regression,completion-heads.ly}.
747 Program reference: @internalsref{Completion_heads_engraver}.
751 @section Staff notation
753 This section describes music notation that occurs on staff level,
754 such as keys, clefs and time signatures.
756 @cindex Staff notation
770 @subsection Staff symbol
772 @cindex adjusting staff symbol
774 Notes, dynamic signs, etc. are grouped
775 with a set of horizontal lines, into a staff (plural `staves'). In our
776 system, these lines are drawn using a separate layout object called
780 @cindex staff lines, setting number of
781 @cindex staff lines, setting thickness of
782 @cindex thickness of staff lines, setting
783 @cindex number of staff lines, setting
787 Program reference: @internalsref{StaffSymbol}.
789 Examples: @inputfileref{input/test,staff-lines.ly},
790 @inputfileref{input/test,staff-size.ly}.
794 If a staff is ended halfway a piece, the staff symbol may not end
795 exactly on the bar line.
799 @subsection Key signature
800 @cindex Key signature
804 The key signature indicates the scale in which a piece is played. It
805 is denoted by a set of alterations (flats or sharps) at the start of
809 Setting or changing the key signature is done with the @code{\key}
812 @code{\key} @var{pitch} @var{type}
815 @cindex @code{\minor}
816 @cindex @code{\major}
817 @cindex @code{\minor}
818 @cindex @code{\ionian}
819 @cindex @code{\locrian}
820 @cindex @code{\aeolian}
821 @cindex @code{\mixolydian}
822 @cindex @code{\lydian}
823 @cindex @code{\phrygian}
824 @cindex @code{\dorian}
826 Here, @var{type} should be @code{\major} or @code{\minor} to get
827 @var{pitch}-major or @var{pitch}-minor, respectively.
828 The standard mode names @code{\ionian},
829 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
830 @code{\phrygian}, and @code{\dorian} are also defined.
832 This command sets the context property
833 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
834 can be specified by setting this property directly.
836 Accidentals and key signatures often confuse new users, because
837 unaltered notes get natural signs depending on the key signature. For
838 more information, see @ref{More about pitches}.
842 The ordering of a key cancellation is wrong when it is combined with
843 repeat bar lines. The cancellation is also printed after a line break.
847 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
849 @cindex @code{keySignature}
856 The clef indicates which lines of the staff correspond to which
860 The clef can be set or changed with the @code{\clef} command:
861 @lilypond[fragment,verbatim]
862 \key f\major c''2 \clef alto g'2
865 Supported clef-names include:
866 @c Moved standard clefs to the top /MB
870 @item treble, violin, G, G2
883 G clef on 1st line, so-called French violin clef
888 @cindex mezzosoprano clef
891 @cindex baritone clef
894 @cindex varbaritone clef
905 By adding @code{_8} or @code{^8} to the clef name, the clef is
906 transposed one octave down or up, respectively, and @code{_15} and
907 @code{^15} transposes by two octaves. The argument @var{clefname}
908 must be enclosed in quotes when it contains underscores or digits. For
912 @cindex choral tenor clef
913 @lilypond[verbatim,fragment,relative]
917 This command is equivalent to setting @code{clefGlyph},
918 @code{clefPosition} (which controls the Y position of the clef),
919 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
920 when any of these properties are changed.
924 Program reference: the object for this symbol is @internalsref{Clef}.
928 @node Ottava brackets
929 @subsection Ottava brackets
931 ``Ottava'' brackets introduce an extra transposition of an octave for
932 the staff. They are created by invoking the function
933 @code{set-octavation}:
939 @lilypond[verbatim,fragment]
948 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
949 (for 15ma) as arguments. Internally the function sets the properties
950 @code{ottavation} (e.g. to @code{"8va"}) and
951 @code{centralCPosition}. For overriding the text of the bracket, set
952 @code{ottavation} after invoking @code{set-octavation}, i.e.,
956 \set Staff.ottavation = #"8"
961 Program reference: @internalsref{OttavaBracket}.
963 Examples: @inputfileref{input/regression,ottava.ly},
964 @inputfileref{input/regression,ottava-broken.ly}.
968 @code{set-octavation} will get confused when clef changes happen
969 during an octavation bracket.
972 @subsection Time signature
973 @cindex Time signature
977 Time signature indicates the metrum of a piece: a regular pattern of
978 strong and weak beats. It is denoted by a fraction at the start of the
982 The time signature is set or changed by the @code{\time}
984 @lilypond[fragment,verbatim]
985 \time 2/4 c'2 \time 3/4 c'2.
988 The symbol that is printed can be customized with the @code{style}
989 property. Setting it to @code{#'()} uses fraction style for 4/4 and
990 2/2 time. There are many more options for its layout. See
991 @inputfileref{input/test,time.ly} for more examples.
994 This command sets the property @code{timeSignatureFraction},
995 @code{beatLength} and @code{measureLength} in the @code{Timing}
996 context, which is normally aliased to @internalsref{Score}. The
997 property @code{measureLength} determines where bar lines should be
998 inserted, and how automatic beams should be generated. Changing the
999 value of @code{timeSignatureFraction} also causes the symbol to be
1002 More options are available through the Scheme function
1003 @code{set-time-signature}. In combination with the
1004 @internalsref{Measure_grouping_engraver}, it will create
1005 @internalsref{MeasureGrouping} signs. Such signs ease reading
1006 rhythmically complex modern music. In the following example, the 9/8
1007 measure is subdivided in 2, 2, 2 and 3. This is passed to
1008 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1011 \score { \notes \relative c'' {
1012 #(set-time-signature 9 8 '(2 2 2 3))
1013 g8[ g] d[ d] g[ g] a8[( bes g]) |
1014 #(set-time-signature 5 8 '(3 2))
1019 \context { \StaffContext
1020 \consists "Measure_grouping_engraver"
1026 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1031 Automatic beaming does not use the measure grouping specified with
1032 @code{set-time-signature}.
1034 @node Partial measures
1035 @subsection Partial measures
1038 @cindex partial measure
1039 @cindex measure, partial
1040 @cindex shorten measures
1041 @cindex @code{\partial}
1043 Partial measures, for example in upsteps, are entered using the
1044 @code{\partial} command:
1045 @lilypond[fragment,verbatim,relative=1]
1046 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1049 The syntax for this command is
1051 \partial @var{duration}
1053 This is internally translated into
1055 \set Timing.measurePosition = -@var{length of duration}
1058 The property @code{measurePosition} contains a rational number
1059 indicating how much of the measure has passed at this point.
1061 @node Unmetered music
1062 @subsection Unmetered music
1064 Bar lines and bar numbers are calculated automatically. For unmetered
1065 music (e.g. cadenzas), this is not desirable. By setting
1066 @code{Score.timing} to false, this automatic timing can be switched
1067 off. Empty bar lines,
1074 indicate where line breaks can occur.
1080 @cindex @code{\cadenzaOn}
1082 @cindex @code{\cadenzaOff}
1086 @subsection Bar lines
1090 @cindex measure lines
1094 Bar lines delimit measures, but are also used to indicate repeats.
1095 Normally, they are inserted automatically. Line breaks may only
1096 happen on bar lines.
1100 of bar lines can be forced with the @code{\bar} command:
1102 @lilypond[relative=1,fragment,verbatim]
1106 The following bar types are available:
1107 @lilypond[fragment,relative,raggedright,verbatim]
1120 For allowing line breaks, there is a special command,
1124 This will insert an invisible bar line, and allow line breaks at this
1127 In scores with many staves, a @code{\bar} command in one staff is
1128 automatically applied to all staves. The resulting bar lines are
1129 connected between different staves of a @internalsref{StaffGroup}:
1131 @lilypond[fragment,verbatim]
1132 << \context StaffGroup <<
1136 \new Staff { \clef bass c4 g e g } >>
1137 \new Staff { \clef bass c2 c2 } >>
1140 A bar line is created whenever the @code{whichBar} property is set.
1141 At the start of a measure it is set to the contents of
1142 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1143 to override default measure bars.
1145 The command @code{\bar }@var{bartype} is a short cut for doing
1146 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1147 is set to a string, a bar line of that type is created.
1150 @cindex repeatCommands
1151 @cindex defaultBarType
1153 You are encouraged to use @code{\repeat} for repetitions. See
1160 In this manual: @ref{Repeats}.
1163 Program reference: the bar line objects that are created at
1164 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1165 lines that span staves are @internalsref{SpanBar} objects.
1167 @cindex bar lines at start of system
1168 @cindex start of system
1170 The bar lines at the start of each system are
1171 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1172 @internalsref{SystemStartBracket}. Only one of these types is created
1173 in every context, and that type is determined by the property
1174 @code{systemStartDelimiter}.
1176 Examples: @inputfileref{input/test,bar-lines.ly},
1182 The easiest way to enter fragments with more than one voice on a staff
1183 is to split chords using the separator @code{\\}. You can use it for
1184 small, short-lived voices or for single chords:
1186 @lilypond[verbatim,fragment]
1187 \context Staff \relative c'' {
1188 c4 << { f d e } \\ { b c2 } >>
1189 c4 << g' \\ b, \\ f' \\ d >>
1193 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1194 voices are sometimes called "layers" other notation packages}
1196 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1197 each of these contexts, vertical direction of slurs, stems, etc. is set
1200 @cindex @code{\voiceOne}
1201 @cindex @code{\voiceFour}
1203 This can also be done by instantiating @internalsref{Voice} contexts
1204 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1205 a stem directions and horizontal shift for each part:
1208 @lilypond[raggedright,verbatim]
1210 \context Staff << \new Voice { \voiceOne cis2 b }
1211 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1212 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1216 The command @code{\oneVoice} will revert back to the normal setting.
1217 @cindex @code{\oneVoice}
1220 Normally, note heads with a different number of dots are not merged, but
1221 when the object property @code{merge-differently-dotted} is set in
1222 the @internalsref{NoteCollision} object, they are merged:
1223 @lilypond[verbatim,fragment,raggedright]
1224 \relative c'' \context Voice << {
1226 \override Staff.NoteCollision
1227 #'merge-differently-dotted = ##t
1229 } \\ { g8.[ f16] g8.[ f16] }
1233 Similarly, you can merge half note heads with eighth notes, by setting
1234 @code{merge-differently-headed}:
1235 @lilypond[fragment,relative=2,verbatim]
1238 \override Staff.NoteCollision
1239 #'merge-differently-headed = ##t
1240 c8 c4. } \\ { c2 c2 } >>
1243 LilyPond also vertically shifts rests that are opposite of a stem:
1246 @lilypond[raggedright,fragment,verbatim]
1247 \context Voice << c''4 \\ r4 >>
1255 @cindex @code{\oneVoice}
1257 @cindex @code{\voiceOne}
1259 @cindex @code{\voiceTwo}
1261 @cindex @code{\voiceThree}
1263 @cindex @code{\voiceFour}
1267 The following commands specify in what chords of the current voice
1268 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1269 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1272 @cindex @code{\shiftOn}
1274 @cindex @code{\shiftOnn}
1276 @cindex @code{\shiftOnnn}
1278 @cindex @code{\shiftOff}
1285 Program reference: the objects responsible for resolving collisions are
1286 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1288 Examples: See also example files
1289 @inputfileref{input/regression,collision-dots.ly},
1290 @inputfileref{input/regression,collision-head-chords.ly},
1291 @inputfileref{input/regression,collision-heads.ly},
1292 @inputfileref{input/regression,collision-mesh.ly}, and
1293 @inputfileref{input/regression,collisions.ly}.
1298 Resolving collisions is a intricate subject, and only a few situations
1299 are handled. When LilyPond cannot cope, the @code{force-hshift}
1300 property of the @internalsref{NoteColumn} object and pitched rests can
1301 be used to override typesetting decisions.
1303 When using @code{merge-differently-headed} with an upstem eighth or a
1304 shorter note, and a downstem half note, the eighth note gets the wrong
1307 There is no support for clusters where the same note occurs with
1308 different accidentals in the same chord. In this case, it is
1309 recommended to use enharmonic transcription, or to use special cluster
1310 notation (see @ref{Clusters}).
1315 Beams are used to group short notes into chunks that are aligned with
1316 the metrum. They are inserted automatically
1318 @lilypond[fragment,verbatim,relative=2]
1319 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1322 When these automatic decisions are not good enough, beaming can be
1323 entered explicitly. It is also possible to define beaming patterns
1324 that differ from the defaults.
1326 Individual notes may be marked with @code{\noBeam}, to prevent them
1329 @lilypond[fragment,verbatim,relative=2]
1330 \time 2/4 c8 c\noBeam c c
1336 Program reference: @internalsref{Beam}.
1339 @cindex Automatic beams
1342 * Setting automatic beam behavior::
1346 @subsection Manual beams
1347 @cindex beams, manual
1351 In some cases it may be necessary to override the automatic beaming
1352 algorithm. For example, the autobeamer will not put beams over rests
1353 or bar lines. Such beams are specified by manually: the begin and end
1354 point are marked with @code{[} and @code{]}:
1356 @lilypond[fragment,relative,verbatim]
1358 r4 r8[ g' a r8] r8 g[ | a] r8
1362 @cindex @code{stemLeftBeamCount}
1364 Normally, beaming patterns within a beam are determined automatically.
1365 If necessary, the properties @code{stemLeftBeamCount} and
1366 @code{stemRightBeamCount} can be used to override the defaults. If
1367 either property is set, its value will be used only once, and then it
1370 @lilypond[fragment,relative,verbatim]
1373 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1376 @cindex @code{stemRightBeamCount}
1379 The property @code{subdivideBeams} can be set in order to subdivide
1380 all 16th or shorter beams at beat positions, as defined by the
1381 @code{beatLength} property.
1384 @lilypond[relative=1,verbatim,noindent]
1386 \set subdivideBeams = ##t
1388 \set Score.beatLength = #(ly:make-moment 1 8)
1391 @cindex subdivideBeams
1393 Kneed beams are inserted automatically, when a large gap is detected
1394 between the note heads. This behavior can be tuned through the object
1395 property @code{auto-knee-gap}.
1397 Normally, line breaks are forbidden when beams cross bar lines. This
1398 behavior can be changed by setting @code{allowBeamBreak}.
1400 @cindex @code{allowBeamBreak}
1401 @cindex beams and line breaks
1403 @cindex beams, kneed
1405 @cindex auto-knee-gap
1411 @cindex Frenched staves
1413 Automatically kneed cross-staff beams cannot be used together with
1419 @node Setting automatic beam behavior
1420 @subsection Setting automatic beam behavior
1422 @cindex @code{autoBeamSettings}
1423 @cindex @code{(end * * * *)}
1424 @cindex @code{(begin * * * *)}
1425 @cindex automatic beams, tuning
1426 @cindex tuning automatic beaming
1428 @c [TODO: use \applycontext]
1430 In normal time signatures, automatic beams can start on any note but can
1431 only end in a few positions within the measure: beams can end on a beat,
1432 or at durations specified by the properties in
1433 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1434 are defined in @file{scm/auto-beam.scm}.
1436 The value of @code{autoBeamSettings} is changed with two functions,
1438 #(override-auto-beam-setting
1439 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1441 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1443 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1444 @var{context} is an optional context (default: @code{'Voice}). It
1445 determines whether the rule applies to begin or end-points. The
1446 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1447 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1448 to a time signature (wildcards `@code{* *}' may be entered to
1449 designate all time signatures), @var{a}/@var{b} is a duration. By
1450 default, this command changes settings for the current voice. It is
1451 also possible to adjust settings at higher contexts, by adding a
1452 @var{context} argument.
1454 For example, if automatic beams should end on every quarter note, use
1457 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1459 Since the duration of a quarter note is 1/4 of a whole note, it is
1460 entered as @code{(ly:make-moment 1 4)}.
1462 The same syntax can be used to specify beam starting points. In this
1463 example, automatic beams can only end on a dotted quarter note:
1465 #(override-auto-beam-setting '(end * * * *) 3 8)
1467 In 4/4 time signature, this means that automatic beams could end only on
1468 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1469 3/8, has passed within the measure).
1471 Rules can also be restricted to specific time signatures. A rule that
1472 should only be applied in @var{N}/@var{M} time signature is formed by
1473 replacing the second asterisks by @var{N} and @var{M}. For example, a
1474 rule for 6/8 time exclusively looks like
1476 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1479 If a rule should be to applied only to certain types of beams, use the
1480 first pair of asterisks. Beams are classified according to the
1481 shortest note they contain. For a beam ending rule that only applies
1482 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1485 @cindex automatic beam generation
1487 @cindex @code{autoBeaming}
1490 If beams are used to indicate melismata in songs, then automatic
1491 beaming should be switched off. This is done by setting
1492 @code{autoBeaming} to @code{#f}.
1496 @cindex @code{\autoBeamOff}
1497 @code{\autoBeamOff},
1498 @cindex @code{\autoBeamOn}
1504 If a score ends while an automatic beam has not been ended and is
1505 still accepting notes, this last beam will not be typeset at all. The
1506 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1507 >>}. If a polyphonic voice ends while an automatic beam is still
1508 accepting notes, it is not typeset.
1510 The rules for ending a beam depend on the shortest note in a beam.
1511 So, while it is possible to have different ending rules for eight
1512 beams and sixteenth beams, a beam that contains both eight and
1513 sixteenth notes will use the rules for the sixteenth beam.
1515 In the example below, the autobeamer makes eight beams and sixteenth
1516 end at 3 eights; the third beam can only be corrected by specifying
1519 @lilypond[raggedright,fragment,relative]
1520 #(override-auto-beam-setting '(end * * * *) 3 8)
1521 % rather show case where it goes wrong
1522 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1523 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1525 It is not possible to specify beaming parameters that act differently in
1526 different parts of a measure. This means that it is not possible to use
1527 automatic beaming in irregular meters such as @code{5/8}.
1530 @section Accidentals
1533 This section describes how to change the way that accidentals are
1534 inserted automatically before the running notes.
1536 Common rules for typesetting accidentals have been canned in a
1537 function. This function is called as follows:
1539 @cindex @code{set-accidental-style}
1541 #(set-accidental-style 'modern 'Voice)
1544 The function takes two arguments: a symbol that denotes the style (in
1545 the example, @code{modern}), and another symbol that denotes the
1546 context name (in this example, @code{Voice}). If no context name is
1547 supplied, @code{Staff} is the default.
1549 The following styles are supported:
1552 This is the default typesetting behavior. It should correspond
1553 to 18th century common practice: Accidentals are
1554 remembered to the end of the measure in which they occur and
1555 only on their own octave.
1559 The normal behavior is to remember the accidentals on
1560 Staff-level. This variable, however, typesets accidentals
1561 individually for each voice. Apart from that, the rule is similar to
1564 This leads to some weird and often unwanted results
1565 because accidentals from one voice do not get canceled in other
1567 @lilypond[raggedright,relative,fragment,verbatim]
1569 #(set-accidental-style 'voice)
1575 Hence you should only use @code{voice} if the voices
1576 are to be read solely by individual musicians. If the staff is to be
1577 used by one musician (e.g. a conductor) then you use
1578 @code{modern} or @code{modern-cautionary}
1582 @cindex @code{modern} style accidentals
1583 This rule corresponds to the common practice in the 20th
1585 This rule prints the same accidentals as @code{default}, but temporary
1586 accidentals also are canceled in other octaves. Furthermore,
1587 in the same octave, they also get canceled in the following
1590 @lilypond[raggedright,fragment,verbatim]
1591 #(set-accidental-style 'modern)
1592 cis' c'' cis'2 | c'' c'
1595 @item @code{modern-cautionary}
1596 @cindex @code{modern-cautionary}
1597 This rule is similar to @code{modern}, but the
1598 ``extra'' accidentals (the ones not typeset by
1599 @code{default}) are typeset as cautionary accidentals.
1600 They are printed in reduced size or with parentheses:
1601 @lilypond[raggedright,fragment,verbatim]
1602 #(set-accidental-style 'modern-cautionary)
1603 cis' c'' cis'2 | c'' c'
1606 @cindex @code{modern-voice}
1608 This rule is used for multivoice accidentals to be read both by musicians
1609 playing one voice and musicians playing all voices. Accidentals are
1610 typeset for each voice, but they @emph{are} canceled across voices in
1611 the same @internalsref{Staff}.
1613 @cindex @code{modern-voice-cautionary}
1614 @item modern-voice-cautionary
1615 This rule is the same as @code{modern-voice}, but with the extra
1616 accidentals (the ones not typeset by @code{voice}) typeset
1617 as cautionaries. Even though all accidentals typeset by
1618 @code{default} @emph{are} typeset by this variable then
1619 some of them are typeset as cautionaries.
1622 @cindex @code{piano} accidentals
1623 This rule reflects 20th century practice for piano notation. Very similar to
1624 @code{modern} but accidentals also get canceled
1625 across the staves in the same @internalsref{GrandStaff} or
1626 @internalsref{PianoStaff}.
1628 @item piano-cautionary
1629 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1630 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1631 typeset as cautionaries.
1634 @cindex @code{no-reset} accidental style
1636 This is the same as @code{default} but with accidentals lasting
1637 ``forever'' and not only until the next measure:
1638 @lilypond[raggedright,fragment,verbatim,relative]
1639 #(set-accidental-style 'no-reset)
1644 This is sort of the opposite of @code{no-reset}: Accidentals
1645 are not remembered at all---and hence all accidentals are
1646 typeset relative to the key signature, regardless of what was
1647 before in the music:
1649 @lilypond[raggedright,fragment,verbatim,relative]
1650 #(set-accidental-style 'forget)
1651 \key d\major c4 c cis cis d d dis dis
1658 Program reference: @internalsref{Accidental_engraver},
1659 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1664 Simultaneous notes are considered to be entered in sequential
1665 mode. This means that in a chord the accidentals are typeset as if the
1666 notes in the chord happened once at a time - in the order in which
1667 they appear in the input file.
1669 This is only a problem when accidentals in a chord depend on each
1670 other. This problem can be solved by manually inserting @code{!} and
1671 @code{?} for the problematic notes.
1673 In the default scheme, accidentals only depend on other
1674 accidentals with the same pitch on the same staff, so no conflicts are
1677 @node Expressive marks
1678 @section Expressive marks
1681 @c todo: should change ordering
1682 @c where to put text spanners, metronome marks,
1691 * Analysis brackets::
1693 * Fingering instructions::
1704 A slur indicates that notes are to be played bound or @emph{legato}.
1707 They are entered using parentheses:
1708 @lilypond[relative=1,fragment,verbatim]
1709 f( g)( a) a8 b( a4 g2 f4)
1714 @c TODO: should explain that ^( and _( set directions
1715 @c should set attachments with ^ and _ ?
1717 Slurs avoid crossing stems, and are generally attached to note heads.
1718 However, in some situations with beams, slurs may be attached to stem
1719 ends. If you want to override this layout you can do this through the
1720 object property @code{attachment} of @internalsref{Slur}. Its value
1721 is a pair of symbols, specifying the attachment type of the left and
1724 @lilypond[fragment,relative,verbatim]
1726 \override Stem #'length = #5.5
1728 \override Slur #'attachment = #'(stem . stem)
1732 If a slur would strike through a stem or beam, the slur will be moved
1733 away upward or downward. If this happens, attaching the slur to the
1734 stems might look better:
1736 @lilypond[fragment,relative,verbatim]
1739 \override Slur #'attachment = #'(stem . stem)
1746 @cindex @code{\slurUp}
1748 @cindex @code{\slurDown}
1750 @cindex @code{\slurBoth}
1752 @cindex @code{\slurDotted}
1754 @cindex @code{\slurSolid}
1759 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1764 Producing nice slurs is a difficult problem, and LilyPond
1765 uses a simple, empiric method to produce slurs. In some cases, its
1769 @cindex Adjusting slurs
1771 @node Phrasing slurs
1772 @subsection Phrasing slurs
1774 @cindex phrasing slurs
1775 @cindex phrasing marks
1777 A phrasing slur (or phrasing mark) connects chords and is used to
1778 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1781 @lilypond[fragment,verbatim,relative]
1782 \time 6/4 c'\( d( e) f( e) d\)
1785 Typographically, the phrasing slur behaves almost exactly like a
1786 normal slur. However, they are treated as different objects. A
1787 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1788 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1789 @code{\phrasingSlurBoth}.
1791 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1792 will only affect normal slurs and not phrasing slurs.
1796 @cindex @code{\phrasingSlurUp}
1797 @code{\phrasingSlurUp},
1798 @cindex @code{\phrasingSlurDown}
1799 @code{\phrasingSlurDown},
1800 @cindex @code{\phrasingSlurBoth}
1801 @code{\phrasingSlurBoth}.
1805 Program reference: see also @internalsref{PhrasingSlur}, and
1806 @internalsref{PhrasingSlurEvent}.
1810 Phrasing slurs have the same limitations in their formatting as normal
1811 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1814 @subsection Breath marks
1816 Breath marks are entered using @code{\breathe}:
1819 @lilypond[fragment,relative,verbatim]
1823 The glyph of the breath mark can be tuned by overriding the
1824 @code{text} property of the @code{BreathingSign} layout object with
1825 any markup text. For example,
1826 @lilypond[fragment,verbatim,relative]
1828 \override BreathingSign #'text
1829 = #(make-musicglyph-markup "scripts-rvarcomma")
1836 Program reference: @internalsref{BreathingSign},
1837 @internalsref{BreathingSignEvent}.
1839 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1842 @node Metronome marks
1843 @subsection Metronome marks
1846 @cindex beats per minute
1847 @cindex metronome marking
1849 Metronome settings can be entered as follows:
1851 \tempo @var{duration} = @var{per-minute}
1854 In the MIDI output, they are interpreted as a tempo change, and in the
1855 paper output, a metronome marking is printed:
1856 @cindex @code{\tempo}
1857 @lilypond[fragment,verbatim]
1863 Program reference: @internalsref{MetronomeChangeEvent}.
1868 @subsection Text spanners
1869 @cindex Text spanners
1871 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1872 are written as texts, and extended over many measures with dotted
1873 lines. You can create such texts using text spanners: attach
1874 @code{\startTextSpan} and @code{\stopTextSpan} to the
1875 start and ending note of the spanner.
1877 The string to be printed, as well as the style, is set through object
1880 @lilypond[fragment,relative,verbatim]
1882 \override TextSpanner #'direction = #-1
1883 \override TextSpanner #'edge-text = #'("rall " . "")
1884 c2\startTextSpan b c\stopTextSpan a }
1890 Internals @internalsref{TextSpanEvent},
1891 @internalsref{TextSpanner}.
1893 Examples: @inputfileref{input/regression,text-spanner.ly}.
1896 @node Analysis brackets
1897 @subsection Analysis brackets
1899 @cindex phrasing brackets
1900 @cindex musicological analysis
1901 @cindex note grouping bracket
1903 Brackets are used in musical analysis to indicate structure in musical
1904 pieces. LilyPond supports a simple form of nested horizontal brackets.
1905 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1906 @internalsref{Staff} context. A bracket is started with
1907 @code{\startGroup} and closed with @code{\stopGroup}:
1909 @lilypond[raggedright,verbatim]
1910 \score { \notes \relative c'' {
1911 c4\startGroup\startGroup
1914 c4\stopGroup\stopGroup
1917 \StaffContext \consists "Horizontal_bracket_engraver"
1923 Program reference: @internalsref{HorizontalBracket},
1924 @internalsref{NoteGroupingEvent}.
1926 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1930 @subsection Articulations
1931 @cindex Articulations
1933 @cindex articulations
1937 A variety of symbols can appear above and below notes to indicate
1938 different characteristics of the performance. They are added to a note
1939 by adding a dash and the character signifying the
1940 articulation. They are demonstrated here:
1942 @lilypondfile[]{script-abbreviations.ly}
1944 The meanings of these shorthands can be changed. See
1945 @file{ly/script-init.ly} for examples.
1948 The script is automatically placed, but if you need to force
1949 directions, you can use @code{_} to force them down, or @code{^} to
1951 @lilypond[fragment,verbatim]
1955 Other symbols can be added using the syntax
1956 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1957 can be forced up or down using @code{^} and @code{_},
1960 @lilypond[verbatim,fragment,relative=2]
1961 c\fermata c^\fermata c_\fermata
1968 @cindex staccatissimo
1977 @cindex organ pedal marks
1986 @cindex prallmordent
1990 @cindex thumb marking
1995 @lilypondfile[]{script-chart.ly}
2000 @cindex @code{\scriptUp}
2002 @cindex @code{\scriptDown}
2004 @cindex @code{\scriptBoth}
2009 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2013 These note ornaments appear in the printed output but have no
2014 effect on the MIDI rendering of the music.
2017 @node Fingering instructions
2018 @subsection Fingering instructions
2022 Fingering instructions can be entered using
2024 @var{note}-@var{digit}
2026 For finger changes, use markup texts:
2028 @lilypond[verbatim,raggedright,fragment]
2029 c'4-1 c'4-2 c'4-3 c'4-4
2030 c'^\markup { \finger "2-3" }
2033 @cindex finger change
2038 You can use the thumb-script to indicate that a note should be
2039 played with the thumb (e.g. in cello music):
2041 @lilypond[verbatim,raggedright,fragment]
2042 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2045 Fingerings for chords can also be added to individual notes
2046 of the chord by adding them after the pitches:
2047 @lilypond[verbatim,raggedright,fragment,relative=1]
2048 < c-1 e-2 g-3 b-5 > 4
2052 In this case, setting @code{fingeringOrientations} will put fingerings next
2055 @lilypond[verbatim,raggedright,fragment,relative=1]
2056 \set fingeringOrientations = #'(left down)
2057 <c-1 es-2 g-4 bes-5 > 4
2058 \set fingeringOrientations = #'(up right down)
2059 <c-1 es-2 g-4 bes-5 > 4
2060 \set fingeringOrientations = #'(right)
2064 The last note demonstrates how fingering instructions can be put close
2065 to note heads in monophonic music, using this feature.
2069 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2071 Examples: @inputfileref{input/regression,finger-chords.ly}.
2074 @subsection Text scripts
2075 @cindex Text scripts
2077 @cindex text items, non-empty
2078 @cindex non-empty texts
2080 It is possible to place arbitrary strings of text or markup text (see
2081 @ref{Text markup}) above or below notes by using a string:
2082 @code{c^"text"}. By default, these indications do not influence the
2083 note spacing, but by using the command @code{\fatText}, the widths
2084 will be taken into account:
2086 @lilypond[fragment,raggedright,verbatim] \relative c' {
2087 c4^"longtext" \fatText c4_"longlongtext" c4 }
2090 It is possible to use @TeX{} commands in the strings, but this should
2091 be avoided because the exact dimensions of the string can then no
2096 @cindex @code{\fatText}
2098 @cindex @code{\emptyText}
2103 In this manual: @ref{Text markup}.
2105 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2111 @subsection Grace notes
2114 @c should have blurb about accaciatura / appogiatura
2116 @cindex @code{\grace}
2120 Grace notes are ornaments that are written out. The most common ones
2121 are acciaccatura, which should be played as very short. It is denoted
2122 by a slurred small note with a slashed stem. The appoggiatura is a
2123 grace note that takes a fixed fraction of the main note, is and
2124 denoted as a slurred note in small print without a slash.
2125 They are entered with the commands @code{\acciaccatura} and
2126 @code{\appoggiatura}, as demonstrated in the following example:
2129 @cindex appoggiatura
2130 @cindex acciaccatura
2132 @lilypond[relative=2,verbatim,fragment]
2133 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2134 \acciaccatura { g16[ f] } e4
2137 Both are special forms of the @code{\grace} command. By prefixing this
2138 keyword to a music expression, a new one is formed, which will be
2139 printed in a smaller font and takes up no logical time in a measure.
2140 @lilypond[relative=2,verbatim,fragment]
2142 \grace { c16[ d16] } c2 c4
2146 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2147 @code{\grace} command does not start a slur.
2149 Internally, timing for grace notes is done using a second, `grace'
2150 time. Every point in time consists of two rational numbers: one
2151 denotes the logical time, one denotes the grace timing. The above
2152 example is shown here with timing tuples:
2154 @lilypond[raggedright]
2157 c4 \grace c16 c4 \grace {
2160 \new Lyrics \lyrics {
2163 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2164 \markup { (\fraction 1 4 , 0 ) } 4
2166 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2167 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2169 \markup { ( \fraction 2 4 , 0 ) }
2174 The placement of grace notes is synchronized between different staves.
2175 In the following example, there are two sixteenth graces notes for
2176 every eighth grace note:
2178 @lilypond[relative=2,verbatim,fragment]
2179 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2180 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2185 If you want to end a note with a grace, then the standard trick
2186 is to put the grace notes after a ``space note'', e.g.
2187 @lilypond[fragment,verbatim,relative=2]
2190 { s2 \grace { c16[ d] } } >>
2196 By adjusting the duration of the skip note (here it is a half-note),
2197 the space between the main-note and the grace is adjusted.
2200 A @code{\grace} section will introduce special typesetting settings,
2201 for example, to produce smaller type, and set directions. Hence, when
2202 introducing layout tweaks, they should be inside the grace section,
2204 @lilypond[fragment,verbatim,relative=1]
2207 \override Stem #'direction = #-1
2209 \revert Stem #'direction
2216 The overrides should also be reverted inside the grace section.
2218 If the layout of grace sections must be changed throughout the music,
2219 then this can be accomplished through the function
2220 @code{add-grace-property}. The following example undefines the Stem
2221 direction for this grace, so stems do not always point up.
2225 #(add-grace-property "Voice" Stem direction '())
2231 Another option is to change the variables @code{startGraceMusic},
2232 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2233 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2234 @code{stopAppoggiaturaMusic}. More information is in the file
2235 @file{ly/grace-init.ly}.
2240 Program reference: @internalsref{GraceMusic}.
2244 A score that starts with an @code{\grace} section needs an explicit
2245 @code{\context Voice} declaration, otherwise the main note and grace
2246 note end up on different staves.
2248 Grace note synchronization can also lead to surprises. Staff notation,
2249 such as key signatures, bar lines, etc. are also synchronized. Take
2250 care when you mix staves with grace notes and staves without, for example,
2252 @lilypond[relative=2,verbatim,fragment]
2253 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2254 \new Staff { c4 \bar "|:" d4 } >>
2258 This can be remedied by inserting grace skips, for the above example
2261 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2264 Grace sections should only be used within sequential music
2265 expressions. Nesting or juxtaposing grace sections is not supported,
2266 and might produce crashes or other errors.
2270 @subsection Glissando
2273 @cindex @code{\glissando}
2275 A glissando is a smooth change in pitch. It is denoted by a line or a
2276 wavy line between two notes.
2279 A glissando line can be requested by attaching a @code{\glissando} to
2282 @lilypond[fragment,relative,verbatim]
2288 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2290 Example files: @file{input/regression,glissando.ly}
2296 Printing text over the line (such as @emph{gliss.}) is not supported.
2300 @subsection Dynamics
2313 @cindex @code{\ffff}
2323 Absolute dynamic marks are specified using a command after a note:
2324 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2325 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2326 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2327 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2329 @lilypond[verbatim,raggedright,fragment,relative]
2330 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2340 A crescendo mark is started with @code{\<} and terminated with
2341 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2342 with @code{\!}. Because these marks are bound to notes, if you must
2343 use spacer notes if multiple marks during one note are needed:
2345 @lilypond[fragment,verbatim]
2346 c''\< c''\! d''\> e''\!
2347 << f''1 { s4 s4\< s4\! \> s4\! } >>
2349 This may give rise to very short hairpins. Use @code{minimum-length}
2350 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2354 \override Staff.Hairpin #'minimum-length = #5
2357 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2358 is an example how to do it:
2360 @lilypond[fragment,relative=2,verbatim]
2370 You can also supply your own texts:
2371 @lilypond[fragment,relative,verbatim]
2373 \set crescendoText = \markup { \italic "cresc. poco" }
2374 \set crescendoSpanner = #'dashed-line
2384 @cindex @code{\dynamicUp}
2386 @cindex @code{\dynamicDown}
2387 @code{\dynamicDown},
2388 @cindex @code{\dynamicBoth}
2389 @code{\dynamicBoth}.
2391 @cindex direction, of dynamics
2395 Program reference: @internalsref{CrescendoEvent},
2396 @internalsref{DecrescendoEvent}, and
2397 @internalsref{AbsoluteDynamicEvent}.
2399 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2400 objects. Vertical positioning of these symbols is handled by the
2401 @internalsref{DynamicLineSpanner} object.
2409 @cindex @code{\repeat}
2412 Repetition is a central concept in music, and multiple notations exist
2413 for repetitions. In LilyPond, most of these notations can be captured
2414 in a uniform syntax. One of the advantages is that they can be
2415 rendered in MIDI accurately.
2417 The following types of repetition are supported:
2421 Repeated music is fully written (played) out. Useful for MIDI
2422 output, and entering repetitive music.
2425 This is the normal notation: Repeats are not written out, but
2426 alternative endings (volte) are printed, left to right.
2430 Alternative endings are written stacked. This has limited use but may be
2431 used to typeset two lines of lyrics in songs with repeats, see
2432 @inputfileref{input,star-spangled-banner.ly}.
2440 Make beat or measure repeats. These look like percent signs.
2446 * Repeats and MIDI::
2447 * Manual repeat commands::
2449 * Tremolo subdivisions::
2454 @subsection Repeat syntax
2457 LilyPond has one syntactic construct for specifying different types of
2458 repeats. The syntax is
2461 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2464 If you have alternative endings, you may add
2465 @cindex @code{\alternative}
2467 \alternative @code{@{} @var{alternative1}
2469 @var{alternative3} @dots{} @code{@}}
2471 where each @var{alternative} is a music expression. If you do not
2472 give enough alternatives for all of the repeats, then the first
2473 alternative is assumed to be played more than once.
2475 Normal notation repeats are used like this:
2476 @lilypond[fragment,verbatim,relative=1]
2478 \repeat volta 2 { c4 d e f }
2479 \repeat volta 2 { f e d c }
2482 With alternative endings:
2483 @lilypond[fragment,verbatim,relative=1]
2485 \repeat volta 2 {c4 d e f}
2486 \alternative { {d2 d} {f f,} }
2490 @lilypond[fragment,verbatim,relative=1]
2493 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2494 \alternative { { g4 g g } { a | a a a a | b2. } }
2500 A nested repeat like
2509 is ambiguous, since it is is not clear to which @code{\repeat} the
2510 @code{\alternative} belongs. This ambiguity is resolved by always
2511 having the @code{\alternative} belong to the inner @code{\repeat}.
2512 For clarity, it is advisable to use braces in such situations.
2515 @node Repeats and MIDI
2516 @subsection Repeats and MIDI
2518 @cindex expanding repeats
2520 For instructions on how to expand repeats for MIDI output, see the
2521 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2526 Timing information is not remembered at the start of an alternative,
2527 so after a repeat timing information must be reset by hand, for
2528 example by setting @code{Score.measurePosition} or entering
2529 @code{\partial}. Similarly, slurs or ties are also not repeated.
2532 @node Manual repeat commands
2533 @subsection Manual repeat commands
2535 @cindex @code{repeatCommands}
2537 The property @code{repeatCommands} can be used to control the layout of
2538 repeats. Its value is a Scheme list of repeat commands, where each repeat
2542 @item the symbol @code{start-repeat},
2543 which prints a @code{|:} bar line,
2544 @item the symbol @code{end-repeat},
2545 which prints a @code{:|} bar line,
2546 @item the list @code{(volta @var{text})},
2547 which prints a volta bracket saying @var{text}: The text can be specified as
2548 a text string or as a markup text, see @ref{Text markup}. Do not
2549 forget to change the font, as the default number font does not contain
2550 alphabetic characters. Or,
2551 @item the list @code{(volta #f)}, which
2552 stops a running volta bracket:
2555 @lilypond[verbatim,fragment,relative=2]
2557 \set Score.repeatCommands = #'((volta "93") end-repeat)
2559 \set Score.repeatCommands = #'((volta #f))
2566 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2567 @internalsref{VoltaRepeatedMusic},
2568 @internalsref{UnfoldedRepeatedMusic}, and
2569 @internalsref{FoldedRepeatedMusic}.
2571 @node Tremolo repeats
2572 @subsection Tremolo repeats
2573 @cindex tremolo beams
2575 To place tremolo marks between notes, use @code{\repeat} with tremolo
2577 @lilypond[verbatim,raggedright]
2579 \context Voice \notes\relative c' {
2580 \repeat "tremolo" 8 { c16 d16 }
2581 \repeat "tremolo" 4 { c16 d16 }
2582 \repeat "tremolo" 2 { c16 d16 }
2587 Tremolo marks can also be put on a single note. In this case, the
2588 note should not be surrounded by braces.
2589 @lilypond[verbatim,raggedright]
2590 \repeat "tremolo" 4 c'16
2593 A similar mechanism is the tremolo subdivision, described in
2594 @ref{Tremolo subdivisions}.
2598 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2600 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2601 tremolos are @internalsref{StemTremolo} objects. The music expression is
2602 @internalsref{TremoloEvent}.
2604 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2605 @inputfileref{input/regression,stem-tremolo.ly}.
2607 @node Tremolo subdivisions
2608 @subsection Tremolo subdivisions
2609 @cindex tremolo marks
2610 @cindex @code{tremoloFlags}
2612 Tremolo marks can be printed on a single note by adding
2613 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2614 A @var{length} value of 8 gives one line across the note stem. If the
2615 length is omitted, then then the last value (stored in
2616 @code{tremoloFlags}) is used:
2618 @lilypond[verbatim,fragment]
2619 c'2:8 c':32 | c': c': |
2622 @c [TODO : stok is te kort bij 32en]
2626 Tremolos entered in this way do not carry over into the MIDI output.
2630 In this manual: @ref{Tremolo repeats}.
2632 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2634 @node Measure repeats
2635 @subsection Measure repeats
2637 @cindex percent repeats
2638 @cindex measure repeats
2640 In the @code{percent} style, a note pattern can be repeated. It is
2641 printed once, and then the pattern is replaced with a special sign.
2642 Patterns of a one and two measures are replaced by percent-like signs,
2643 patterns that divide the measure length are replaced by slashes:
2645 @lilypond[verbatim,raggedright]
2646 \context Voice { \repeat "percent" 4 { c'4 }
2647 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2653 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2654 @internalsref{PercentRepeatedMusic}, and
2655 @internalsref{DoublePercentRepeat}.
2659 @node Rhythmic music
2660 @section Rhythmic music
2664 * Showing melody rhythms::
2665 * Entering percussion::
2666 * Percussion staves::
2670 @node Showing melody rhythms
2671 @subsection Showing melody rhythms
2673 Sometimes you might want to show only the rhythm of a melody. This
2674 can be done with the rhythmic staff. All pitches of notes on such a
2675 staff are squashed, and the staff itself has a single line:
2677 @lilypond[fragment,relative,verbatim]
2678 \context RhythmicStaff {
2680 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2686 Program reference: @internalsref{RhythmicStaff}.
2688 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2691 @node Entering percussion
2692 @subsection Entering percussion
2698 Percussion notes may be entered in @code{\drums} mode, which is
2699 similar to @code{notes}. Each piece of percussion has a full name and
2700 an abbreviated name, and both be used in input files:
2703 hihat hh bassdrum bd
2705 @lilypond[raggedright]
2706 \new DrumStaff \drums { hihat hh bassdrum bd
2710 The complete list of drum names is in the init file
2711 @file{ly/drumpitch-init.ly}.
2712 @c TODO: properly document this.
2716 Program reference: @internalsref{DrumNoteEvent}.
2718 @node Percussion staves
2719 @subsection Percussion staves
2723 A percussion part for more than one instrument typically uses a
2724 multiline staff where each position in the staff refers to one piece
2728 To typeset the music, the notes must be interpreted in a
2729 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2732 @lilypond[raggedright,verbatim]
2733 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2734 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2737 << \new DrumVoice { \voiceOne \up }
2738 \new DrumVoice { \voiceTwo \down }
2742 The above example shows verbose polyphonic notation. The short
2743 polyphonic notation, described in @ref{Polyphony}, can also be used if
2744 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2746 @lilypond[fragment,verbatim]
2747 \drums \new DrumStaff <<
2748 \context DrumVoice = "1" { s1 *2 }
2749 \context DrumVoice = "2" { s1 *2 }
2753 { \repeat unfold 16 hh16 }
2762 There are also other layout possibilities. To use these, set the
2763 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2764 The following variables have been predefined:
2768 is the default. It typesets a typical drum kit on a five-line staff
2771 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2772 bd sn ss tomh tommh tomml toml tomfh tomfl }
2773 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2774 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2776 << \new DrumStaff\with {
2777 \remove Bar_engraver
2778 \remove Time_signature_engraver
2779 \override Stem #'transparent = ##t
2780 \override Stem #'Y-extent-callback = ##f
2781 minimumVerticalExtent = #'(-4.0 . 5.0)
2783 \context Lyrics \nam
2786 %% need to do this, because of indented @itemize
2788 \context { \ScoreContext
2789 \override LyricText #'font-family = #'typewriter
2790 \override BarNumber #'transparent =##T
2794 The drum scheme supports six different toms. When there fewer toms, simply
2795 select the toms that produce the desired result, i.e. to get toms on
2796 the three middle lines you use @code{tommh}, @code{tomml} and
2799 @item timbales-style
2800 to typeset timbales on a two line staff:
2802 @lilypond[raggedright]
2803 nam = \lyrics { timh ssh timl ssl cb }
2804 mus = \drums { timh ssh timl ssl cb s16 }
2807 \context DrumStaff \with {
2808 \remove Bar_engraver
2809 \remove Time_signature_engraver
2810 \override Stem #'transparent = ##t
2811 \override Stem #'Y-extent-callback = ##f
2812 \override StaffSymbol #'line-count = #2
2813 \override StaffSymbol #'staff-space = #2
2814 minimumVerticalExtent = #'(-3.0 . 4.0)
2815 drumStyleTable = #timbales-style
2818 \override LyricText #'font-family = #'typewriter
2825 to typeset congas on a two line staff:
2827 @lilypond[raggedright]
2828 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2829 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2832 \context DrumStaff\with {
2833 \remove Bar_engraver
2834 \remove Time_signature_engraver
2835 drumStyleTable = #congas-style
2836 \override StaffSymbol #'line-count = #2
2838 %% this sucks; it will lengthen stems.
2839 \override StaffSymbol #'staff-space = #2
2840 \override Stem #'transparent = ##t
2841 \override Stem #'Y-extent-callback = ##f
2844 \override LyricText #'font-family = #'typewriter
2850 to typeset bongos on a two line staff:
2852 @lilypond[raggedright]
2853 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2854 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2857 \context DrumStaff\with {
2858 \remove Bar_engraver
2859 \remove Time_signature_engraver
2860 \override StaffSymbol #'line-count = #2
2861 drumStyleTable = #bongos-style
2863 %% this sucks; it will lengthen stems.
2864 \override StaffSymbol #'staff-space = #2
2865 \override Stem #'transparent = ##t
2866 \override Stem #'Y-extent-callback = ##f
2869 \override LyricText #'font-family = #'typewriter
2875 @item percussion-style
2876 to typeset all kinds of simple percussion on one line staves:
2877 @lilypond[raggedright]
2878 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2879 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2882 \context DrumStaff\with{
2883 \remove Bar_engraver
2884 drumStyleTable = #percussion-style
2885 \override StaffSymbol #'line-count = #1
2886 \remove Time_signature_engraver
2887 \override Stem #'transparent = ##t
2888 \override Stem #'Y-extent-callback = ##f
2892 \override LyricText #'font-family = #'typewriter
2899 If you do not like any of the predefined lists you can define your own
2900 list at the top of your file:
2902 @lilypond[raggedright,verbatim]
2904 (bassdrum default #f -1)
2905 (snare default #f 0)
2907 (pedalhihat xcircle "stopped" 2)
2908 (lowtom diamond #f 3)
2910 up = \drums { hh8 hh hh hh hhp4 hhp }
2911 down = \drums { bd4 sn bd toml8 toml }
2914 \set DrumStaff.drumStyleTable
2915 = #(alist->hash-table mydrums)
2916 \new DrumVoice { \voiceOne \up }
2917 \new DrumVoice { \voiceTwo \down }
2925 Init files: @file{ly/drumpitch-init.ly}.
2927 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2931 Because general MIDI does not contain rim shots, the sidestick is used
2932 for this purpose instead.
2935 @section Piano music
2937 Piano staves are two normal staves coupled with a brace. The staves
2938 are largely independent, but sometimes voices can cross between the
2939 two staves. The same notation is also used for harps and other key
2940 instruments. The @internalsref{PianoStaff} is especially built to
2941 handle this cross-staffing behavior. In this section we discuss the
2942 @internalsref{PianoStaff} and some other pianistic peculiarities.
2946 * Automatic staff changes::
2947 * Manual staff switches::
2950 * Staff switch lines::
2955 There is no support for putting chords across staves. You can get
2956 this result by increasing the length of the stem in the lower stave so
2957 it reaches the stem in the upper stave, or vice versa. An example is
2958 included with the distribution as
2959 @inputfileref{input/test,stem-cross-staff.ly}.
2961 Dynamics are not centered, but kludges do exist. See
2962 @inputfileref{input/template,piano-dynamics.ly}.
2964 @cindex cross staff stem
2965 @cindex stem, cross staff
2967 The distance between the two staves is normally fixed across the
2968 entire score. It is possible to tune this per system, but it does
2969 require arcane command incantations. See
2970 @inputfileref{input/test,piano-staff-distance.ly}.
2977 @node Automatic staff changes
2978 @subsection Automatic staff changes
2979 @cindex Automatic staff changes
2981 Voices can switch automatically between the top and the bottom
2982 staff. The syntax for this is
2984 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
2986 The two staves of the piano staff must be named @code{up} and
2989 The autochanger switches on basis of pitch (middle C is the turning
2990 point), and it looks ahead skipping over rests to switch in
2991 advance. Here is a practical example:
2993 @lilypond[verbatim,raggedright]
2994 \score { \notes \context PianoStaff <<
2995 \context Staff = "up" {
2996 \autochange \new Voice \relative c' {
2997 g4 a b c d r4 a g } }
2998 \context Staff = "down" {
3005 In this example, spacer rests are used to prevent the bottom staff from
3006 terminating too soon.
3011 In this manual: @ref{Manual staff switches}.
3013 Program reference: @internalsref{AutoChangeMusic}.
3019 The staff switches often do not end up in optimal places. For high
3020 quality output, staff switches should be specified manually.
3024 @node Manual staff switches
3025 @subsection Manual staff switches
3027 @cindex manual staff switches
3028 @cindex staff switch, manual
3030 Voices can be switched between staves manually, using the following command:
3032 \change Staff = @var{staffname} @var{music}
3036 The string @var{staffname} is the name of the staff. It switches the
3037 current voice from its current staff to the Staff called
3038 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3047 Pianos have pedals that alter the way sound are produced. Generally, a
3048 piano has three pedals, sustain, una corda, and sostenuto.
3051 Piano pedal instruction can be expressed by attaching
3052 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3053 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3056 @lilypond[fragment,verbatim]
3057 c'4\sustainDown c'4\sustainUp
3060 What is printed can be modified by setting @code{pedal@var{X}Strings},
3061 where @var{X} is one of the pedal types: @code{Sustain},
3062 @code{Sostenuto} or @code{UnaCorda}. Refer to
3063 @internalsref{SustainPedal} in the program reference for more
3066 Pedals can also be indicated by a sequence of brackets, by setting the
3067 @code{pedalSustainStyle} property to @code{bracket} objects:
3069 @lilypond[fragment,verbatim,relative=2]
3070 \set Staff.pedalSustainStyle = #'bracket
3072 b\sustainUp\sustainDown
3073 b g \sustainUp a \sustainDown \bar "|."
3076 A third style of pedal notation is a mixture of text and brackets,
3077 obtained by setting the @code{pedalSustainStyle} style property to
3080 @lilypond[fragment,verbatim,relative=2]
3081 \set Staff.pedalSustainStyle = #'mixed
3083 b\sustainUp\sustainDown
3084 b g \sustainUp a \sustainDown \bar "|."
3087 The default `*Ped.' style for sustain and damper pedals corresponds to
3088 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3091 @lilypond[fragment,verbatim,relative=2]
3092 c\sostenutoDown d e c, f g a\sostenutoUp
3095 For fine-tuning of the appearance of a pedal bracket, the properties
3096 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3097 @code{PianoPedalBracket} objects (see
3098 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3099 bracket may be extended to the end of the note head:
3101 @lilypond[fragment,verbatim]
3102 \override Staff.PianoPedalBracket
3103 #'shorten-pair = #'(0 . -1.0)
3104 c\sostenutoDown d e c, f g a\sostenutoUp
3108 @subsection Arpeggio
3111 @cindex broken arpeggio
3112 @cindex @code{\arpeggio}
3114 You can specify an arpeggio sign on a chord by attaching an
3115 @code{\arpeggio} to a chord:
3118 @lilypond[fragment,relative,verbatim]
3122 When an arpeggio crosses staves, you attach an arpeggio to the chords
3123 in both staves, and set
3124 @internalsref{PianoStaff}.@code{connectArpeggios}:
3126 @lilypond[fragment,relative,verbatim]
3127 \context PianoStaff <<
3128 \set PianoStaff.connectArpeggios = ##t
3129 \new Staff { <c' e g c>\arpeggio }
3130 \new Staff { \clef bass <c,, e g>\arpeggio }
3134 The direction of the arpeggio is sometimes denoted by adding an
3135 arrowhead to the wiggly line:
3137 @lilypond[fragment,relative,verbatim]
3146 A square bracket on the left indicates that the player should not
3147 arpeggiate the chord:
3149 @lilypond[fragment,relative,verbatim]
3156 @cindex @code{\arpeggio}
3158 @cindex @code{\arpeggioUp}
3160 @cindex @code{\arpeggioDown}
3162 @cindex @code{\arpeggioBoth}
3163 @code{\arpeggioBoth},
3164 @cindex @code{\arpeggioBracket}
3165 @code{\arpeggioBracket}.
3169 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3170 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3171 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3175 It is not possible to mix connected arpeggios and unconnected
3176 arpeggios in one @internalsref{PianoStaff} at the same time.
3178 @node Staff switch lines
3179 @subsection Staff switch lines
3182 @cindex follow voice
3183 @cindex staff switching
3186 @cindex @code{followVoice}
3188 Whenever a voice switches to another staff a line connecting the notes
3189 can be printed automatically. This is enabled if the property
3190 @code{PianoStaff.followVoice} is set to true:
3192 @lilypond[fragment,relative,verbatim]
3193 \context PianoStaff <<
3194 \set PianoStaff.followVoice = ##t
3195 \context Staff \context Voice {
3200 \context Staff=two { \clef bass \skip 1*2 }
3206 The associated object is @internalsref{VoiceFollower}.
3210 @cindex @code{\showStaffSwitch}
3211 @code{\showStaffSwitch},
3212 @cindex @code{\hideStaffSwitch}
3213 @code{\hideStaffSwitch}.
3217 @section Vocal music
3219 This section discusses how to enter and print lyrics.
3223 * The Lyrics context::
3228 @node Entering lyrics
3229 @subsection Entering lyrics
3233 @cindex @code{\lyrics}
3236 Lyrics are entered in a special input mode. This mode is is introduced
3237 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3238 punctuation and accents without any hassle. Syllables are entered like
3239 notes, but with pitches replaced by text. For example,
3241 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3244 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3245 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3246 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3247 any 8-bit character with ASCII code over 127, or a two-character
3248 combination of a backslash followed by one of @code{`}, @code{'},
3249 @code{"}, or @code{^}.
3251 Subsequent characters of a word can be any character that is not a digit
3252 and not white space. One important consequence of this is that a word
3253 can end with @code{@}}. The following example is usually a bug. The
3254 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3256 \lyrics @{ twinkle@}
3259 @cindex @code{\property}, in @code{\lyrics}
3260 Similarly, a period following a alphabetic sequence, is included in
3261 the resulting string. As a consequence, spaces must be inserted around
3264 \override Score . LyricText #'font-shape = #'italic
3268 @cindex spaces, in lyrics
3269 @cindex quotes, in lyrics
3271 Any @code{_} character which appears in an unquoted word is converted
3272 to a space. This provides a mechanism for introducing spaces into words
3273 without using quotes. Quoted words can also be used in Lyrics mode to
3274 specify words that cannot be written with the above rules:
3277 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3279 However, at least for english texts, you should use
3281 \lyrics @{ He said: ``Let my peo ple go'' @}
3283 to get the correct shape of the starting and ending quote.
3287 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3288 The hyphen will have variable length depending on the space between
3289 the syllables and it will be centered between the syllables.
3294 When a lyric is sung over many notes (this is called a melisma), this is
3295 indicated with a horizontal line centered between a syllable and the
3296 next one. Such a line is called an extender line, and it is entered as
3301 Program reference: events @internalsref{LyricEvent},
3302 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects:
3303 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3304 @internalsref{LyricText}.
3306 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3310 The definition of lyrics mode is too complex.
3314 @node The Lyrics context
3315 @subsection The Lyrics context
3317 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3319 \context Lyrics \lyrics @dots{}
3322 @cindex automatic syllable durations
3323 @cindex @code{\lyricsto}
3324 @cindex lyrics and melodies
3326 This will place the lyrics according to the durations that were
3327 entered. The lyrics can also be aligned under a given melody
3328 automatically. In this case, it is no longer necessary to enter the
3329 correct duration for each syllable. This is achieved by combining the
3330 melody and the lyrics with the @code{\lyricsto} expression:
3332 \lyricsto @var{name} \new Lyrics @dots{}
3335 This aligns the lyrics to the
3337 notes of the @internalsref{Voice} context called @var{name}, which has
3338 to exist. Therefore, normally the @code{Voice} is specified first, and
3339 then the lyrics are specified with @code{\lyricsto}.
3341 For different or more complex orderings, the best way is to setup the
3342 hierarchy of staves and lyrics first, e.g.
3344 \context ChoirStaff \notes <<
3345 \context Lyrics = sopranoLyrics @{ s1 @}
3346 \context Voice = soprano @{ @emph{music} @}
3347 \context Lyrics = tenorLyrics @{ s1 @}
3348 \context Voice = tenor @{ @emph{music} @}
3351 and then combine the appropriate melodies and lyric lines:
3353 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3358 The final input would resemble
3361 << \context ChoirStaff \notes << @emph{setup the music} >>
3362 \lyricsto "soprano" @emph{etc}
3363 \lyricsto "alto" @emph{etc}
3369 The @code{\lyricsto} command detects melismata: it only puts one
3370 syllable under a tied or slurred group of notes. If you want to force
3371 an unslurred group of notes to be a melisma, then insert
3372 @code{\melisma} after the first note of the group, and
3373 @code{\melismaEnd} after the last one, e.g.
3375 @lilypond[relative=1,raggedright,fragment,verbatim]
3376 << \context Voice = "lala" { \time 3/4
3382 \lyricsto "lala" \new Lyrics \lyrics {
3387 In addition, notes are considered a melisma if they are manually
3388 beamed, and automatic beaming (see @ref{Setting automatic beam
3389 behavior}) is switched off. The criteria for deciding melismata can
3390 be tuned with the property @code{melismaBusyProperties}. See
3391 @internalsref{Melisma_translator} in the program reference for more
3394 When multiple stanzas are put on the same melody, it can happen that
3395 two stanzas have melismata in different locations. This can be
3396 remedied by switching off melismata for one
3397 @internalsref{Lyrics}. This is achieved by setting
3398 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3399 in @inputfileref{input/regression,lyric-combine-new.ly}.
3402 @cindex choral score
3404 A complete example of a SATB score setup is in the file
3405 @inputfileref{input/template,satb.ly}.
3410 @code{\melisma}, @code{\melismaEnd}
3411 @cindex @code{\melismaEnd}
3412 @cindex @code{\melisma}
3416 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3417 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3419 Examples: @inputfileref{input/template,satb.ly},
3420 @inputfileref{input/regression,lyric-combine-new.ly}.
3424 Melismata are not detected automatically, and extender lines must be
3428 For proper processing of extender lines, the
3429 @internalsref{Lyrics} and @internalsref{Voice} should be
3430 linked. This can be achieved either by using @code{\lyricsto} or by
3431 setting corresponding names for both contexts. The latter is explained
3432 in @ref{More stanzas}.
3435 @subsection More stanzas
3437 @cindex phrasing, in lyrics
3440 The lyrics should be aligned with the note heads of the melody. To
3441 achieve this, each line of lyrics should be marked to correspond with
3442 the melodic line. This is done automatically when @code{\lyricsto},
3443 but it can also be done manually.
3445 To this end, give the @internalsref{Voice} context an identity:
3447 \context Voice = duet @{
3452 Then set the @internalsref{Lyrics} contexts to names starting with
3453 that identity followed by a dash. In the preceding example, the
3454 @internalsref{Voice} identity is @code{duet}, so the identities of the
3455 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3457 \context Lyrics = "duet-1" @{
3458 Hi, my name is Bert. @}
3459 \context Lyrics = "duet-2" @{
3460 Ooooo, ch\'e -- ri, je t'aime. @}
3463 The complete example is shown here:
3464 @lilypond[raggedright,verbatim]
3466 << \notes \relative c'' \context Voice = duet { \time 3/4
3468 \lyrics << \lyricsto "duet" \new Lyrics {
3469 \set vocalName = "Bert"
3470 Hi, my name is Bert. }
3471 \lyricsto "duet" \new Lyrics {
3472 \set vocalName = "Ernie"
3473 Ooooo, ch\'e -- ri, je t'aime.
3479 @cindex stanza number
3480 @cindex singer's names
3481 @cindex name of singer
3483 Stanza numbers can be added by setting @code{stanza}, e.g.
3485 @lilypond[verbatim,relative=2]
3486 << \context Voice = duet { \time 3/4
3488 \lyrics \lyricsto "duet" \new Lyrics {
3490 Hi, my name is Bert.
3495 This example also demonstrates how names of the singers can be added
3496 using @code{vocalName} analogous to instrument annotations for staves.
3497 A short version may be entered as @code{vocNam}.
3499 To make empty spaces in lyrics, use @code{\skip}.
3504 Program reference: Layout objects @internalsref{LyricText} and
3505 @internalsref{VocalName}. Music expressions:
3506 @internalsref{LyricEvent}.
3512 Input for lyrics introduces a syntactical ambiguity:
3519 is interpreted as assigning a string identifier @code{\foo} such that
3520 it contains @code{"bar"}. However, it could also be interpreted as
3521 making or a music identifier @code{\foo} containing the syllable
3522 `bar'. The force the latter interpretation, use
3532 The term @emph{ambitus} denotes a range of pitches for a given voice
3533 in a part of music. It also may denote the pitch range that a musical
3534 instrument is capable of playing. Ambituses are printed on vocal
3535 parts, so singers can easily determine if it meets his or her
3538 It denoted at the beginning of a piece near the initial clef. The
3539 range is graphically specified by two note heads, that represent the
3540 minimum and maximum pitch. To print such ambituses, add the
3541 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3548 \consists Ambitus_engraver
3553 This results in the following output:
3555 @lilypond[raggedright]
3558 \notes \relative c'' <<
3569 \consists Ambitus_engraver
3575 If you have multiple voices in a single staff, and you want a single
3576 ambitus per staff rather than per each voice, then add the
3577 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3578 rather than to the @internalsref{Voice} context.
3580 It is possible to tune individual ambituses for multiple voices on a
3581 single staff, for example by erasing or shifting them horizontally. An
3582 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3586 Program reference: @internalsref{Ambitus}.
3588 Examples: @inputfileref{input/regression,ambitus.ly},
3589 @inputfileref{input/test,ambitus-mixed.ly}.
3593 There is no collision handling in the case of multiple per-voice
3599 Tablature notation is used for notating music for plucked string
3600 instruments. It notates pitches not by using note heads, but by
3601 indicating on which string and fret a note must be played. LilyPond
3602 offers limited support for tablature.
3605 * Tablatures basic::
3606 * Non-guitar tablatures::
3609 @node Tablatures basic
3610 @subsection Tablatures basic
3611 @cindex Tablatures basic
3613 The string number associated to a note is given as a backslash
3614 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3615 string. By default, string 1 is the highest one, and the tuning
3616 defaults to the standard guitar tuning (with 6 strings). The notes
3617 are printed as tablature, by using @internalsref{TabStaff} and
3618 @internalsref{TabVoice} contexts:
3620 @lilypond[fragment,verbatim]
3621 \notes \context TabStaff {
3629 When no string is specified, the first string that does not give a
3630 fret number less than @code{minimumFret} is selected. The default
3631 value for @code{minimumFret} is 0:
3636 \set TabStaff.minimumFret = #8
3639 @lilypond[noindent,raggedright]
3643 \set TabStaff.minimumFret = #8
3647 \context StaffGroup <<
3648 \context Staff { \clef "G_8" \frag }
3649 \context TabStaff { \frag }
3656 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3657 @internalsref{StringNumberEvent}.
3661 Chords are not handled in a special way, and hence the automatic
3662 string selector may easily select the same string to two notes in a
3666 @node Non-guitar tablatures
3667 @subsection Non-guitar tablatures
3668 @cindex Non-guitar tablatures
3670 You can change the number of strings, by setting the number of lines
3671 in the @internalsref{TabStaff}.
3673 You can change the tuning of the strings. A string tuning is given as
3674 a Scheme list with one integer number for each string, the number
3675 being the pitch (measured in semitones relative to middle C) of an
3676 open string. The numbers specified for @code{stringTuning} are the
3677 numbers of semitones to subtract or add, starting the specified pitch
3678 by default middle C, in string order. Thus, the notes are e, a, d, and
3681 @lilypond[fragment,verbatim]
3682 \context TabStaff <<
3683 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3686 a,4 c' a e' e c' a e'
3693 No guitar special effects have been implemented.
3697 Program reference: @internalsref{Tab_note_heads_engraver}.
3701 @section Chord names
3704 LilyPond has support for both printing chord names. Chords may be
3705 entered in musical chord notation, i.e. @code{< .. >}, but they can
3706 also be entered by name. Internally, the chords are represented as a
3707 set of pitches, so they can be transposed:
3710 @lilypond[verbatim,raggedright]
3711 twoWays = \notes \transpose c c' {
3721 << \context ChordNames \twoWays
3722 \context Voice \twoWays >> }
3725 This example also shows that the chord printing routines do not try to
3726 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3732 * Printing chord names::
3737 @subsection Chords mode
3740 Chord mode is a mode where you can input sets of pitches using common
3741 names. It is introduced by the keyword @code{\chords}.
3742 In chords mode, a chord is entered by the root, which is entered
3743 like a common pitch:
3744 @lilypond[fragment,verbatim,relative=1]
3745 \chords { es4. d8 c2 }
3750 Other chords may be entered by suffixing a colon, and introducing a
3751 modifier, and optionally, a number:
3753 @lilypond[fragment,verbatim]
3754 \chords { e1:m e1:7 e1:m7 }
3756 The first number following the root is taken to be the `type' of the
3757 chord, thirds are added to the root until it reaches the specified
3759 @lilypond[fragment,verbatim]
3760 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3763 @cindex root of chord
3764 @cindex additions, in chords
3765 @cindex removals, in chords
3767 More complex chords may also be constructed adding separate steps
3768 to a chord. Additions are added after the number following
3769 the colon, and are separated by dots:
3771 @lilypond[verbatim,fragment]
3772 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3774 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3776 @lilypond[verbatim,fragment]
3777 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3779 Removals are specified similarly, and are introduced by a caret. They
3780 must come after the additions:
3781 @lilypond[verbatim,fragment]
3782 \chords { c^3 c:7^5 c:9^3.5 }
3785 Modifiers can be used to change pitches. The following modifiers are
3789 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3791 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3794 is the augmented chord. This modifier raises the 5th step.
3796 is the major 7th chord. This modifier raises the 7th step if present.
3798 is the suspended 4th or 2nd. This modifier removes the 3rd
3799 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3802 Modifiers can be mixed with additions:
3803 @lilypond[verbatim,fragment]
3804 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3807 @cindex modifiers, in chords.
3814 Since an unaltered 11 does not sound good when combined with an
3815 unaltered 13, the 11 is removed in this case (unless it is added
3818 @lilypond[fragment,verbatim]
3819 \chords { c:13 c:13.11 c:m13 }
3824 An inversion (putting one pitch of the chord on the bottom), as well
3825 as bass notes, can be specified by appending
3826 @code{/}@var{pitch} to the chord:
3827 @lilypond[fragment,verbatim]
3828 \chords { c1 c/g c/f }
3832 A bass note can be added instead of transposed out of the chord,
3833 by using @code{/+}@var{pitch}.
3835 @lilypond[fragment,verbatim]
3836 \chords { c1 c/+g c/+f }
3839 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3840 of the commands continue to work, for example, @code{r} and
3841 @code{\skip} can be used to insert rests and spaces, and property
3842 commands may be used to change various settings.
3848 Each step can only be present in a chord once. The following
3849 simply produces the augmented chord, since @code{5+} is interpreted
3852 @lilypond[verbatim,fragment]
3853 \chords { c:5.5-.5+ }
3857 @node Printing chord names
3858 @subsection Printing chord names
3860 @cindex printing chord names
3864 For displaying printed chord names, use the @internalsref{ChordNames} context.
3865 The chords may be entered either using the notation
3866 described above, or directly using @code{<} and @code{>}:
3868 @lilypond[verbatim,raggedright]
3870 \chords {a1 b c} <d' f' a'> <e' g' b'>
3874 \context ChordNames \scheme
3875 \context Staff \scheme
3880 You can make the chord changes stand out by setting
3881 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3882 display chord names when there is a change in the chords scheme and at
3883 the start of a new line:
3885 @lilypond[verbatim,linewidth=9\cm]
3887 c1:m c:m \break c:m c:m d
3891 \context ChordNames {
3892 \set chordChanges = ##t
3894 \context Staff \transpose c c' \scheme
3899 The default chord name layout is a system for Jazz music, proposed by
3900 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3901 following properties:
3904 @cindex chordNameExceptions
3905 @item chordNameExceptions
3906 This is a list that contains the chords that have special formatting.
3908 @inputfileref{input/regression,chord-name-exceptions.ly}.
3909 @cindex exceptions, chord names.
3912 @cindex majorSevenSymbol
3913 @item majorSevenSymbol
3914 This property contains the markup object used for the 7th step, when
3915 it is major. Predefined options are @code{whiteTriangleMarkup} and
3916 @code{blackTriangleMarkup}. See
3917 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3919 @cindex chordNameSeparator
3920 @item chordNameSeparator
3921 Different parts of a chord name are normally separated by a
3922 slash. By setting @code{chordNameSeparator}, you can specify other
3924 @lilypond[fragment,verbatim]
3925 \context ChordNames \chords {
3927 \set chordNameSeparator
3928 = \markup { \typewriter "|" }
3932 @cindex chordRootNamer
3933 @item chordRootNamer
3934 The root of a chord is usually printed as a letter with an optional
3935 alteration. The transformation from pitch to letter is done by this
3936 function. Special note names (for example, the German ``H'' for a
3937 B-chord) can be produced by storing a new function in this property.
3939 The predefined variables @code{\germanChords},
3940 @code{\semiGermanChords} set these variables.
3943 @cindex chordNoteNamer
3944 @item chordNoteNamer
3945 The default is to print single pitch, e.g. the bass note, using the
3946 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3947 to a specialized function to change this behavior. For example, the
3948 base can be printed in lower case.
3953 There are also two other chord name schemes implemented: an alternate
3954 Jazz chord notation, and a systematic scheme called Banter chords. The
3955 alternate jazz notation is also shown on the chart in @ref{Chord name
3956 chart}. Turning on these styles is described in the input file
3957 @inputfileref{input/test,chord-names-jazz.ly}.
3961 @cindex chords, jazz
3966 @cindex @code{\germanChords}
3967 @code{\germanChords},
3968 @cindex @code{\semiGermanChords}
3969 @code{\semiGermanChords}.
3976 Examples: @inputfileref{input/regression,chord-name-major7.ly},
3977 @inputfileref{input/regression,chord-name-exceptions.ly},
3978 @inputfileref{input/test,chord-names-jazz.ly},
3979 @inputfileref{input/test,chord-names-german.ly}.
3981 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3986 Chord names are determined solely from the list of pitches. Chord
3987 inversions are not identified, and neither are added bass notes. This
3988 may result in strange chord names when chords are entered with the
3989 @code{< .. >} syntax.
3994 @node Orchestral music
3995 @section Orchestral music
3997 @cindex Writing parts
3999 Orchestral music involves some special notation, both in the full
4000 score and the individual parts. This section explains how to tackle
4001 some common problems in orchestral music.
4006 * Multiple staff contexts::
4009 * Instrument names::
4011 * Instrument transpositions::
4012 * Multi measure rests::
4013 * Automatic part combining::
4015 * Different editions from one source::
4016 * Quoting other voices::
4019 @node Multiple staff contexts
4020 @subsection Multiple staff contexts
4022 Polyphonic scores consist of many staves. These staves can be
4023 constructed in three different ways:
4025 @item The group is started with a brace at the left, and bar lines are
4026 connected. This is done with the @internalsref{GrandStaff} context.
4028 @item The group is started with a bracket, and bar lines are connected. This is done with the
4029 @internalsref{StaffGroup} context
4032 @item The group is started with a vertical line. Bar lines are not
4033 connected. This is the default for the score.
4037 @cindex Staff, multiple
4038 @cindex bracket, vertical
4039 @cindex brace, vertical
4046 @node Rehearsal marks
4047 @subsection Rehearsal marks
4048 @cindex Rehearsal marks
4050 @cindex @code{\mark}
4052 To print a rehearsal mark, use the @code{\mark} command:
4053 @lilypond[fragment,verbatim]
4064 (The letter I is skipped in accordance with engraving traditions.)
4066 The mark is incremented automatically if you use @code{\mark
4067 \default}, but you can also use an integer argument to set the mark
4068 manually. The value to use is stored in the property
4069 @code{rehearsalMark}.
4071 The style is defined by the property @code{markFormatter}. It is a
4072 function taking the current mark (an integer) and the current context
4073 as argument. It should return a markup object. In the following
4074 example, @code{markFormatter} is set to a canned procedure. After a
4075 few measures, it is set to function that produces a boxed number.
4077 @lilypond[verbatim,fragment,relative=1]
4078 \set Score.markFormatter = #format-mark-numbers
4081 \set Score.markFormatter
4082 = #(lambda (mark context)
4083 (make-bold-markup (make-box-markup (number->string mark))))
4088 The file @file{scm/translation-functions.scm} contains the definitions
4089 of @code{format-mark-numbers} (the default format) and
4090 @code{format-mark-letters}. They can be used as inspiration for other
4091 formatting functions.
4094 @cindex coda on bar line
4095 @cindex segno on bar line
4096 @cindex fermata on bar line
4097 @cindex bar lines, symbols on
4099 The @code{\mark} command can also be used to put signs like coda,
4100 segno and fermatas on a bar line. Use @code{\markup} to
4101 to access the appropriate symbol:
4103 @lilypond[fragment,verbatim,relative=1]
4104 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4108 In the case of a line break, marks must also be printed at the end of
4109 the line, and not at the beginning. Use the following to force that
4112 \override Score.RehearsalMark
4113 #'break-visibility = #begin-of-line-invisible
4119 @cindex bar lines, putting symbols on
4123 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4125 Init files: @file{scm/translation-functions.scm} contains the
4126 definition of @code{format-mark-numbers} and
4127 @code{format-mark-letters}. They can be used as inspiration for other
4128 formatting functions.
4130 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4131 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4135 @subsection Bar numbers
4139 @cindex measure numbers
4140 @cindex currentBarNumber
4142 Bar numbers are printed by default at the start of the line. The
4143 number itself is stored in the
4144 @code{currentBarNumber} property,
4145 which is normally updated automatically for every measure.
4147 Bar numbers can be typeset at regular intervals instead of at the
4148 beginning of each line. This is illustrated in the following example,
4149 whose source is available as
4150 @inputfileref{input/test,bar-number-regular-interval.ly}:
4152 @lilypondfile[]{bar-number-regular-interval.ly}
4157 Program reference: @internalsref{BarNumber}.
4159 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4160 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4164 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4165 there is one at the top. To solve this, the
4166 @code{padding} property of @internalsref{BarNumber} can be
4167 used to position the number correctly.
4169 @node Instrument names
4170 @subsection Instrument names
4172 In an orchestral score, instrument names are printed left side of the
4175 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4176 and @internalsref{Staff}.@code{instr}. This will print a string before
4177 the start of the staff. For the first start, @code{instrument} is
4178 used, for the next ones @code{instr} is used.
4181 @lilypond[verbatim,raggedright,relative=2]
4182 \set Staff.instrument = "Ploink "
4183 \set Staff.instr = "Plk "
4190 You can also use markup texts to construct more complicated instrument
4194 @lilypond[fragment,verbatim,raggedright]
4196 \set Staff.instrument = \markup {
4197 \column < "Clarinetti"
4210 Program reference: @internalsref{InstrumentName}.
4214 When you put a name on a grand staff or piano staff the width of the
4215 brace is not taken into account. You must add extra spaces to the end of
4216 the name to avoid a collision.
4219 @subsection Transpose
4221 @cindex transposition of pitches
4222 @cindex @code{\transpose}
4224 A music expression can be transposed with @code{\transpose}. The syntax
4227 \transpose @var{from} @var{to} @var{musicexpr}
4230 This means that @var{musicexpr} is transposed by the interval between
4231 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4232 is changed to @code{to}.
4235 For example, consider a piece written in the key of D major. If
4236 this piece is a little too low for its performer, it can be
4237 transposed up to E major with
4239 \transpose d e @dots{}
4242 Consider a part written for violin (a C instrument). If
4243 this part is to be played on the A clarinet, the following
4244 transposition will produce the appropriate part
4247 \transpose a c @dots{}
4250 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4251 inside a @code{\notes} section. @code{\transpose} distinguishes
4252 between enharmonic pitches: both @code{\transpose c cis} or
4253 @code{\transpose c des} will transpose up half a tone. The first
4254 version will print sharps and the second version will print flats:
4256 @lilypond[raggedright,verbatim]
4257 mus =\notes { \key d \major cis d fis g }
4258 \score { \notes \context Staff {
4261 \transpose c g' \mus
4262 \transpose c f' \mus
4269 Program reference: @internalsref{TransposedMusic}, and
4270 @internalsref{UntransposableMusic}.
4274 If you want to use both @code{\transpose} and @code{\relative}, then
4275 you must put @code{\transpose} outside of @code{\relative}, since
4276 @code{\relative} will have no effect music that appears inside a
4279 @node Instrument transpositions
4280 @subsection Instrument transpositions
4282 The key of a transposing instrument can also be specified. This
4283 applies to many wind instruments, for example, clarinets (B-flat, A and
4284 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4287 The transposition is entered after the keyword @code{\transposition}:
4290 \transposition bes %% B-flat clarinet
4293 This command sets the property @code{instrumentTuning}. The value of
4294 this property is used for MIDI output and quotations. It does not
4295 affect how notes are printed in the current staff.
4297 @cindex transposition, MIDI
4298 @cindex transposition, instrument
4301 @node Multi measure rests
4302 @subsection Multi measure rests
4303 @cindex multi measure rests
4304 @cindex Rests, multi measure
4308 Multi measure rests are entered using `@code{R}'. It is specifically
4309 meant for full bar rests and for entering parts: the rest can expand
4310 to fill a score with rests, or it can be printed as a single
4311 multimeasure rest. This expansion is controlled by the property
4312 @code{Score.skipBars}. If this is set to true, empty measures will not
4313 be expanded, and the appropriate number is added automatically:
4315 @lilypond[fragment,verbatim]
4316 \time 4/4 r1 | R1 | R1*2
4317 \set Score.skipBars = ##t R1*17 R1*4
4320 The @code{1} in @code{R1} is similar to the duration notation used for
4321 notes. Hence, for time signatures other than 4/4, you must enter other
4322 durations. This can be done with augmentation dots or fractions:
4324 @lilypond[fragment,verbatim]
4325 \set Score.skipBars = ##t
4333 An @code{R} spanning a single measure is printed as either a whole rest
4334 or a breve, centered in the measure regardless of the time signature.
4336 @cindex text on multi-measure rest
4337 @cindex script on multi-measure rest
4338 @cindex fermata on multi-measure rest
4340 Texts can be added to multi-measure rests by using the
4341 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4342 replaced. If you need both texts and the number, you must add the
4343 number by hand. A variable (@code{\fermataMarkup}) is provided for
4347 @lilypond[verbatim,fragment]
4349 R2._\markup { "Ad lib" }
4353 If you want to have a text on the left end of a multi-measure rest,
4354 attach the text to a zero-length skip note, i.e.
4362 @cindex whole rests for a full measure
4366 Program reference: @internalsref{MultiMeasureRestEvent},
4367 @internalsref{MultiMeasureTextEvent},
4368 @internalsref{MultiMeasureRestMusicGroup}, and
4369 @internalsref{MultiMeasureRest}.
4371 The layout object @internalsref{MultiMeasureRestNumber} is for the
4372 default number, and @internalsref{MultiMeasureRestText} for user
4377 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4378 over multi-measure rests.
4380 @cindex condensing rests
4382 There is no way to automatically condense multiple rests into a single
4383 multimeasure rest. Multi measure rests do not take part in rest
4386 Be careful when entering multimeasure rests followed by whole
4387 notes. The following will enter two notes lasting four measures each:
4391 When @code{skipBars} is set, then the result will look OK, but the
4392 bar numbering will be off.
4394 @node Automatic part combining
4395 @subsection Automatic part combining
4396 @cindex automatic part combining
4397 @cindex part combiner
4400 Automatic part combining is used to merge two parts of music onto a
4401 staff. It is aimed at typesetting orchestral scores. When the two
4402 parts are identical for a period of time, only one is shown. In
4403 places where the two parts differ, they are typeset as separate
4404 voices, and stem directions are set automatically. Also, solo and
4405 @emph{a due} parts are identified and can be marked.
4408 The syntax for part combining is
4411 \partcombine @var{musicexpr1} @var{musicexpr2}
4414 The music expressions will be interpreted as @internalsref{Voice} contexts.
4416 The following example demonstrates the basic functionality of the part
4417 combiner: putting parts on one staff, and setting stem directions and
4420 @lilypond[verbatim,raggedright,fragment,relative=1]
4421 \new Staff \partcombine
4430 The first @code{g} appears only once, although it was
4431 specified twice (once in each part). Stem, slur and tie directions are
4432 set automatically, depending whether there is a solo or unisono. The
4433 first part (with context called @code{one}) always gets up stems, and
4434 `solo', while the second (called @code{two}) always gets down stems and
4437 If you just want the merging parts, and not the textual markings, you
4438 may set the property @var{soloADue} to false:
4440 @lilypond[verbatim,raggedright,fragment,relative=1]
4442 \set Staff.soloADue = ##f
4454 Program reference: @internalsref{PartCombineMusic},
4455 @internalsref{SoloOneEvent}, and
4456 @internalsref{SoloTwoEvent}, and
4457 @internalsref{UnisonoEvent}.
4461 In @code{soloADue} mode, when the two voices play the same notes on and
4462 off, the part combiner may typeset @code{a2} more than once in a
4465 @code{\partcombine} can not be inside @code{\times}.
4467 Internally, the @code{\partcombine} interprets both arguments as
4468 @code{Voice}s named @code{one} and @code{two}, and then decides when
4469 the parts can be combined. Consequently, if the arguments switch to
4470 differently named @internalsref{Voice} contexts, then the events in
4471 those will be ignored.
4474 @subsection Hiding staves
4476 @cindex Frenched scores
4477 @cindex Hiding staves
4479 In orchestral scores, staff lines that only have rests are usually
4480 removed. This saves some space. This style is called `French Score'.
4481 For @internalsref{Lyrics},
4482 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4483 switched on by default. When these line of these contexts turn out
4484 empty after the line-breaking process, they are removed.
4486 For normal staves, a specialized @internalsref{Staff} context is
4487 available, which does the same: staves containing nothing (or only
4488 multi measure rests) are removed. The context definition is stored in
4489 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4490 in this example disappears in the second line:
4495 \notes \relative c' <<
4496 \new Staff { e4 f g a \break c1 }
4497 \new Staff { c4 d e f \break R1 }
4501 \context { \RemoveEmptyStaffContext }
4506 The first page shows all staves in full. If empty staves should be
4507 removed from the first page too, set @code{remove-first} to false in
4508 @internalsref{RemoveEmptyVerticalGroup}.
4510 Another application is making ossia sections, i.e. alternative
4511 melodies on a separate piece of staff, with help of a Frenched
4512 staff. See @inputfileref{input/test,ossia.ly} for an example.
4515 @node Different editions from one source
4516 @subsection Different editions from one source
4518 The @code{\tag} command marks music expressions with a name. These
4519 tagged expressions can be filtered out later. With this mechanism it
4520 is possible to make different versions of the same music source.
4522 In the following example, we see two versions of a piece of music, one
4523 for the full score, and one with cue notes for the instrumental part:
4539 The same can be applied to articulations, texts, etc.: they are
4542 -\tag #@var{your-tag}
4544 to an articulation, for example,
4549 This defines a note with a conditional fingering indication.
4551 By applying the @code{remove-tag} function, tagged expressions can be
4552 filtered. For example,
4556 \apply #(remove-tag 'score) @var{the music}
4557 \apply #(remove-tag 'part) @var{the music}
4562 @lilypondfile[]{tag-filter.ly}
4564 The argument of the @code{\tag} command should be a symbol, or a list
4565 of symbols, for example,
4567 \tag #'(original-part transposed-part) @dots{}
4572 Examples: @inputfileref{input/regression,tag-filter.ly}.
4575 @node Quoting other voices
4576 @subsection Quoting other voices
4578 With quotations, fragments of other parts can be inserted into a part
4579 directly. Before a part can be quoted, it must be marked especially as
4580 quotable. This is done with code @code{\addquote} command. The
4581 quotation may then be done with @code{\quote}
4584 \addquote @var{name} @var{music}
4585 \quote @var{name} @var{duration}
4590 Here, @var{name} is an identifying string. The @var{music} is any kind
4591 of music. This is an example of @code{\addquote}:
4594 \addquote clarinet \notes\relative c' {
4599 During a part, a piece of music can be quoted with the @code{\quote}
4606 This would cite 3 quarter notes (a dotted half note) of the previously
4607 added clarinet voice.
4609 Quotations take into account the transposition both source and target
4610 instruments, if they are specified using the @code{\transposition} command.
4612 @lilypond[verbatim,fragment]
4613 \addquote clarinet \notes\relative c' {
4619 e'8 f'8 \quote clarinet 2
4625 Only the contents of the first @internalsref{Voice} occurring in an
4626 @code{\addquote} command will be considered for quotation, so
4627 @var{music} can not contain @code{\new} and @code{\context Voice}
4628 statements that would switch to a different Voice.
4633 In this manual: @ref{Instrument transpositions}.
4635 Examples: @inputfileref{input/regression,quote.ly}
4636 @inputfileref{input/regression,quote-transposition.ly}
4638 Program reference: @internalsref{QuoteMusic}.
4640 @node Ancient notation
4641 @section Ancient notation
4643 @cindex Vaticana, Editio
4644 @cindex Medicaea, Editio
4649 Support for ancient notation includes features for mensural notation
4650 and Gregorian Chant notation. There is also limited support for
4651 figured bass notation.
4653 Many graphical objects provide a @code{style} property, see
4654 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4655 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4656 signatures}. By manipulating such a grob property, the typographical
4657 appearance of the affected graphical objects can be accommodated for a
4658 specific notation flavor without need for introducing any new
4661 Other aspects of ancient notation can not that easily be expressed as
4662 in terms of just changing a style property of a graphical object.
4663 Therefore, some notational concepts are introduced specifically for
4664 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4665 @ref{Ligatures}, and @ref{Figured bass}.
4669 * Ancient note heads::
4670 * Ancient accidentals::
4674 * Ancient time signatures::
4679 * Vaticana style contexts::
4682 If this all is way too much of documentation for you, and you just
4683 want to dive into typesetting without worrying too much about the
4684 details on how to customize a context, then you may have a look at the
4685 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4686 set up predefined style-specific voice and staff contexts, and
4687 directly go ahead with the note entry.
4691 Ligatures need special spacing that has not yet been implemented. As
4692 a result, there is too much space between ligatures most of the time,
4693 and line breaking often is unsatisfactory. Also, lyrics do not
4694 correctly align with ligatures.
4696 Accidentals must not be printed within a ligature, but instead need to
4697 be collected and printed in front of it.
4699 Augmentum dots within ligatures are not handled correctly.
4702 @node Ancient note heads
4703 @subsection Ancient note heads
4708 For ancient notation, a note head style other than the @code{default}
4709 style may be chosen. This is accomplished by setting the @code{style}
4710 property of the NoteHead object to the desired value (@code{baroque},
4711 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4712 differs from the @code{default} style only in using a square shape for
4713 @code{\breve} note heads. The @code{neo_mensural} style differs from
4714 the @code{baroque} style in that it uses rhomboidal heads for whole
4715 notes and all smaller durations. Stems are centered on the note
4716 heads. This style is in particular useful when transcribing mensural
4717 music, e.g. for the incipit. The @code{mensural} style finally
4718 produces note heads that mimic the look of note heads in historic
4719 printings of the 16th century.
4721 The following example demonstrates the @code{neo_mensural} style:
4723 @lilypond[fragment,raggedright,verbatim]
4724 \override NoteHead #'style = #'neo_mensural
4725 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4728 When typesetting a piece in Gregorian Chant notation, a Gregorian
4729 ligature engraver will automatically select the proper note heads,
4730 such there is no need to explicitly set the note head style. Still,
4731 the note head style can be set e.g. to @code{vaticana_punctum} to
4732 produce punctum neumes. Similarly, a mensural ligature engraver is
4733 used to automatically assemble mensural ligatures. See
4734 @ref{Ligatures} for how ligature engravers work.
4739 @ref{Percussion staves} use note head styles of their own that are
4740 frequently used in contemporary music notation.
4742 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4743 overview over all available note head styles.
4746 @node Ancient accidentals
4747 @subsection Ancient accidentals
4752 Use the @code{style} property of grob @internalsref{Accidental} to
4753 select ancient accidentals. Supported styles are
4754 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4756 @lilypond[raggedright,staffsize=26]
4764 { " " \musicglyph #"accidentals-vaticana-1"
4765 " " \musicglyph #"accidentals-vaticana0" }
4769 { " " \musicglyph #"accidentals-medicaea-1" }
4773 { " " \musicglyph #"accidentals-hufnagel-1" }
4777 { " " \musicglyph #"accidentals-mensural-1"
4778 " " \musicglyph #"accidentals-mensural1" }
4787 \remove "Bar_number_engraver"
4791 \remove "Clef_engraver"
4792 \remove "Key_engraver"
4793 \remove "Time_signature_engraver"
4794 \remove "Staff_symbol_engraver"
4795 minimumVerticalExtent = ##f
4801 As shown, not all accidentals are supported by each style. When
4802 trying to access an unsupported accidental, LilyPond will switch to a
4803 different style, as demonstrated in
4804 @inputfileref{input/test,ancient-accidentals.ly}.
4806 Similarly to local accidentals, the style of the key signature can be
4807 controlled by the @code{style} property of the
4808 @internalsref{KeySignature} grob.
4812 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4813 @ref{Accidentals} give a general introduction into the use of
4814 accidentals. @ref{Key signature} gives a general introduction into
4815 the use of key signatures.
4817 Program reference: @internalsref{KeySignature}.
4819 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4822 @subsection Ancient rests
4827 Use the @code{style} property of grob @internalsref{Rest} to select
4828 ancient accidentals. Supported styles are @code{classical},
4829 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4830 from the @code{default} style only in that the quarter rest looks like
4831 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4832 well for e.g. the incipit of a transcribed mensural piece of music.
4833 The @code{mensural} style finally mimics the appearance of rests as
4834 in historic prints of the 16th century.
4836 The following example demonstrates the @code{neo_mensural} style:
4838 @lilypond[fragment,raggedright,verbatim]
4839 \override Rest #'style = #'neo_mensural
4840 r\longa r\breve r1 r2 r4 r8 r16
4843 There are no 32th and 64th rests specifically for the mensural or
4844 neo-mensural style. Instead, the rests from the default style will be
4845 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4848 There are no rests in Gregorian Chant notation; instead, it uses
4853 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4857 @subsection Ancient clefs
4862 LilyPond supports a variety of clefs, many of them ancient.
4864 The following table shows all ancient clefs that are supported via the
4865 @code{\clef} command. Some of the clefs use the same glyph, but
4866 differ only with respect to the line they are printed on. In such
4867 cases, a trailing number in the name is used to enumerate these clefs.
4868 Still, you can manually force a clef glyph to be typeset on an
4869 arbitrary line, as described in @ref{Clef}. The note printed to the
4870 right side of each clef in the example column denotes the @code{c'}
4871 with respect to that clef.
4873 @multitable @columnfractions .3 .3 .3 .1
4877 @b{Description} @tab
4878 @b{Supported Clefs} @tab
4882 @code{clefs-neo_mensural_c} @tab
4883 modern style mensural C clef @tab
4884 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4885 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4886 @lilypond[relative,notime]
4887 \override Staff.TimeSignature #'transparent = ##t
4888 \clef "neo_mensural_c2" c
4892 @code{clefs-petrucci_c1}
4893 @code{clefs-petrucci_c2}
4894 @code{clefs-petrucci_c3}
4895 @code{clefs-petrucci_c4}
4896 @code{clefs-petrucci_c5}
4899 petrucci style mensural C clefs, for use on different staff lines
4900 (the examples shows the 2nd staff line C clef).
4910 @lilypond[relative,notime]
4911 \override Staff.TimeSignature #'transparent = ##t
4912 \clef "petrucci_c2" c
4916 @code{clefs-petrucci_f} @tab
4917 petrucci style mensural F clef @tab
4918 @code{petrucci_f} @tab
4919 @lilypond[relative,notime]
4920 \override Staff.TimeSignature #'transparent = ##t
4921 \clef "petrucci_f" c
4925 @code{clefs-petrucci_g} @tab
4926 petrucci style mensural G clef @tab
4927 @code{petrucci_g} @tab
4928 @lilypond[relative,notime]
4929 \override Staff.TimeSignature #'transparent = ##t
4930 \clef "petrucci_g" c
4934 @code{clefs-mensural_c} @tab
4935 historic style mensural C clef @tab
4936 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4937 @code{mensural_c4} @tab
4938 @lilypond[relative,notime]
4939 \override Staff.TimeSignature #'transparent = ##t
4940 \clef "mensural_c2" c
4944 @code{clefs-mensural_f} @tab
4945 historic style mensural F clef @tab
4946 @code{mensural_f} @tab
4947 @lilypond[relative,notime]
4948 \override Staff.TimeSignature #'transparent = ##t
4949 \clef "mensural_f" c
4953 @code{clefs-mensural_g} @tab
4954 historic style mensural G clef @tab
4955 @code{mensural_g} @tab
4956 @lilypond[relative,notime]
4957 \override Staff.TimeSignature #'transparent = ##t
4958 \clef "mensural_g" c
4962 @code{clefs-vaticana_do} @tab
4963 Editio Vaticana style do clef @tab
4964 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4965 @lilypond[relative,notime]
4966 \override Staff.StaffSymbol #'line-count = #4
4967 \override Staff.TimeSignature #'transparent = ##t
4968 \clef "vaticana_do2" c
4972 @code{clefs-vaticana_fa} @tab
4973 Editio Vaticana style fa clef @tab
4974 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4975 @lilypond[relative,notime]
4976 \override Staff.StaffSymbol #'line-count = #4
4977 \override Staff.TimeSignature #'transparent = ##t
4978 \clef "vaticana_fa2" c
4982 @code{clefs-medicaea_do} @tab
4983 Editio Medicaea style do clef @tab
4984 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4985 @lilypond[relative,notime]
4986 \override Staff.StaffSymbol #'line-count = #4
4987 \override Staff.TimeSignature #'transparent = ##t
4988 \clef "medicaea_do2" c
4992 @code{clefs-medicaea_fa} @tab
4993 Editio Medicaea style fa clef @tab
4994 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4995 @lilypond[relative,notime]
4996 \override Staff.StaffSymbol #'line-count = #4
4997 \override Staff.TimeSignature #'transparent = ##t
4998 \clef "medicaea_fa2" c
5002 @code{clefs-hufnagel_do} @tab
5003 historic style hufnagel do clef @tab
5004 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5005 @lilypond[relative,notime]
5006 \override Staff.StaffSymbol #'line-count = #4
5007 \override Staff.TimeSignature #'transparent = ##t
5008 \clef "hufnagel_do2" c
5012 @code{clefs-hufnagel_fa} @tab
5013 historic style hufnagel fa clef @tab
5014 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5015 @lilypond[relative,notime]
5016 \override Staff.StaffSymbol #'line-count = #4
5017 \override Staff.TimeSignature #'transparent = ##t
5018 \clef "hufnagel_fa2" c
5022 @code{clefs-hufnagel_do_fa} @tab
5023 historic style hufnagel combined do/fa clef @tab
5024 @code{hufnagel_do_fa} @tab
5025 @lilypond[relative,notime]
5026 \override Staff.TimeSignature #'transparent = ##t
5027 \clef "hufnagel_do_fa" c
5034 @emph{Modern style} means ``as is typeset in contemporary editions of
5035 transcribed mensural music''.
5037 @emph{Petrucci style} means ``inspired by printings published by the
5038 famous engraver Petrucci (1466-1539)''.
5040 @emph{Historic style} means ``as was typeset or written in historic
5041 editions (other than those of Petrucci)''.
5043 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5045 Petrucci used C clefs with differently balanced left-side vertical
5046 beams, depending on which staff line it is printed.
5050 In this manual: see @ref{Clef}.
5054 The mensural g clef is mapped to the Petrucci g clef, until a new
5055 mensural g clef is implemented.
5060 @subsection Ancient flags
5065 Use the @code{flag-style} property of grob @internalsref{Stem} to
5066 select ancient flags. Besides the @code{default} flag style,
5067 only @code{mensural} style is supported:
5069 @lilypond[fragment,raggedright,verbatim]
5070 \override Stem #'flag-style = #'mensural
5071 \override Stem #'thickness = #1.0
5072 \override NoteHead #'style = #'mensural
5074 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
5075 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5078 Note that the innermost flare of each mensural flag always is
5079 vertically aligned with a staff line. If you do not like this
5080 behavior, you can set the @code{adjust-if-on-staffline} property of
5081 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5082 of the end of each flare is different between notes on staff lines and
5083 notes between staff lines:
5085 @lilypond[fragment,raggedright]
5086 \override Stem #'flag-style = #'mensural
5087 \override Stem #'thickness = #1.0
5088 \override Stem #'adjust-if-on-staffline = ##f
5089 \override NoteHead #'style = #'mensural
5091 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
5092 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5095 There is no particular flag style for neo-mensural notation. Hence,
5096 when typesetting e.g. the incipit of a transcribed piece of mensural
5097 music, the default flag style should be used. There are no flags in
5098 Gregorian Chant notation.
5101 @node Ancient time signatures
5102 @subsection Ancient time signatures
5104 @cindex time signatures
5107 There is limited support for mensural time signatures. The
5108 glyphs are hard-wired to particular time fractions. In other words,
5109 to get a particular mensural signature glyph with the @code{\time n/m}
5110 command, @code{n} and @code{m} have to be chosen according to the
5116 \set Score.timing = ##f
5117 \set Score.barAlways = ##t
5118 s_\markup { "$\\backslash$time 4/4" }
5119 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5121 s_\markup { "$\\backslash$time 2/2" }
5122 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5124 s_\markup { "$\\backslash$time 6/4" }
5125 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5127 s_\markup { "$\\backslash$time 6/8" }
5128 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5130 s_\markup { "$\\backslash$time 3/2" }
5131 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5133 s_\markup { "$\\backslash$time 3/4" }
5134 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5136 s_\markup { "$\\backslash$time 9/4" }
5137 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5139 s_\markup { "$\\backslash$time 9/8" }
5140 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5142 s_\markup { "$\\backslash$time 4/8" }
5143 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5145 s_\markup { "$\\backslash$time 2/4" }
5146 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5154 \remove Staff_symbol_engraver
5155 \remove Clef_engraver
5156 \remove Time_signature_engraver
5162 Use the @code{style} property of grob @internalsref{TimeSignature} to
5163 select ancient time signatures. Supported styles are
5164 @code{neo_mensural} and @code{mensural}. The above table uses the
5165 @code{neo_mensural} style. This style is appropriate e.g. for the
5166 incipit of transcriptions of mensural pieces. The @code{mensural}
5167 style mimics the look of historical printings of the 16th century.
5169 @inputfileref{input/test,time.ly} gives an overview over all available
5170 ancient and modern styles.
5174 Program reference: @ref{Time signature} gives a general introduction into the use of time
5179 Mensural signature glyphs are mapped to time fractions in a hard-wired
5180 way. This mapping is sensible, but still arbitrary: given a mensural
5181 time signature, the time fraction represents a modern meter that
5182 usually will be a good choice when transcribing a mensural piece of
5183 music. For a particular piece of mensural music, however, the mapping
5184 may be unsatisfactory. In particular, the mapping assumes a fixed
5185 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5186 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5187 accessible through the @code{\time} command.
5189 Mensural time signatures are supported typographically, but not yet
5190 musically. The internal representation of durations is
5191 based on a purely binary system; a ternary division such as 1 brevis =
5192 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5193 prolatione maiori) is not correctly handled: event times in ternary
5194 modes will be badly computed, resulting e.g. in horizontally
5195 misaligned note heads, and bar checks are likely to erroneously fail.
5197 The syntax and semantics of the @code{\time} command for mensural
5198 music is subject to change.
5201 @subsection Custodes
5206 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5207 symbol that appears at the end of a staff. It anticipates the pitch
5208 of the first note(s) of the following line and thus helps the player
5209 or singer to manage line breaks during performance, thus enhancing
5210 readability of a score.
5212 Custodes were frequently used in music notation until the 17th
5213 century. Nowadays, they have survived only in a few particular forms
5214 of musical notation such as contemporary editions of Gregorian chant
5215 like the @emph{editio vaticana}. There are different custos glyphs
5216 used in different flavors of notational style.
5218 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5219 @internalsref{Staff} context when declaring the @code{\paper} block,
5220 as shown in the following example:
5226 \consists Custos_engraver
5227 Custos \override #'style = #'mensural
5232 The result looks like this:
5234 @lilypond[raggedright]
5238 \override Staff.Custos #'style = #'mensural
5245 \consists Custos_engraver
5251 The custos glyph is selected by the @code{style} property. The styles
5252 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5253 @code{mensural}. They are demonstrated in the following fragment:
5257 \new Lyrics \lyrics {
5261 { " " \musicglyph #"custodes-vaticana-u0" }
5265 { " " \musicglyph #"custodes-medicaea-u0" }
5270 { " " \musicglyph #"custodes-hufnagel-u0" }
5275 { " " \musicglyph #"custodes-mensural-u0" }
5287 Program reference: @internalsref{Custos}.
5289 Examples: @inputfileref{input/regression,custos.ly}.
5293 @subsection Divisiones
5299 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5300 `division') is a staff context symbol that is used to structure
5301 Gregorian music into phrases and sections. The musical meaning of
5302 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5303 can be characterized as short, medium and long pause, somewhat like
5304 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5305 a chant, but is also frequently used within a single
5306 antiphonal/responsorial chant to mark the end of each section.
5309 To use divisiones, include the file @code{gregorian-init.ly}. It
5310 contains definitions that you can apply by just inserting
5311 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5312 and @code{\finalis} at proper places in the input. Some editions use
5313 @emph{virgula} or @emph{caesura} instead of divisio minima.
5314 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5317 @lilypondfile[]{divisiones.ly}
5321 @cindex @code{\virgula}
5323 @cindex @code{\caesura}
5325 @cindex @code{\divisioMinima}
5326 @code{\divisioMinima},
5327 @cindex @code{\divisioMaior}
5328 @code{\divisioMaior},
5329 @cindex @code{\divisioMaxima}
5330 @code{\divisioMaxima},
5331 @cindex @code{\finalis}
5336 In this manual: @ref{Breath marks}.
5338 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5340 Examples: @inputfileref{input/test,divisiones.ly}.
5343 @subsection Ligatures
5347 @c TODO: Should double check if I recalled things correctly when I wrote
5348 @c down the following paragraph by heart.
5350 A ligature is a coherent graphical symbol that represents at least two
5351 distinct notes. Ligatures originally appeared in the manuscripts of
5352 Gregorian chant notation roughly since the 9th century to denote
5353 ascending or descending sequences of notes.
5355 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5356 Some ligature styles may need additional input syntax specific for
5357 this particular type of ligature. By default, the
5358 @internalsref{LigatureBracket} engraver just puts a square bracket
5361 @lilypond[raggedright,verbatim]
5363 \notes \transpose c c' {
5371 To select a specific style of ligatures, a proper ligature engraver
5372 has to be added to the @internalsref{Voice} context, as explained in
5373 the following subsections. Only white mensural ligatures
5374 are supported with certain limitations.
5377 * White mensural ligatures::
5378 * Gregorian square neumes ligatures::
5381 @node White mensural ligatures
5382 @subsubsection White mensural ligatures
5384 @cindex Mensural ligatures
5385 @cindex White mensural ligatures
5387 There is limited support for white mensural ligatures.
5389 To engrave white mensural ligatures, in the paper block the
5390 @internalsref{Mensural_ligature_engraver} has to be put into the
5391 @internalsref{Voice} context, and remove the
5392 @internalsref{Ligature_bracket_engraver}:
5398 \remove Ligature_bracket_engraver
5399 \consists Mensural_ligature_engraver
5404 There is no additional input language to describe the shape of a
5405 white mensural ligature. The shape is rather determined solely from
5406 the pitch and duration of the enclosed notes. While this approach may
5407 take a new user a while to get accustomed, it has the great advantage
5408 that the full musical information of the ligature is known internally.
5409 This is not only required for correct MIDI output, but also allows for
5410 automatic transcription of the ligatures.
5415 \set Score.timing = ##f
5416 \set Score.defaultBarType = "empty"
5417 \override NoteHead #'style = #'neo_mensural
5418 \override Staff.TimeSignature #'style = #'neo_mensural
5420 \[ g\longa c\breve a\breve f\breve d'\longa \]
5422 \[ e1 f1 a\breve g\longa \]
5424 @lilypond[raggedright]
5426 \notes \transpose c c' {
5427 \set Score.timing = ##f
5428 \set Score.defaultBarType = "empty"
5429 \override NoteHead #'style = #'neo_mensural
5430 \override Staff.TimeSignature #'style = #'neo_mensural
5432 \[ g\longa c\breve a\breve f\breve d'\longa \]
5434 \[ e1 f1 a\breve g\longa \]
5439 \remove Ligature_bracket_engraver
5440 \consists Mensural_ligature_engraver
5446 Without replacing @internalsref{Ligature_bracket_engraver} with
5447 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5450 @lilypond[raggedright]
5452 \notes \transpose c c' {
5453 \set Score.timing = ##f
5454 \set Score.defaultBarType = "empty"
5455 \override NoteHead #'style = #'neo_mensural
5456 \override Staff.TimeSignature #'style = #'neo_mensural
5458 \[ g\longa c\breve a\breve f\breve d'\longa \]
5460 \[ e1 f1 a\breve g\longa \]
5467 The implementation is experimental; it may output strange warnings or
5468 even crash in some cases or produce weird results on more complex
5471 @node Gregorian square neumes ligatures
5472 @subsubsection Gregorian square neumes ligatures
5474 @cindex Square neumes ligatures
5475 @cindex Gregorian square neumes ligatures
5477 Gregorian square neumes notation (following the style of the Editio
5478 Vaticana) is under heavy development, but not yet really usable for
5479 production purposes. Core ligatures can already be typeset, but
5480 essential issues for serious typesetting are still under development,
5481 such as (among others) horizontal alignment of multiple ligatures,
5482 lyrics alignment and proper accidentals handling. Still, this section
5483 gives a sneak preview of what Gregorian chant may look like once it
5486 The following table contains the extended neumes table of the 2nd
5487 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5488 1983 by the monks of Solesmes.
5490 @multitable @columnfractions .4 .2 .2 .2
5493 @b{Neuma aut@*Neumarum Elementa} @tab
5494 @b{Figurae@*Rectae} @tab
5495 @b{Figurae@*Liquescentes Auctae} @tab
5496 @b{Figurae@*Liquescentes Deminutae}
5498 @c TODO: \paper block is identical in all of the below examples.
5499 @c Therefore, it should somehow be included rather than duplicated all
5502 @c why not make identifiers in ly/engraver-init.ly? --hwn
5504 @c Because it's just used to typeset plain notes without
5505 @c a staff for demonstration purposes rather than something
5506 @c special of Gregorian chant notation. --jr
5511 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5512 \include "gregorian-init.ly"
5514 \notes \transpose c c' {
5517 \noBreak s^\markup {"a"} \noBreak
5519 % Punctum Inclinatum
5521 \noBreak s^\markup {"b"}
5527 \remove "Bar_number_engraver"
5531 \remove "Clef_engraver"
5532 \remove "Key_engraver"
5533 \override StaffSymbol #'transparent = ##t
5534 \remove "Time_signature_engraver"
5535 \remove "Bar_engraver"
5536 minimumVerticalExtent = ##f
5540 \remove Ligature_bracket_engraver
5541 \consists Vaticana_ligature_engraver
5542 \override NoteHead #'style = #'vaticana_punctum
5543 \override Stem #'transparent = ##t
5549 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5550 \include "gregorian-init.ly"
5552 \notes \transpose c c' {
5553 % Punctum Auctum Ascendens
5554 \[ \auctum \ascendens b \]
5555 \noBreak s^\markup {"c"} \noBreak
5557 % Punctum Auctum Descendens
5558 \[ \auctum \descendens b \]
5559 \noBreak s^\markup {"d"} \noBreak
5561 % Punctum Inclinatum Auctum
5562 \[ \inclinatum \auctum b \]
5563 \noBreak s^\markup {"e"}
5569 \remove "Bar_number_engraver"
5573 \remove "Clef_engraver"
5574 \remove "Key_engraver"
5575 \override StaffSymbol #'transparent = ##t
5576 \remove "Time_signature_engraver"
5577 \remove "Bar_engraver"
5578 minimumVerticalExtent = ##f
5582 \remove Ligature_bracket_engraver
5583 \consists Vaticana_ligature_engraver
5584 \override NoteHead #'style = #'vaticana_punctum
5585 \override Stem #'transparent = ##t
5591 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5592 \include "gregorian-init.ly"
5594 \notes \transpose c c' {
5595 % Punctum Inclinatum Parvum
5596 \[ \inclinatum \deminutum b \]
5597 \noBreak s^\markup {"f"}
5603 \remove "Bar_number_engraver"
5607 \remove "Clef_engraver"
5608 \remove "Key_engraver"
5609 \override StaffSymbol #'transparent = ##t
5610 \remove "Time_signature_engraver"
5611 \remove "Bar_engraver"
5612 minimumVerticalExtent = ##f
5616 \remove Ligature_bracket_engraver
5617 \consists Vaticana_ligature_engraver
5618 \override NoteHead #'style = #'vaticana_punctum
5619 \override Stem #'transparent = ##t
5628 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5629 \include "gregorian-init.ly"
5631 \notes \transpose c c' {
5634 \noBreak s^\markup {"g"}
5640 \remove "Bar_number_engraver"
5644 \remove "Clef_engraver"
5645 \remove "Key_engraver"
5646 \override StaffSymbol #'transparent = ##t
5647 \remove "Time_signature_engraver"
5648 \remove "Bar_engraver"
5649 minimumVerticalExtent = ##f
5653 \remove Ligature_bracket_engraver
5654 \consists Vaticana_ligature_engraver
5655 \override NoteHead #'style = #'vaticana_punctum
5656 \override Stem #'transparent = ##t
5665 @code{3. Apostropha vel Stropha}
5667 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5668 \include "gregorian-init.ly"
5670 \notes \transpose c c' {
5673 \noBreak s^\markup {"h"}
5679 \remove "Bar_number_engraver"
5683 \remove "Clef_engraver"
5684 \remove "Key_engraver"
5685 \override StaffSymbol #'transparent = ##t
5686 \remove "Time_signature_engraver"
5687 \remove "Bar_engraver"
5688 minimumVerticalExtent = ##f
5692 \remove Ligature_bracket_engraver
5693 \consists Vaticana_ligature_engraver
5694 \override NoteHead #'style = #'vaticana_punctum
5695 \override Stem #'transparent = ##t
5701 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5702 \include "gregorian-init.ly"
5704 \notes \transpose c c' {
5706 \[ \stropha \auctum b \]
5707 \noBreak s^\markup {"i"}
5713 \remove "Bar_number_engraver"
5717 \remove "Clef_engraver"
5718 \remove "Key_engraver"
5719 \override StaffSymbol #'transparent = ##t
5720 \remove "Time_signature_engraver"
5721 \remove "Bar_engraver"
5722 minimumVerticalExtent = ##f
5726 \remove Ligature_bracket_engraver
5727 \consists Vaticana_ligature_engraver
5728 \override NoteHead #'style = #'vaticana_punctum
5729 \override Stem #'transparent = ##t
5739 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5740 \include "gregorian-init.ly"
5742 \notes \transpose c c' {
5745 \noBreak s^\markup {"j"}
5751 \remove "Bar_number_engraver"
5755 \remove "Clef_engraver"
5756 \remove "Key_engraver"
5757 \override StaffSymbol #'transparent = ##t
5758 \remove "Time_signature_engraver"
5759 \remove "Bar_engraver"
5760 minimumVerticalExtent = ##f
5764 \remove Ligature_bracket_engraver
5765 \consists Vaticana_ligature_engraver
5766 \override NoteHead #'style = #'vaticana_punctum
5767 \override Stem #'transparent = ##t
5776 @code{5. Clivis vel Flexa}
5778 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5779 \include "gregorian-init.ly"
5781 \notes \transpose c c' {
5790 \remove "Bar_number_engraver"
5794 \remove "Clef_engraver"
5795 \remove "Key_engraver"
5796 \override StaffSymbol #'transparent = ##t
5797 \remove "Time_signature_engraver"
5798 \remove "Bar_engraver"
5799 minimumVerticalExtent = ##f
5803 \remove Ligature_bracket_engraver
5804 \consists Vaticana_ligature_engraver
5805 \override NoteHead #'style = #'vaticana_punctum
5806 \override Stem #'transparent = ##t
5812 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5813 \include "gregorian-init.ly"
5815 \notes \transpose c c' {
5816 % Clivis Aucta Descendens
5817 \[ b \flexa \auctum \descendens g \]
5818 \noBreak s^\markup {"l"} \noBreak
5820 % Clivis Aucta Ascendens
5821 \[ b \flexa \auctum \ascendens g \]
5822 \noBreak s^\markup {"m"}
5828 \remove "Bar_number_engraver"
5832 \remove "Clef_engraver"
5833 \remove "Key_engraver"
5834 \override StaffSymbol #'transparent = ##t
5835 \remove "Time_signature_engraver"
5836 \remove "Bar_engraver"
5837 minimumVerticalExtent = ##f
5841 \remove Ligature_bracket_engraver
5842 \consists Vaticana_ligature_engraver
5843 \override NoteHead #'style = #'vaticana_punctum
5844 \override Stem #'transparent = ##t
5850 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5851 \include "gregorian-init.ly"
5853 \notes \transpose c c' {
5855 \[ b \flexa \deminutum g \]
5862 \remove "Bar_number_engraver"
5866 \remove "Clef_engraver"
5867 \remove "Key_engraver"
5868 \override StaffSymbol #'transparent = ##t
5869 \remove "Time_signature_engraver"
5870 \remove "Bar_engraver"
5871 minimumVerticalExtent = ##f
5875 \remove Ligature_bracket_engraver
5876 \consists Vaticana_ligature_engraver
5877 \override NoteHead #'style = #'vaticana_punctum
5878 \override Stem #'transparent = ##t
5885 @code{6. Podatus vel Pes}
5887 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5888 \include "gregorian-init.ly"
5890 \notes \transpose c c' {
5899 \remove "Bar_number_engraver"
5903 \remove "Clef_engraver"
5904 \remove "Key_engraver"
5905 \override StaffSymbol #'transparent = ##t
5906 \remove "Time_signature_engraver"
5907 \remove "Bar_engraver"
5908 minimumVerticalExtent = ##f
5912 \remove Ligature_bracket_engraver
5913 \consists Vaticana_ligature_engraver
5914 \override NoteHead #'style = #'vaticana_punctum
5915 \override Stem #'transparent = ##t
5921 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5922 \include "gregorian-init.ly"
5924 \notes \transpose c c' {
5925 % Pes Auctus Descendens
5926 \[ g \pes \auctum \descendens b \]
5927 \noBreak s^\markup {"p"} \noBreak
5929 % Pes Auctus Ascendens
5930 \[ g \pes \auctum \ascendens b \]
5931 \noBreak s^\markup {"q"}
5937 \remove "Bar_number_engraver"
5941 \remove "Clef_engraver"
5942 \remove "Key_engraver"
5943 \override StaffSymbol #'transparent = ##t
5944 \remove "Time_signature_engraver"
5945 \remove "Bar_engraver"
5946 minimumVerticalExtent = ##f
5950 \remove Ligature_bracket_engraver
5951 \consists Vaticana_ligature_engraver
5952 \override NoteHead #'style = #'vaticana_punctum
5953 \override Stem #'transparent = ##t
5959 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5960 \include "gregorian-init.ly"
5962 \notes \transpose c c' {
5964 \[ g \pes \deminutum b \]
5971 \remove "Bar_number_engraver"
5975 \remove "Clef_engraver"
5976 \remove "Key_engraver"
5977 \override StaffSymbol #'transparent = ##t
5978 \remove "Time_signature_engraver"
5979 \remove "Bar_engraver"
5980 minimumVerticalExtent = ##f
5984 \remove Ligature_bracket_engraver
5985 \consists Vaticana_ligature_engraver
5986 \override NoteHead #'style = #'vaticana_punctum
5987 \override Stem #'transparent = ##t
5994 @code{7. Pes Quassus}
5996 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5997 \include "gregorian-init.ly"
5999 \notes \transpose c c' {
6001 \[ \oriscus g \pes \virga b \]
6008 \remove "Bar_number_engraver"
6012 \remove "Clef_engraver"
6013 \remove "Key_engraver"
6014 \override StaffSymbol #'transparent = ##t
6015 \remove "Time_signature_engraver"
6016 \remove "Bar_engraver"
6017 minimumVerticalExtent = ##f
6021 \remove Ligature_bracket_engraver
6022 \consists Vaticana_ligature_engraver
6023 \override NoteHead #'style = #'vaticana_punctum
6024 \override Stem #'transparent = ##t
6030 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6031 \include "gregorian-init.ly"
6033 \notes \transpose c c' {
6034 % Pes Quassus Auctus Descendens
6035 \[ \oriscus g \pes \auctum \descendens b \]
6042 \remove "Bar_number_engraver"
6046 \remove "Clef_engraver"
6047 \remove "Key_engraver"
6048 \override StaffSymbol #'transparent = ##t
6049 \remove "Time_signature_engraver"
6050 \remove "Bar_engraver"
6051 minimumVerticalExtent = ##f
6055 \remove Ligature_bracket_engraver
6056 \consists Vaticana_ligature_engraver
6057 \override NoteHead #'style = #'vaticana_punctum
6058 \override Stem #'transparent = ##t
6066 @code{8. Quilisma Pes}
6068 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6069 \include "gregorian-init.ly"
6071 \notes \transpose c c' {
6073 \[ \quilisma g \pes b \]
6080 \remove "Bar_number_engraver"
6084 \remove "Clef_engraver"
6085 \remove "Key_engraver"
6086 \override StaffSymbol #'transparent = ##t
6087 \remove "Time_signature_engraver"
6088 \remove "Bar_engraver"
6089 minimumVerticalExtent = ##f
6093 \remove Ligature_bracket_engraver
6094 \consists Vaticana_ligature_engraver
6095 \override NoteHead #'style = #'vaticana_punctum
6096 \override Stem #'transparent = ##t
6102 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6103 \include "gregorian-init.ly"
6105 \notes \transpose c c' {
6106 % Quilisma Pes Auctus Descendens
6107 \[ \quilisma g \pes \auctum \descendens b \]
6114 \remove "Bar_number_engraver"
6118 \remove "Clef_engraver"
6119 \remove "Key_engraver"
6120 \override StaffSymbol #'transparent = ##t
6121 \remove "Time_signature_engraver"
6122 \remove "Bar_engraver"
6123 minimumVerticalExtent = ##f
6127 \remove Ligature_bracket_engraver
6128 \consists Vaticana_ligature_engraver
6129 \override NoteHead #'style = #'vaticana_punctum
6130 \override Stem #'transparent = ##t
6138 @code{9. Podatus Initio Debilis}
6140 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6141 \include "gregorian-init.ly"
6143 \notes \transpose c c' {
6144 % Pes Initio Debilis
6145 \[ \deminutum g \pes b \]
6152 \remove "Bar_number_engraver"
6156 \remove "Clef_engraver"
6157 \remove "Key_engraver"
6158 \override StaffSymbol #'transparent = ##t
6159 \remove "Time_signature_engraver"
6160 \remove "Bar_engraver"
6161 minimumVerticalExtent = ##f
6165 \remove Ligature_bracket_engraver
6166 \consists Vaticana_ligature_engraver
6167 \override NoteHead #'style = #'vaticana_punctum
6168 \override Stem #'transparent = ##t
6174 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6175 \include "gregorian-init.ly"
6177 \notes \transpose c c' {
6178 % Pes Auctus Descendens Initio Debilis
6179 \[ \deminutum g \pes \auctum \descendens b \]
6186 \remove "Bar_number_engraver"
6190 \remove "Clef_engraver"
6191 \remove "Key_engraver"
6192 \override StaffSymbol #'transparent = ##t
6193 \remove "Time_signature_engraver"
6194 \remove "Bar_engraver"
6195 minimumVerticalExtent = ##f
6199 \remove Ligature_bracket_engraver
6200 \consists Vaticana_ligature_engraver
6201 \override NoteHead #'style = #'vaticana_punctum
6202 \override Stem #'transparent = ##t
6212 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6213 \include "gregorian-init.ly"
6215 \notes \transpose c c' {
6217 \[ a \pes b \flexa g \]
6224 \remove "Bar_number_engraver"
6228 \remove "Clef_engraver"
6229 \remove "Key_engraver"
6230 \override StaffSymbol #'transparent = ##t
6231 \remove "Time_signature_engraver"
6232 \remove "Bar_engraver"
6233 minimumVerticalExtent = ##f
6237 \remove Ligature_bracket_engraver
6238 \consists Vaticana_ligature_engraver
6239 \override NoteHead #'style = #'vaticana_punctum
6240 \override Stem #'transparent = ##t
6246 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6247 \include "gregorian-init.ly"
6249 \notes \transpose c c' {
6250 % Torculus Auctus Descendens
6251 \[ a \pes b \flexa \auctum \descendens g \]
6258 \remove "Bar_number_engraver"
6262 \remove "Clef_engraver"
6263 \remove "Key_engraver"
6264 \override StaffSymbol #'transparent = ##t
6265 \remove "Time_signature_engraver"
6266 \remove "Bar_engraver"
6267 minimumVerticalExtent = ##f
6271 \remove Ligature_bracket_engraver
6272 \consists Vaticana_ligature_engraver
6273 \override NoteHead #'style = #'vaticana_punctum
6274 \override Stem #'transparent = ##t
6280 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6281 \include "gregorian-init.ly"
6283 \notes \transpose c c' {
6284 % Torculus Deminutus
6285 \[ a \pes b \flexa \deminutum g \]
6292 \remove "Bar_number_engraver"
6296 \remove "Clef_engraver"
6297 \remove "Key_engraver"
6298 \override StaffSymbol #'transparent = ##t
6299 \remove "Time_signature_engraver"
6300 \remove "Bar_engraver"
6301 minimumVerticalExtent = ##f
6305 \remove Ligature_bracket_engraver
6306 \consists Vaticana_ligature_engraver
6307 \override NoteHead #'style = #'vaticana_punctum
6308 \override Stem #'transparent = ##t
6315 @code{11. Torculus Initio Debilis}
6317 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6318 \include "gregorian-init.ly"
6320 \notes \transpose c c' {
6321 % Torculus Initio Debilis
6322 \[ \deminutum a \pes b \flexa g \]
6329 \remove "Bar_number_engraver"
6333 \remove "Clef_engraver"
6334 \remove "Key_engraver"
6335 \override StaffSymbol #'transparent = ##t
6336 \remove "Time_signature_engraver"
6337 \remove "Bar_engraver"
6338 minimumVerticalExtent = ##f
6342 \remove Ligature_bracket_engraver
6343 \consists Vaticana_ligature_engraver
6344 \override NoteHead #'style = #'vaticana_punctum
6345 \override Stem #'transparent = ##t
6351 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6352 \include "gregorian-init.ly"
6354 \notes \transpose c c' {
6355 % Torculus Auctus Descendens Initio Debilis
6356 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6363 \remove "Bar_number_engraver"
6367 \remove "Clef_engraver"
6368 \remove "Key_engraver"
6369 \override StaffSymbol #'transparent = ##t
6370 \remove "Time_signature_engraver"
6371 \remove "Bar_engraver"
6372 minimumVerticalExtent = ##f
6376 \remove Ligature_bracket_engraver
6377 \consists Vaticana_ligature_engraver
6378 \override NoteHead #'style = #'vaticana_punctum
6379 \override Stem #'transparent = ##t
6385 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6386 \include "gregorian-init.ly"
6388 \notes \transpose c c' {
6389 % Torculus Deminutus Initio Debilis
6390 \[ \deminutum a \pes b \flexa \deminutum g \]
6397 \remove "Bar_number_engraver"
6401 \remove "Clef_engraver"
6402 \remove "Key_engraver"
6403 \override StaffSymbol #'transparent = ##t
6404 \remove "Time_signature_engraver"
6405 \remove "Bar_engraver"
6406 minimumVerticalExtent = ##f
6410 \remove Ligature_bracket_engraver
6411 \consists Vaticana_ligature_engraver
6412 \override NoteHead #'style = #'vaticana_punctum
6413 \override Stem #'transparent = ##t
6420 @code{12. Porrectus}
6422 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6423 \include "gregorian-init.ly"
6425 \notes \transpose c c' {
6427 \[ a \flexa g \pes b \]
6434 \remove "Bar_number_engraver"
6438 \remove "Clef_engraver"
6439 \remove "Key_engraver"
6440 \override StaffSymbol #'transparent = ##t
6441 \remove "Time_signature_engraver"
6442 \remove "Bar_engraver"
6443 minimumVerticalExtent = ##f
6447 \remove Ligature_bracket_engraver
6448 \consists Vaticana_ligature_engraver
6449 \override NoteHead #'style = #'vaticana_punctum
6450 \override Stem #'transparent = ##t
6456 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6457 \include "gregorian-init.ly"
6459 \notes \transpose c c' {
6460 % Porrectus Auctus Descendens
6461 \[ a \flexa g \pes \auctum \descendens b \]
6468 \remove "Bar_number_engraver"
6472 \remove "Clef_engraver"
6473 \remove "Key_engraver"
6474 \override StaffSymbol #'transparent = ##t
6475 \remove "Time_signature_engraver"
6476 \remove "Bar_engraver"
6477 minimumVerticalExtent = ##f
6481 \remove Ligature_bracket_engraver
6482 \consists Vaticana_ligature_engraver
6483 \override NoteHead #'style = #'vaticana_punctum
6484 \override Stem #'transparent = ##t
6490 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6491 \include "gregorian-init.ly"
6493 \notes \transpose c c' {
6494 % Porrectus Deminutus
6495 \[ a \flexa g \pes \deminutum b \]
6502 \remove "Bar_number_engraver"
6506 \remove "Clef_engraver"
6507 \remove "Key_engraver"
6508 \override StaffSymbol #'transparent = ##t
6509 \remove "Time_signature_engraver"
6510 \remove "Bar_engraver"
6511 minimumVerticalExtent = ##f
6515 \remove Ligature_bracket_engraver
6516 \consists Vaticana_ligature_engraver
6517 \override NoteHead #'style = #'vaticana_punctum
6518 \override Stem #'transparent = ##t
6527 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6528 \include "gregorian-init.ly"
6530 \notes \transpose c c' {
6532 \[ \virga b \inclinatum a \inclinatum g \]
6539 \remove "Bar_number_engraver"
6543 \remove "Clef_engraver"
6544 \remove "Key_engraver"
6545 \override StaffSymbol #'transparent = ##t
6546 \remove "Time_signature_engraver"
6547 \remove "Bar_engraver"
6548 minimumVerticalExtent = ##f
6552 \remove Ligature_bracket_engraver
6553 \consists Vaticana_ligature_engraver
6554 \override NoteHead #'style = #'vaticana_punctum
6555 \override Stem #'transparent = ##t
6561 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6562 \include "gregorian-init.ly"
6564 \notes \transpose c c' {
6566 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6573 \remove "Bar_number_engraver"
6577 \remove "Clef_engraver"
6578 \remove "Key_engraver"
6579 \override StaffSymbol #'transparent = ##t
6580 \remove "Time_signature_engraver"
6581 \remove "Bar_engraver"
6582 minimumVerticalExtent = ##f
6586 \remove Ligature_bracket_engraver
6587 \consists Vaticana_ligature_engraver
6588 \override NoteHead #'style = #'vaticana_punctum
6589 \override Stem #'transparent = ##t
6595 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6596 \include "gregorian-init.ly"
6598 \notes \transpose c c' {
6599 % Climacus Deminutus
6600 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6607 \remove "Bar_number_engraver"
6611 \remove "Clef_engraver"
6612 \remove "Key_engraver"
6613 \override StaffSymbol #'transparent = ##t
6614 \remove "Time_signature_engraver"
6615 \remove "Bar_engraver"
6616 minimumVerticalExtent = ##f
6620 \remove Ligature_bracket_engraver
6621 \consists Vaticana_ligature_engraver
6622 \override NoteHead #'style = #'vaticana_punctum
6623 \override Stem #'transparent = ##t
6630 @code{14. Scandicus}
6632 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6633 \include "gregorian-init.ly"
6635 \notes \transpose c c' {
6637 \[ g \pes a \virga b \]
6644 \remove "Bar_number_engraver"
6648 \remove "Clef_engraver"
6649 \remove "Key_engraver"
6650 \override StaffSymbol #'transparent = ##t
6651 \remove "Time_signature_engraver"
6652 \remove "Bar_engraver"
6653 minimumVerticalExtent = ##f
6657 \remove Ligature_bracket_engraver
6658 \consists Vaticana_ligature_engraver
6659 \override NoteHead #'style = #'vaticana_punctum
6660 \override Stem #'transparent = ##t
6666 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6667 \include "gregorian-init.ly"
6669 \notes \transpose c c' {
6670 % Scandicus Auctus Descendens
6671 \[ g \pes a \pes \auctum \descendens b \]
6678 \remove "Bar_number_engraver"
6682 \remove "Clef_engraver"
6683 \remove "Key_engraver"
6684 \override StaffSymbol #'transparent = ##t
6685 \remove "Time_signature_engraver"
6686 \remove "Bar_engraver"
6687 minimumVerticalExtent = ##f
6691 \remove Ligature_bracket_engraver
6692 \consists Vaticana_ligature_engraver
6693 \override NoteHead #'style = #'vaticana_punctum
6694 \override Stem #'transparent = ##t
6700 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6701 \include "gregorian-init.ly"
6703 \notes \transpose c c' {
6704 % Scandicus Deminutus
6705 \[ g \pes a \pes \deminutum b \]
6712 \remove "Bar_number_engraver"
6716 \remove "Clef_engraver"
6717 \remove "Key_engraver"
6718 \override StaffSymbol #'transparent = ##t
6719 \remove "Time_signature_engraver"
6720 \remove "Bar_engraver"
6721 minimumVerticalExtent = ##f
6725 \remove Ligature_bracket_engraver
6726 \consists Vaticana_ligature_engraver
6727 \override NoteHead #'style = #'vaticana_punctum
6728 \override Stem #'transparent = ##t
6737 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6738 \include "gregorian-init.ly"
6740 \notes \transpose c c' {
6742 \[ g \oriscus a \pes \virga b \]
6749 \remove "Bar_number_engraver"
6753 \remove "Clef_engraver"
6754 \remove "Key_engraver"
6755 \override StaffSymbol #'transparent = ##t
6756 \remove "Time_signature_engraver"
6757 \remove "Bar_engraver"
6758 minimumVerticalExtent = ##f
6762 \remove Ligature_bracket_engraver
6763 \consists Vaticana_ligature_engraver
6764 \override NoteHead #'style = #'vaticana_punctum
6765 \override Stem #'transparent = ##t
6771 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6772 \include "gregorian-init.ly"
6774 \notes \transpose c c' {
6775 % Salicus Auctus Descendens
6776 \[ g \oriscus a \pes \auctum \descendens b \]
6783 \remove "Bar_number_engraver"
6787 \remove "Clef_engraver"
6788 \remove "Key_engraver"
6789 \override StaffSymbol #'transparent = ##t
6790 \remove "Time_signature_engraver"
6791 \remove "Bar_engraver"
6792 minimumVerticalExtent = ##f
6796 \remove Ligature_bracket_engraver
6797 \consists Vaticana_ligature_engraver
6798 \override NoteHead #'style = #'vaticana_punctum
6799 \override Stem #'transparent = ##t
6809 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6810 \include "gregorian-init.ly"
6812 \notes \transpose c c' {
6814 \[ \stropha b \stropha b \stropha a \]
6821 \remove "Bar_number_engraver"
6825 \remove "Clef_engraver"
6826 \remove "Key_engraver"
6827 \override StaffSymbol #'transparent = ##t
6828 \remove "Time_signature_engraver"
6829 \remove "Bar_engraver"
6830 minimumVerticalExtent = ##f
6834 \remove Ligature_bracket_engraver
6835 \consists Vaticana_ligature_engraver
6836 \override NoteHead #'style = #'vaticana_punctum
6837 \override Stem #'transparent = ##t
6848 Unlike most other neumes notation systems, the input language for
6849 neumes does not necessarily reflect directly the typographical
6850 appearance, but is designed to solely focuse on musical meaning. For
6851 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6852 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6853 a Porrectus with a curved flexa shape and only a single Punctum head.
6854 There is no command to explicitly typeset the curved flexa shape; the
6855 decision of when to typeset a curved flexa shape is purely taken from
6856 the musical input. The idea of this approach is to separate the
6857 musical aspects of the input from the notation style of the output.
6858 This way, the same input can be reused to typeset the same music in a
6859 different style of Gregorian chant notation.
6861 The following table shows the code fragments that produce the
6862 ligatures in the above neumes table. The letter in the first column
6863 in each line of the below table indicates to which ligature in the
6864 above table it refers. The second column gives the name of the
6865 ligature. The third column shows the code fragment that produces this
6866 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6868 @multitable @columnfractions .1 .4 .5
6882 Punctum Inclinatum @tab
6883 @code{\[ \inclinatum b \]}
6887 Punctum Auctum Ascendens @tab
6888 @code{\[ \auctum \ascendens b \]}
6892 Punctum Auctum Descendens @tab
6893 @code{\[ \auctum \descendens b \]}
6897 Punctum Inclinatum Auctum @tab
6898 @code{\[ \inclinatum \auctum b \]}
6902 Punctum Inclinatum Parvum @tab
6903 @code{\[ \inclinatum \deminutum b \]}
6908 @code{\[ \virga b \]}
6913 @code{\[ \stropha b \]}
6918 @code{\[ \stropha \auctum b \]}
6923 @code{\[ \oriscus b \]}
6927 Clivis vel Flexa @tab
6928 @code{\[ b \flexa g \]}
6932 Clivis Aucta Descendens @tab
6933 @code{\[ b \flexa \auctum \descendens g \]}
6937 Clivis Aucta Ascendens @tab
6938 @code{\[ b \flexa \auctum \ascendens g \]}
6943 @code{\[ b \flexa \deminutum g \]}
6947 Podatus vel Pes @tab
6948 @code{\[ g \pes b \]}
6952 Pes Auctus Descendens @tab
6953 @code{\[ g \pes \auctum \descendens b \]}
6957 Pes Auctus Ascendens @tab
6958 @code{\[ g \pes \auctum \ascendens b \]}
6963 @code{\[ g \pes \deminutum b \]}
6968 @code{\[ \oriscus g \pes \virga b \]}
6972 Pes Quassus Auctus Descendens @tab
6973 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6978 @code{\[ \quilisma g \pes b \]}
6982 Quilisma Pes Auctus Descendens @tab
6983 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6987 Pes Initio Debilis @tab
6988 @code{\[ \deminutum g \pes b \]}
6992 Pes Auctus Descendens Initio Debilis @tab
6993 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6998 @code{\[ a \pes b \flexa g \]}
7002 Torculus Auctus Descendens @tab
7003 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7007 Torculus Deminutus @tab
7008 @code{\[ a \pes b \flexa \deminutum g \]}
7012 Torculus Initio Debilis @tab
7013 @code{\[ \deminutum a \pes b \flexa g \]}
7017 Torculus Auctus Descendens Initio Debilis @tab
7018 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7022 Torculus Deminutus Initio Debilis @tab
7023 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7028 @code{\[ a \flexa g \pes b \]}
7032 Porrectus Auctus Descendens @tab
7033 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7037 Porrectus Deminutus @tab
7038 @code{\[ a \flexa g \pes \deminutum b \]}
7043 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7047 Climacus Auctus @tab
7048 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7052 Climacus Deminutus @tab
7053 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7058 @code{\[ g \pes a \virga b \]}
7062 Scandicus Auctus Descendens @tab
7063 @code{\[ g \pes a \pes \auctum \descendens b \]}
7067 Scandicus Deminutus @tab
7068 @code{\[ g \pes a \pes \deminutum b \]}
7073 @code{\[ g \oriscus a \pes \virga b \]}
7077 Salicus Auctus Descendens @tab
7078 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7083 @code{\[ \stropha b \stropha b \stropha a \]}
7089 The following head prefixes are supported:
7091 @cindex @code{\virga}
7093 @cindex @code{\stropha}
7095 @cindex @code{\inclinatum}
7097 @cindex @code{\auctum}
7099 @cindex @code{\descendens}
7101 @cindex @code{\ascendens}
7103 @cindex @code{\oriscus}
7105 @cindex @code{\quilisma}
7107 @cindex @code{\deminutum}
7110 Head prefixes can be accumulated, though restrictions apply. For
7111 example, either @code{\descendens} or @code{\ascendens} can be applied
7112 to a head, but not both to the same head.
7115 @cindex @code{\flexa}
7116 Two adjacent heads can be tied together with the @code{\pes} and
7117 @code{\flexa} infix commands for a rising and falling line of melody,
7122 @node Vaticana style contexts
7123 @subsection Vaticana style contexts
7125 @cindex VaticanaVoiceContext
7126 @cindex VaticanaStaffContext
7128 The predefined @code{VaticanaVoiceContext} and
7129 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7130 Gregorian Chant in the style of the Editio Vaticana. These contexts
7131 initialize all relevant context properties and grob properties to
7132 proper values. With these contexts, you can immediately go ahead
7133 entering the chant, as the following short excerpt demonstrates:
7135 @lilypond[raggedright,verbatim,noindent]
7136 \include "gregorian-init.ly"
7139 \context VaticanaVoice = "cantus" {
7140 \override Score.BarNumber #'transparent = ##t
7142 \[ c'\melisma c' \flexa a \]
7143 \[ a \flexa \deminutum g\melismaEnd \]
7145 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7146 c' \divisioMinima \break
7147 \[ c'\melisma c' \flexa a \]
7148 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7151 \lyricsto "cantus" \new Lyrics \lyrics {
7152 San- ctus, San- ctus, San- ctus
7159 @subsection Figured bass
7161 @cindex Basso continuo
7163 @c TODO: musicological blurb about FB
7166 LilyPond has limited support for figured bass:
7168 @lilypond[verbatim,fragment]
7170 \context Voice \notes { \clef bass dis4 c d ais}
7171 \context FiguredBass
7173 < 6 >4 < 7 >8 < 6+ [_!] >
7179 The support for figured bass consists of two parts: there is an input
7180 mode, introduced by @code{\figures}, where you can enter bass figures
7181 as numbers, and there is a context called @internalsref{FiguredBass} that
7182 takes care of making @internalsref{BassFigure} objects.
7184 In figures input mode, a group of bass figures is delimited by
7185 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7190 \context FiguredBass
7194 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7201 \context FiguredBass
7202 \figures { <4- 6+ 7!> }
7205 Spaces or dashes may be inserted by using @code{_}. Brackets are
7206 introduced with @code{[} and @code{]}:
7212 \context FiguredBass
7213 \figures { < [4 6] 8 [_! 12]> }
7216 Although the support for figured bass may superficially resemble chord
7217 support, it works much simpler. The @code{\figures} mode simply
7218 stores the numbers , and @internalsref{FiguredBass} context prints
7219 them as entered. There is no conversion to pitches, and no
7220 realizations of the bass are played in the MIDI file.
7222 Internally, the code produces markup texts. You can use any of the
7223 markup text properties to override formatting. For example, the
7224 vertical spacing of the figures may be set with @code{baseline-skip}.
7228 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7229 and @internalsref{FiguredBass} context.
7233 Slash notation for alterations is not supported.
7235 @node Contemporary notation
7236 @section Contemporary notation
7238 In the 20th century, composers have greatly expanded the musical
7239 vocabulary. With this expansion, many innovations in musical notation
7240 have been tried. The book by Stone (1980) gives a comprehensive
7241 overview (see @ref{Literature list}). In general, the use of new,
7242 innovative notation makes a piece harder to understand and perform and
7243 its use should therefore be avoided if possible. For this reason,
7244 support for contemporary notation in LilyPond is limited.
7253 @subsection Clusters
7257 A cluster indicates a continuous range of pitches to be played. They
7258 can be denoted as the envelope of a set of notes. They are entered by
7259 applying the function @code{notes-to-clusters} to a sequence of
7262 @lilypond[relative=1,verbatim]
7263 \apply #notes-to-clusters { <c e > <b f'> }
7266 The following example (from
7267 @inputfileref{input/regression,cluster.ly}) shows what the result
7270 @lilypondfile[]{cluster.ly}
7272 Ordinary notes and clusters can be put together in the same staff,
7273 even simultaneously. In such a case no attempt is made to
7274 automatically avoid collisions between ordinary notes and clusters.
7278 Program reference: @internalsref{ClusterSpanner},
7279 @internalsref{ClusterSpannerBeacon},
7280 @internalsref{Cluster_spanner_engraver}, and
7281 @internalsref{ClusterNoteEvent}.
7283 Examples: @inputfileref{input/regression,cluster.ly}.
7287 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7288 accurately. Use @code{<g a>8 <e a>8} instead.
7293 @subsection Fermatas
7299 Contemporary music notation frequently uses special fermata symbols to
7300 indicate fermatas of differing lengths. The following fermatas are
7303 @lilypond[raggedright]
7305 << \addlyrics \notes {
7325 \context Lyrics \lyrics {
7326 \override LyricText #'font-family = #'typewriter
7327 "shortfermata" "fermata" "longfermata" "verylongfermata"
7332 See @ref{Articulations} for general instructions how to apply scripts
7333 such as fermatas to a @code{\notes@{@}} block.
7336 @node Special notation
7337 @section Special notation
7341 * Easy Notation note heads::
7345 @subsection Balloon help
7347 Elements of notation can be marked and named with the help of a square
7348 balloon. The primary purpose of this feature is to explain notation.
7350 The following example demonstrates its use.
7352 @lilypond[verbatim,fragment,raggedright,relative=1]
7355 #(add-balloon-text 'NoteHead "heads, or tails?"
7361 The function @code{add-balloon-text} takes the name of a grob, the
7362 label to print and where to put the label relative to the object. In
7363 the above example, the text ``heads or tails?'' ends 3 spaces below
7367 @cindex notation, explaining
7371 Program reference: @internalsref{text-balloon-interface}.
7373 Examples: @inputfileref{input/regression,balloon.ly}.
7375 @node Easy Notation note heads
7376 @subsection Easy Notation note heads
7378 @cindex easy notation
7381 The `easy play' note head includes a name inside the head. It is
7382 used in music for beginners:
7384 @lilypond[raggedright,verbatim,staffsize=26]
7389 The command @code{\setEasyHeads} overrides settings for the
7390 @internalsref{NoteHead} object. To make the letters readable, it has
7391 to be printed in a large font size. To print with a larger font, see
7392 @ref{Setting global staff size}.
7397 If you view the result with Xdvi, then staff lines may show through
7398 the letters. Printing the PostScript file obtained does produce the
7403 @cindex \setEasyHeads
7404 @code{\setEasyHeads}
7410 Entered music can also be converted to MIDI output. The performance
7411 is intended for proof-hearing the music for errors.
7413 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7414 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7415 marks translate to a fixed fraction of the available MIDI volume
7416 range, crescendi and decrescendi make the volume vary linearly between
7417 their two extremities. The fractions can be adjusted by
7418 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7419 For each type of MIDI instrument, a volume range can be defined. This
7420 gives a basic equalizer control, which can enhance the quality of
7421 the MIDI output remarkably. The equalizer can be controlled by
7422 setting @code{instrumentEqualizer}.
7426 Many musically interesting effects, such as swing, articulation,
7427 slurring, etc., are not translated to MIDI.
7429 The MIDI output allocates a channel for each Staff, and one for global
7430 settings. Hence, the MIDI file should not have more than 15 staves
7431 (or 14 if you do not use drums). Other staves will remain silent.
7436 * MIDI instrument names::
7441 @subsection MIDI block
7445 The MIDI block is analogous to the paper block, but it is somewhat
7446 simpler. The @code{\midi} block can contain:
7450 @item a @code{\tempo} definition, and
7451 @item context definitions.
7454 A number followed by a period is interpreted as a real number, so
7455 for setting the tempo for dotted notes, an extra space should be
7456 inserted, for example:
7459 \midi @{ \tempo 4 . = 120 @}
7463 @cindex context definition
7465 Context definitions follow precisely the same syntax as within the
7466 \paper block. Translation modules for sound are called performers.
7467 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7470 @node MIDI instrument names
7471 @subsection MIDI instrument names
7473 @cindex instrument names
7474 @cindex @code{Staff.midiInstrument}
7476 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7477 property. The instrument name should be chosen from the list in
7478 @ref{MIDI instruments}.
7482 If the selected string does not exactly match, then the default is
7483 used, which is the Grand Piano.