2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[quote,fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C
90 @lilypond[quote,fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[quote,verbatim,relative=3]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave
153 @lilypond[quote,fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch
186 @lilypond[quote,fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
209 @lilypond[quote,relative=1]
220 Rests are entered like notes, with the note name @code{r}
222 @lilypond[quote,raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone
236 @lilypond[quote,raggedright,verbatim]
242 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}
255 @lilypond[quote,raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command
262 @lilypond[quote,raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[quote,raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[quote,fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
349 In the following example, the first three notes take up exactly two
350 beats, but no triplet bracket is printed.
351 @lilypond[quote,fragment,relative=3,verbatim]
353 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 This manual: @ref{Tuplets}
374 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
379 Whenever a note is found, a @internalsref{Stem} object is created
380 automatically. For whole notes and rests, they are also created but
385 @cindex @code{\stemUp}
387 @cindex @code{\stemDown}
389 @cindex @code{\stemBoth}
400 A tie connects two adjacent note heads of the same pitch. The tie in
401 effect extends the length of a note. Ties should not be confused with
402 slurs, which indicate articulation, or phrasing slurs, which indicate
403 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
405 @lilypond[quote,fragment,verbatim]
406 e' ~ e' <c' e' g'> ~ <c' e' g'>
409 When a tie is applied to a chord, all note heads whose pitches match
410 are connected. When no note heads match, no ties will be created.
412 In its meaning a tie is just a way of extending a note duration, similar
413 to the augmentation dot; in the following example there are two ways of
414 notating exactly the same concept
416 @lilypond[quote,fragment,raggedright]
417 \time 3/4 c'2. c'2 ~ c'4
419 If you need to tie a lot of notes over bars, it may be easier to use automatic
420 note splitting (see @ref{Automatic note splitting}).
425 @cindex @code{\tieUp}
427 @cindex @code{\tieDown}
429 @cindex @code{\tieBoth}
431 @cindex @code{\tieDotted}
433 @cindex @code{\tieSolid}
438 In this manual: @ref{Automatic note splitting}.
440 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
442 For tying only a subset of the note heads of a pair of chords, see
443 @inputfileref{input/regression,tie-chord-partial.ly}.
448 Switching staves when a tie is active will not produce a slanted tie.
450 Formatting of ties is a difficult subject. The results are often not
460 @cindex @code{\times}
462 Tuplets are made out of a music expression by multiplying all durations
465 @cindex @code{\times}
467 \times @var{fraction} @var{musicexpr}
471 The duration of @var{musicexpr} will be multiplied by the fraction.
472 The fraction's denominator will be printed over the notes, optionally
473 with a bracket. The most common tuplet is the triplet in which 3
474 notes have the length of 2, so the notes are 2/3 of their written
477 @lilypond[quote,fragment,verbatim]
478 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
481 The property @code{tupletSpannerDuration} specifies how long each
482 bracket should last. With this, you can make lots of tuplets while
483 typing @code{\times} only once, saving lots of typing. In the next
484 example, there are two triplets shown, while @code{\times} was only
487 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
488 \set tupletSpannerDuration = #(ly:make-moment 1 4)
489 \times 2/3 { c'8 c c c c c }
492 The format of the number is determined by the property
493 @code{tupletNumberFormatFunction}. The default prints only the
494 denominator, but if it is set to the Scheme function
495 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
499 @cindex @code{tupletNumberFormatFunction}
500 @cindex tuplet formatting
505 @cindex @code{\tupletUp}
507 @cindex @code{\tupletDown}
509 @cindex @code{\tupletBoth}
514 User manual: @ref{Changing context properties on the fly} for the
518 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
520 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
524 Nested tuplets are not formatted automatically. In this case, outer
525 tuplet brackets should be moved manually, which is demonstrated in
526 @inputfileref{input/regression,tuplet-nest.ly}.
530 @node Easier music entry
531 @section Easier music entry
534 This section deals with tricks and features of the input language that
535 were added solely to help entering music, finding and correcting
536 mistakes. There are also external tools that make debugging easier.
537 See @ref{Point and click} for more information.
539 It is also possible to enter and edit music using other programs. For
540 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
541 website for more information.
548 * Skipping corrected music::
549 * Automatic note splitting::
555 @node Relative octaves
556 @subsection Relative octaves
558 @cindex relative octave specification
560 Octaves are specified by adding @code{'} and @code{,} to pitch names.
561 When you copy existing music, it is easy to accidentally put a pitch
562 in the wrong octave and hard to find such an error. The relative
563 octave mode prevents these errors: a single error puts the rest of the
564 piece off by one octave
566 @cindex @code{\relative}
568 \relative @var{startpitch} @var{musicexpr}
571 The octave of notes that appear in @var{musicexpr} are calculated as
572 follows: If no octave changing marks are used, the basic interval
573 between this and the last note is always taken to be a fourth or
574 less. This distance is determined without regarding alterations; a
575 @code{fisis} following a @code{ceses} will be put above the
578 The octave changing marks @code{'} and @code{,} can be added to raise
579 or lower the pitch by an extra octave. Upon entering relative mode,
580 an absolute starting pitch must be specified that will act as the
581 predecessor of the first note of @var{musicexpr}.
583 Here is the relative mode shown in action
584 @lilypond[quote,fragment,raggedright,verbatim]
590 Octave changing marks are used for intervals greater than a fourth
591 @lilypond[quote,fragment,verbatim]
597 If the preceding item is a chord, the first note of the chord is used
598 to determine the first note of the next chord
600 @lilypond[quote,fragment,verbatim]
607 @cindex @code{\notes}
609 The pitch after the @code{\relative} contains a note name. To parse
610 the note name as a pitch, it must be surrounded by @code{\notes}
612 The relative conversion will not affect @code{\transpose},
613 @code{\chords} or @code{\relative} sections in its argument. If you
614 want to use relative within transposed music, you must place an
615 additional @code{\relative} inside the @code{\transpose}.
618 @subsection Octave check
621 Octave checks make octave errors easier to correct: a note may be
622 followed by @code{=}@var{quotes} which indicates what its absolute
623 octave should be. In the following example,
625 \relative c'' @{ c='' b=' d,='' @}
629 @c take care with @code, adds confusing quotes.
630 the d will generate a warning, because a d'' is expected, but a d' is
631 found. In the output, the octave is corrected for this and the
636 There is also a syntax that is separate from the notes. The syntax
642 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
643 quotes) in \relative mode. If not, a warning is printed, and the
644 octave is corrected, for example, the first check is passed
645 successfully. The second check fails with an error message. The
646 octave is adjusted so the following notes are in the correct octave
657 The octave of a note following an octave check is determined with
658 respect to the note preceding it. In the next fragment, the last note
659 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
660 be deleted without changing the meaning of the piece.
662 @lilypond[quote,verbatim,fragment]
671 @subsection Bar check
675 @cindex @code{barCheckSynchronize}
678 Bar checks help detect errors in the durations. A bar check is
679 entered using the bar symbol, `@code{|}'. Whenever it is encountered
680 during interpretation, it should fall on a measure boundary. If it
681 does not, a warning is printed. In the next example, the second bar
682 check will signal an error
684 \time 3/4 c2 e4 | g2 |
687 Bar checks can also be used in lyrics, for example
692 Twin -- kle | Twin -- kle
697 @cindex skipTypesetting
699 Failed bar checks are caused by entering incorrect
700 durations. Incorrect durations often completely garble up the score,
701 especially if it is polyphonic, so you should start correcting the
702 score by scanning for failed bar checks and incorrect durations. To
703 speed up this process, you can use @code{skipTypesetting}, described
706 It is also possible to redefine the meaning of @code{|}. This is done
707 by assigning a music expression to @code{pipeSymbol},
710 pipeSymbol = \bar "||"
713 \notes { c'2 c'2 | c'2 c'2 | }
718 @node Skipping corrected music
719 @subsection Skipping corrected music
721 The property @code{Score.skipTypesetting} can be used to switch on and
722 off typesetting completely during the interpretation phase. When
723 typesetting is switched off, the music is processed much more quickly.
724 This can be used to skip over the parts of a score that have already
725 been checked for errors
727 @lilypond[quote,fragment,raggedright,verbatim]
730 \set Score.skipTypesetting = ##t
732 \set Score.skipTypesetting = ##f
736 @node Automatic note splitting
737 @subsection Automatic note splitting
739 Long notes can be converted automatically to tied notes. This is done
740 by replacing the @internalsref{Note_heads_engraver} by the
741 @internalsref{Completion_heads_engraver}.
742 In the following examples, notes crossing the bar line are split and tied.
745 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
747 \remove "Note_heads_engraver"
748 \consists "Completion_heads_engraver"
750 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
754 This engraver splits all running notes at the bar line, and inserts
755 ties. One of its uses is to debug complex scores: if the measures are
756 not entirely filled, then the ties exactly show how much each measure
761 Not all durations (especially those containing tuplets) can be
762 represented exactly; the engraver will not insert tuplets.
766 Examples: @inputfileref{input/regression,completion-heads.ly}.
768 Program reference: @internalsref{Completion_heads_engraver}.
772 @section Staff notation
774 This section describes music notation that occurs on staff level,
775 such as keys, clefs and time signatures.
777 @cindex Staff notation
791 @subsection Staff symbol
793 @cindex adjusting staff symbol
795 Notes, dynamic signs, etc. are grouped
796 with a set of horizontal lines, into a staff (plural `staves'). In our
797 system, these lines are drawn using a separate layout object called
801 @cindex staff lines, setting number of
802 @cindex staff lines, setting thickness of
803 @cindex thickness of staff lines, setting
804 @cindex number of staff lines, setting
808 Program reference: @internalsref{StaffSymbol}.
810 Examples: @inputfileref{input/test,staff-lines.ly},
811 @inputfileref{input/test,staff-size.ly}.
815 If a staff is ended halfway a piece, the staff symbol may not end
816 exactly on the bar line.
820 @subsection Key signature
821 @cindex Key signature
825 The key signature indicates the scale in which a piece is played. It
826 is denoted by a set of alterations (flats or sharps) at the start of
830 Setting or changing the key signature is done with the @code{\key}
833 @code{\key} @var{pitch} @var{type}
836 @cindex @code{\minor}
837 @cindex @code{\major}
838 @cindex @code{\minor}
839 @cindex @code{\ionian}
840 @cindex @code{\locrian}
841 @cindex @code{\aeolian}
842 @cindex @code{\mixolydian}
843 @cindex @code{\lydian}
844 @cindex @code{\phrygian}
845 @cindex @code{\dorian}
847 Here, @var{type} should be @code{\major} or @code{\minor} to get
848 @var{pitch}-major or @var{pitch}-minor, respectively.
849 The standard mode names @code{\ionian},
850 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
851 @code{\phrygian}, and @code{\dorian} are also defined.
853 This command sets the context property
854 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
855 can be specified by setting this property directly.
857 Accidentals and key signatures often confuse new users, because
858 unaltered notes get natural signs depending on the key signature. For
859 more information, see @ref{More about pitches}.
863 The ordering of a key cancellation is wrong when it is combined with
864 repeat bar lines. The cancellation is also printed after a line break.
868 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
870 @cindex @code{keySignature}
877 The clef indicates which lines of the staff correspond to which
881 The clef can be set or changed with the @code{\clef} command
882 @lilypond[quote,fragment,verbatim]
883 \key f\major c''2 \clef alto g'2
886 Supported clef-names include
887 @c Moved standard clefs to the top /MB
891 @item treble, violin, G, G2
904 G clef on 1st line, so-called French violin clef
909 @cindex mezzosoprano clef
912 @cindex baritone clef
915 @cindex varbaritone clef
926 By adding @code{_8} or @code{^8} to the clef name, the clef is
927 transposed one octave down or up, respectively, and @code{_15} and
928 @code{^15} transposes by two octaves. The argument @var{clefname}
929 must be enclosed in quotes when it contains underscores or digits. For
933 @cindex choral tenor clef
934 @lilypond[quote,verbatim,fragment,relative=1]
938 This command is equivalent to setting @code{clefGlyph},
939 @code{clefPosition} (which controls the Y position of the clef),
940 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
941 when any of these properties are changed.
945 Program reference: the object for this symbol is @internalsref{Clef}.
949 @node Ottava brackets
950 @subsection Ottava brackets
952 ``Ottava'' brackets introduce an extra transposition of an octave for
953 the staff. They are created by invoking the function
954 @code{set-octavation}
960 @lilypond[quote,verbatim,fragment]
970 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
971 (for 15ma) as arguments. Internally the function sets the properties
972 @code{ottavation} (e.g. to @code{"8va"}) and
973 @code{centralCPosition}. For overriding the text of the bracket, set
974 @code{ottavation} after invoking @code{set-octavation}, i.e.,
978 \set Staff.ottavation = #"8"
983 Program reference: @internalsref{OttavaBracket}.
985 Examples: @inputfileref{input/regression,ottava.ly},
986 @inputfileref{input/regression,ottava-broken.ly}.
990 @code{set-octavation} will get confused when clef changes happen
991 during an octavation bracket.
994 @subsection Time signature
995 @cindex Time signature
999 Time signature indicates the metrum of a piece: a regular pattern of
1000 strong and weak beats. It is denoted by a fraction at the start of the
1004 The time signature is set or changed by the @code{\time}
1006 @lilypond[quote,fragment,verbatim]
1007 \time 2/4 c'2 \time 3/4 c'2.
1010 The symbol that is printed can be customized with the @code{style}
1011 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1012 2/2 time. There are many more options for its layout. See
1013 @inputfileref{input/test,time.ly} for more examples.
1016 This command sets the property @code{timeSignatureFraction},
1017 @code{beatLength} and @code{measureLength} in the @code{Timing}
1018 context, which is normally aliased to @internalsref{Score}. The
1019 property @code{measureLength} determines where bar lines should be
1020 inserted, and how automatic beams should be generated. Changing the
1021 value of @code{timeSignatureFraction} also causes the symbol to be
1024 More options are available through the Scheme function
1025 @code{set-time-signature}. In combination with the
1026 @internalsref{Measure_grouping_engraver}, it will create
1027 @internalsref{MeasureGrouping} signs. Such signs ease reading
1028 rhythmically complex modern music. In the following example, the 9/8
1029 measure is subdivided in 2, 2, 2 and 3. This is passed to
1030 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1032 @lilypond[quote,raggedright,verbatim]
1034 \notes \relative c'' {
1035 #(set-time-signature 9 8 '(2 2 2 3))
1036 g8[ g] d[ d] g[ g] a8[( bes g]) |
1037 #(set-time-signature 5 8 '(3 2))
1043 \consists "Measure_grouping_engraver"
1051 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1056 Automatic beaming does not use the measure grouping specified with
1057 @code{set-time-signature}.
1059 @node Partial measures
1060 @subsection Partial measures
1063 @cindex partial measure
1064 @cindex measure, partial
1065 @cindex shorten measures
1066 @cindex @code{\partial}
1068 Partial measures, for example in upsteps, are entered using the
1069 @code{\partial} command
1070 @lilypond[quote,fragment,verbatim,relative=2]
1071 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1074 The syntax for this command is
1076 \partial @var{duration}
1078 This is internally translated into
1080 \set Timing.measurePosition = -@var{length of duration}
1083 The property @code{measurePosition} contains a rational number
1084 indicating how much of the measure has passed at this point.
1086 @node Unmetered music
1087 @subsection Unmetered music
1089 Bar lines and bar numbers are calculated automatically. For unmetered
1090 music (e.g. cadenzas), this is not desirable. By setting
1091 @code{Score.timing} to false, this automatic timing can be switched
1092 off. Empty bar lines,
1099 indicate where line breaks can occur.
1105 @cindex @code{\cadenzaOn}
1107 @cindex @code{\cadenzaOff}
1111 @subsection Bar lines
1115 @cindex measure lines
1119 Bar lines delimit measures, but are also used to indicate repeats.
1120 Normally, they are inserted automatically. Line breaks may only
1121 happen on bar lines.
1123 Special types of bar lines can be forced with the @code{\bar} command
1125 @lilypond[quote,relative=2,fragment,verbatim]
1129 The following bar types are available
1130 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1143 For allowing line breaks, there is a special command,
1147 This will insert an invisible bar line, and allow line breaks at this
1150 In scores with many staves, a @code{\bar} command in one staff is
1151 automatically applied to all staves. The resulting bar lines are
1152 connected between different staves of a @internalsref{StaffGroup}
1154 @lilypond[quote,fragment,verbatim]
1156 \context StaffGroup <<
1162 \new Staff { \clef bass c4 g e g }
1164 \new Staff { \clef bass c2 c2 }
1168 A bar line is created whenever the @code{whichBar} property is set.
1169 At the start of a measure it is set to the contents of
1170 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1171 to override default measure bars.
1173 The command @code{\bar }@var{bartype} is a short cut for doing
1174 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1175 is set to a string, a bar line of that type is created.
1178 @cindex repeatCommands
1179 @cindex defaultBarType
1181 You are encouraged to use @code{\repeat} for repetitions. See
1188 In this manual: @ref{Repeats}.
1191 Program reference: the bar line objects that are created at
1192 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1193 lines that span staves are @internalsref{SpanBar} objects.
1195 @cindex bar lines at start of system
1196 @cindex start of system
1198 The bar lines at the start of each system are
1199 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1200 @internalsref{SystemStartBracket}. Only one of these types is created
1201 in every context, and that type is determined by the property
1202 @code{systemStartDelimiter}.
1204 Examples: @inputfileref{input/test,bar-lines.ly},
1210 The easiest way to enter fragments with more than one voice on a staff
1211 is to split chords using the separator @code{\\}. You can use it for
1212 small, short-lived voices or for single chords
1214 @lilypond[quote,verbatim,fragment]
1215 \context Staff \relative c'' {
1216 c4 << { f d e } \\ { b c2 } >>
1217 c4 << g' \\ b, \\ f' \\ d >>
1221 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1222 voices are sometimes called "layers" other notation packages}
1224 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1225 each of these contexts, vertical direction of slurs, stems, etc. is set
1228 @cindex @code{\voiceOne}
1229 @cindex @code{\voiceFour}
1231 This can also be done by instantiating @internalsref{Voice} contexts
1232 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1233 a stem directions and horizontal shift for each part
1236 @lilypond[quote,raggedright,verbatim]
1239 \new Voice { \voiceOne cis2 b }
1240 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1241 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1245 The command @code{\oneVoice} will revert back to the normal setting.
1246 @cindex @code{\oneVoice}
1249 Normally, note heads with a different number of dots are not merged, but
1250 when the object property @code{merge-differently-dotted} is set in
1251 the @internalsref{NoteCollision} object, they are merged
1252 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1255 \override Staff.NoteCollision
1256 #'merge-differently-dotted = ##t
1258 } \\ { g8.[ f16] g8.[ f16] } >>
1261 Similarly, you can merge half note heads with eighth notes, by setting
1262 @code{merge-differently-headed}
1263 @lilypond[quote,fragment,relative=2,verbatim]
1266 \override Staff.NoteCollision
1267 #'merge-differently-headed = ##t
1268 c8 c4. } \\ { c2 c2 } >>
1271 LilyPond also vertically shifts rests that are opposite of a stem
1274 @lilypond[quote,raggedright,fragment,verbatim]
1275 \context Voice << c''4 \\ r4 >>
1283 @cindex @code{\oneVoice}
1285 @cindex @code{\voiceOne}
1287 @cindex @code{\voiceTwo}
1289 @cindex @code{\voiceThree}
1291 @cindex @code{\voiceFour}
1295 The following commands specify in what chords of the current voice
1296 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1297 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1300 @cindex @code{\shiftOn}
1302 @cindex @code{\shiftOnn}
1304 @cindex @code{\shiftOnnn}
1306 @cindex @code{\shiftOff}
1313 Program reference: the objects responsible for resolving collisions are
1314 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1316 Examples: See also example files
1317 @inputfileref{input/regression,collision-dots.ly},
1318 @inputfileref{input/regression,collision-head-chords.ly},
1319 @inputfileref{input/regression,collision-heads.ly},
1320 @inputfileref{input/regression,collision-mesh.ly}, and
1321 @inputfileref{input/regression,collisions.ly}.
1326 Resolving collisions is a intricate subject, and only a few situations
1327 are handled. When LilyPond cannot cope, the @code{force-hshift}
1328 property of the @internalsref{NoteColumn} object and pitched rests can
1329 be used to override typesetting decisions.
1331 When using @code{merge-differently-headed} with an upstem eighth or a
1332 shorter note, and a downstem half note, the eighth note gets the wrong
1335 There is no support for clusters where the same note occurs with
1336 different accidentals in the same chord. In this case, it is
1337 recommended to use enharmonic transcription, or to use special cluster
1338 notation (see @ref{Clusters}).
1343 Beams are used to group short notes into chunks that are aligned with
1344 the metrum. They are inserted automatically
1346 @lilypond[quote,fragment,verbatim,relative=2]
1347 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1350 When these automatic decisions are not good enough, beaming can be
1351 entered explicitly. It is also possible to define beaming patterns
1352 that differ from the defaults.
1354 Individual notes may be marked with @code{\noBeam}, to prevent them
1357 @lilypond[quote,fragment,verbatim,relative=2]
1358 \time 2/4 c8 c\noBeam c c
1364 Program reference: @internalsref{Beam}.
1367 @cindex Automatic beams
1370 * Setting automatic beam behavior::
1374 @subsection Manual beams
1375 @cindex beams, manual
1379 In some cases it may be necessary to override the automatic beaming
1380 algorithm. For example, the autobeamer will not put beams over rests
1381 or bar lines. Such beams are specified by manually: the begin and end
1382 point are marked with @code{[} and @code{]}
1384 @lilypond[quote,fragment,relative=1,verbatim]
1386 r4 r8[ g' a r8] r8 g[ | a] r8
1390 @cindex @code{stemLeftBeamCount}
1392 Normally, beaming patterns within a beam are determined automatically.
1393 If necessary, the properties @code{stemLeftBeamCount} and
1394 @code{stemRightBeamCount} can be used to override the defaults. If
1395 either property is set, its value will be used only once, and then it
1398 @lilypond[quote,fragment,relative=1,verbatim]
1401 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1404 @cindex @code{stemRightBeamCount}
1407 The property @code{subdivideBeams} can be set in order to subdivide
1408 all 16th or shorter beams at beat positions, as defined by the
1409 @code{beatLength} property.
1412 @lilypond[quote,relative=2,verbatim,noindent]
1414 \set subdivideBeams = ##t
1416 \set Score.beatLength = #(ly:make-moment 1 8)
1419 @cindex subdivideBeams
1421 Kneed beams are inserted automatically, when a large gap is detected
1422 between the note heads. This behavior can be tuned through the object
1423 property @code{auto-knee-gap}.
1425 Normally, line breaks are forbidden when beams cross bar lines. This
1426 behavior can be changed by setting @code{allowBeamBreak}.
1428 @cindex @code{allowBeamBreak}
1429 @cindex beams and line breaks
1431 @cindex beams, kneed
1433 @cindex auto-knee-gap
1438 User manual: @ref{Changing context properties on the fly} for the
1444 @cindex Frenched staves
1446 Automatically kneed cross-staff beams cannot be used together with
1449 Beams do not avoid collisions with symbols around the notes, such as
1450 texts and accidentals.
1454 @node Setting automatic beam behavior
1455 @subsection Setting automatic beam behavior
1457 @cindex @code{autoBeamSettings}
1458 @cindex @code{(end * * * *)}
1459 @cindex @code{(begin * * * *)}
1460 @cindex automatic beams, tuning
1461 @cindex tuning automatic beaming
1463 @c [TODO: use \applycontext]
1465 In normal time signatures, automatic beams can start on any note but can
1466 only end in a few positions within the measure: beams can end on a beat,
1467 or at durations specified by the properties in
1468 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1469 are defined in @file{scm/auto-beam.scm}.
1471 The value of @code{autoBeamSettings} is changed with two functions,
1473 #(override-auto-beam-setting
1474 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1476 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1478 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1479 @var{context} is an optional context (default: @code{'Voice}). It
1480 determines whether the rule applies to begin or end-points. The
1481 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1482 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1483 to a time signature (wildcards `@code{* *}' may be entered to
1484 designate all time signatures), @var{a}/@var{b} is a duration. By
1485 default, this command changes settings for the current voice. It is
1486 also possible to adjust settings at higher contexts, by adding a
1487 @var{context} argument.
1489 For example, if automatic beams should end on every quarter note, use
1492 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1494 Since the duration of a quarter note is 1/4 of a whole note, it is
1495 entered as @code{(ly:make-moment 1 4)}.
1497 The same syntax can be used to specify beam starting points. In this
1498 example, automatic beams can only end on a dotted quarter note
1500 #(override-auto-beam-setting '(end * * * *) 3 8)
1502 In 4/4 time signature, this means that automatic beams could end only on
1503 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1504 3/8, has passed within the measure).
1506 Rules can also be restricted to specific time signatures. A rule that
1507 should only be applied in @var{N}/@var{M} time signature is formed by
1508 replacing the second asterisks by @var{N} and @var{M}. For example, a
1509 rule for 6/8 time exclusively looks like
1511 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1514 If a rule should be to applied only to certain types of beams, use the
1515 first pair of asterisks. Beams are classified according to the
1516 shortest note they contain. For a beam ending rule that only applies
1517 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1520 @cindex automatic beam generation
1522 @cindex @code{autoBeaming}
1525 If beams are used to indicate melismata in songs, then automatic
1526 beaming should be switched off. This is done by setting
1527 @code{autoBeaming} to @code{#f}.
1531 @cindex @code{\autoBeamOff}
1532 @code{\autoBeamOff},
1533 @cindex @code{\autoBeamOn}
1539 If a score ends while an automatic beam has not been ended and is
1540 still accepting notes, this last beam will not be typeset at all. The
1541 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1542 >>}. If a polyphonic voice ends while an automatic beam is still
1543 accepting notes, it is not typeset.
1545 The rules for ending a beam depend on the shortest note in a beam.
1546 So, while it is possible to have different ending rules for eight
1547 beams and sixteenth beams, a beam that contains both eight and
1548 sixteenth notes will use the rules for the sixteenth beam.
1550 In the example below, the autobeamer makes eight beams and sixteenth
1551 end at 3 eights; the third beam can only be corrected by specifying
1554 @lilypond[quote,raggedright,fragment,relative=1]
1555 #(override-auto-beam-setting '(end * * * *) 3 8)
1556 % rather show case where it goes wrong
1557 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1558 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1560 It is not possible to specify beaming parameters that act differently in
1561 different parts of a measure. This means that it is not possible to use
1562 automatic beaming in irregular meters such as @code{5/8}.
1565 @section Accidentals
1568 This section describes how to change the way that accidentals are
1569 inserted automatically before the running notes.
1571 Common rules for typesetting accidentals have been canned in a
1572 function. This function is called as follows
1574 @cindex @code{set-accidental-style}
1576 #(set-accidental-style 'modern 'Voice)
1579 The function takes two arguments: a symbol that denotes the style (in
1580 the example, @code{modern}), and another symbol that denotes the
1581 context name (in this example, @code{Voice}). If no context name is
1582 supplied, @code{Staff} is the default.
1584 The following styles are supported
1587 This is the default typesetting behavior. It should correspond
1588 to 18th century common practice: Accidentals are
1589 remembered to the end of the measure in which they occur and
1590 only on their own octave.
1594 The normal behavior is to remember the accidentals on
1595 Staff-level. This variable, however, typesets accidentals
1596 individually for each voice. Apart from that, the rule is similar to
1599 This leads to some weird and often unwanted results
1600 because accidentals from one voice do not get canceled in other
1602 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1604 #(set-accidental-style 'voice)
1610 Hence you should only use @code{voice} if the voices
1611 are to be read solely by individual musicians. If the staff is to be
1612 used by one musician (e.g. a conductor) then you use
1613 @code{modern} or @code{modern-cautionary}
1617 @cindex @code{modern} style accidentals
1618 This rule corresponds to the common practice in the 20th
1620 This rule prints the same accidentals as @code{default}, but temporary
1621 accidentals also are canceled in other octaves. Furthermore,
1622 in the same octave, they also get canceled in the following
1625 @lilypond[quote,raggedright,fragment,verbatim]
1626 #(set-accidental-style 'modern)
1627 cis' c'' cis'2 | c'' c'
1630 @item @code{modern-cautionary}
1631 @cindex @code{modern-cautionary}
1632 This rule is similar to @code{modern}, but the
1633 ``extra'' accidentals (the ones not typeset by
1634 @code{default}) are typeset as cautionary accidentals.
1635 They are printed in reduced size or with parentheses
1636 @lilypond[quote,raggedright,fragment,verbatim]
1637 #(set-accidental-style 'modern-cautionary)
1638 cis' c'' cis'2 | c'' c'
1641 @cindex @code{modern-voice}
1643 This rule is used for multivoice accidentals to be read both by musicians
1644 playing one voice and musicians playing all voices. Accidentals are
1645 typeset for each voice, but they @emph{are} canceled across voices in
1646 the same @internalsref{Staff}.
1648 @cindex @code{modern-voice-cautionary}
1649 @item modern-voice-cautionary
1650 This rule is the same as @code{modern-voice}, but with the extra
1651 accidentals (the ones not typeset by @code{voice}) typeset
1652 as cautionaries. Even though all accidentals typeset by
1653 @code{default} @emph{are} typeset by this variable then
1654 some of them are typeset as cautionaries.
1657 @cindex @code{piano} accidentals
1658 This rule reflects 20th century practice for piano notation. Very similar to
1659 @code{modern} but accidentals also get canceled
1660 across the staves in the same @internalsref{GrandStaff} or
1661 @internalsref{PianoStaff}.
1663 @item piano-cautionary
1664 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1665 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1666 typeset as cautionaries.
1669 @cindex @code{no-reset} accidental style
1671 This is the same as @code{default} but with accidentals lasting
1672 ``forever'' and not only until the next measure
1673 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1674 #(set-accidental-style 'no-reset)
1679 This is sort of the opposite of @code{no-reset}: Accidentals
1680 are not remembered at all---and hence all accidentals are
1681 typeset relative to the key signature, regardless of what was
1684 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1685 #(set-accidental-style 'forget)
1686 \key d\major c4 c cis cis d d dis dis
1693 Program reference: @internalsref{Accidental_engraver},
1694 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1699 Simultaneous notes are considered to be entered in sequential
1700 mode. This means that in a chord the accidentals are typeset as if the
1701 notes in the chord happened once at a time - in the order in which
1702 they appear in the input file.
1704 This is only a problem when accidentals in a chord depend on each
1705 other. This problem can be solved by manually inserting @code{!} and
1706 @code{?} for the problematic notes.
1708 In the default scheme, accidentals only depend on other
1709 accidentals with the same pitch on the same staff, so no conflicts are
1712 @node Expressive marks
1713 @section Expressive marks
1716 @c todo: should change ordering
1717 @c where to put text spanners, metronome marks,
1726 * Analysis brackets::
1728 * Fingering instructions::
1739 A slur indicates that notes are to be played bound or @emph{legato}.
1742 They are entered using parentheses
1743 @lilypond[quote,relative=2,fragment,verbatim]
1744 f( g)( a) a8 b( a4 g2 f4)
1749 @c TODO: should explain that ^( and _( set directions
1750 @c should set attachments with ^ and _ ?
1752 Slurs avoid crossing stems, and are generally attached to note heads.
1753 However, in some situations with beams, slurs may be attached to stem
1754 ends. If you want to override this layout you can do this through the
1755 object property @code{attachment} of @internalsref{Slur}. Its value
1756 is a pair of symbols, specifying the attachment type of the left and
1759 @lilypond[quote,fragment,relative=1,verbatim]
1761 \override Stem #'length = #5.5
1763 \override Slur #'attachment = #'(stem . stem)
1767 If a slur would strike through a stem or beam, the slur will be moved
1768 away upward or downward. If this happens, attaching the slur to the
1769 stems might look better
1771 @lilypond[quote,fragment,relative=1,verbatim]
1774 \override Slur #'attachment = #'(stem . stem)
1781 @cindex @code{\slurUp}
1783 @cindex @code{\slurDown}
1785 @cindex @code{\slurBoth}
1787 @cindex @code{\slurDotted}
1789 @cindex @code{\slurSolid}
1794 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1799 Producing nice slurs is a difficult problem, and LilyPond
1800 uses a simple, empiric method to produce slurs. In some cases, its
1804 @cindex Adjusting slurs
1806 @node Phrasing slurs
1807 @subsection Phrasing slurs
1809 @cindex phrasing slurs
1810 @cindex phrasing marks
1812 A phrasing slur (or phrasing mark) connects chords and is used to
1813 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1816 @lilypond[quote,fragment,verbatim,relative=1]
1817 \time 6/4 c'\( d( e) f( e) d\)
1820 Typographically, the phrasing slur behaves almost exactly like a
1821 normal slur. However, they are treated as different objects. A
1822 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1823 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1824 @code{\phrasingSlurBoth}.
1826 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1827 will only affect normal slurs and not phrasing slurs.
1831 @cindex @code{\phrasingSlurUp}
1832 @code{\phrasingSlurUp},
1833 @cindex @code{\phrasingSlurDown}
1834 @code{\phrasingSlurDown},
1835 @cindex @code{\phrasingSlurBoth}
1836 @code{\phrasingSlurBoth}.
1840 Program reference: see also @internalsref{PhrasingSlur}, and
1841 @internalsref{PhrasingSlurEvent}.
1845 Phrasing slurs have the same limitations in their formatting as normal
1846 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1849 @subsection Breath marks
1851 Breath marks are entered using @code{\breathe}
1854 @lilypond[quote,fragment,relative=1,verbatim]
1858 The glyph of the breath mark can be tuned by overriding the
1859 @code{text} property of the @code{BreathingSign} layout object with
1860 any markup text. For example,
1861 @lilypond[quote,fragment,verbatim,relative=1]
1863 \override BreathingSign #'text
1864 = #(make-musicglyph-markup "scripts-rvarcomma")
1871 Program reference: @internalsref{BreathingSign},
1872 @internalsref{BreathingSignEvent}.
1874 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1877 @node Metronome marks
1878 @subsection Metronome marks
1881 @cindex beats per minute
1882 @cindex metronome marking
1884 Metronome settings can be entered as follows
1886 \tempo @var{duration} = @var{per-minute}
1889 In the MIDI output, they are interpreted as a tempo change, and in the
1890 paper output, a metronome marking is printed
1891 @cindex @code{\tempo}
1892 @lilypond[quote,fragment,verbatim]
1898 Program reference: @internalsref{MetronomeChangeEvent}.
1903 @subsection Text spanners
1904 @cindex Text spanners
1906 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1907 are written as texts, and extended over many measures with dotted
1908 lines. You can create such texts using text spanners: attach
1909 @code{\startTextSpan} and @code{\stopTextSpan} to the
1910 start and ending note of the spanner.
1912 The string to be printed, as well as the style, is set through object
1915 @lilypond[quote,fragment,relative=1,verbatim]
1918 \override TextSpanner #'direction = #-1
1919 \override TextSpanner #'edge-text = #'("rall " . "")
1920 c2\startTextSpan b c\stopTextSpan a
1927 Internals @internalsref{TextSpanEvent},
1928 @internalsref{TextSpanner}.
1930 Examples: @inputfileref{input/regression,text-spanner.ly}.
1933 @node Analysis brackets
1934 @subsection Analysis brackets
1936 @cindex phrasing brackets
1937 @cindex musicological analysis
1938 @cindex note grouping bracket
1940 Brackets are used in musical analysis to indicate structure in musical
1941 pieces. LilyPond supports a simple form of nested horizontal brackets.
1942 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1943 @internalsref{Staff} context. A bracket is started with
1944 @code{\startGroup} and closed with @code{\stopGroup}
1946 @lilypond[quote,raggedright,verbatim]
1948 \notes \relative c'' {
1949 c4\startGroup\startGroup
1952 c4\stopGroup\stopGroup
1956 \Staff \consists "Horizontal_bracket_engraver"
1962 Program reference: @internalsref{HorizontalBracket},
1963 @internalsref{NoteGroupingEvent}.
1965 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1969 @subsection Articulations
1970 @cindex Articulations
1972 @cindex articulations
1976 A variety of symbols can appear above and below notes to indicate
1977 different characteristics of the performance. They are added to a note
1978 by adding a dash and the character signifying the
1979 articulation. They are demonstrated here
1981 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1983 The meanings of these shorthands can be changed. See
1984 @file{ly/script-init.ly} for examples.
1987 The script is automatically placed, but if you need to force
1988 directions, you can use @code{_} to force them down, or @code{^} to
1990 @lilypond[quote,fragment,verbatim]
1994 Other symbols can be added using the syntax
1995 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1996 can be forced up or down using @code{^} and @code{_},
1999 @lilypond[quote,verbatim,fragment,relative=3]
2000 c\fermata c^\fermata c_\fermata
2007 @cindex staccatissimo
2016 @cindex organ pedal marks
2025 @cindex prallmordent
2029 @cindex thumb marking
2034 @lilypondfile[quote,raggedright]{script-chart.ly}
2038 @cindex @code{\scriptUp}
2040 @cindex @code{\scriptDown}
2042 @cindex @code{\scriptBoth}
2047 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2051 These note ornaments appear in the printed output but have no
2052 effect on the MIDI rendering of the music.
2055 @node Fingering instructions
2056 @subsection Fingering instructions
2060 Fingering instructions can be entered using
2062 @var{note}-@var{digit}
2064 For finger changes, use markup texts
2066 @lilypond[quote,verbatim,raggedright,fragment]
2067 c'4-1 c'4-2 c'4-3 c'4-4
2068 c'^\markup { \finger "2-3" }
2071 @cindex finger change
2076 You can use the thumb-script to indicate that a note should be
2077 played with the thumb (e.g. in cello music)
2079 @lilypond[quote,verbatim,raggedright,fragment]
2080 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2083 Fingerings for chords can also be added to individual notes
2084 of the chord by adding them after the pitches
2085 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2086 < c-1 e-2 g-3 b-5 >4
2090 iIn this case, setting @code{fingeringOrientations} will put fingerings next
2093 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2094 \set fingeringOrientations = #'(left down)
2095 <c-1 es-2 g-4 bes-5 > 4
2096 \set fingeringOrientations = #'(up right down)
2097 <c-1 es-2 g-4 bes-5 > 4
2098 \set fingeringOrientations = #'(right)
2102 The last note demonstrates how fingering instructions can be put close
2103 to note heads in monophonic music, using this feature.
2107 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2109 Examples: @inputfileref{input/regression,finger-chords.ly}.
2112 @subsection Text scripts
2113 @cindex Text scripts
2115 @cindex text items, non-empty
2116 @cindex non-empty texts
2118 It is possible to place arbitrary strings of text or markup text (see
2119 @ref{Text markup}) above or below notes by using a string
2120 @code{c^"text"}. By default, these indications do not influence the
2121 note spacing, but by using the command @code{\fatText}, the widths
2122 will be taken into account
2124 @lilypond[quote,fragment,raggedright,verbatim]
2126 c4^"longtext" \fatText c4_"longlongtext" c4
2130 It is possible to use @TeX{} commands in the strings, but this should
2131 be avoided because the exact dimensions of the string can then no
2136 @cindex @code{\fatText}
2138 @cindex @code{\emptyText}
2143 In this manual: @ref{Text markup}.
2145 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2151 @subsection Grace notes
2154 @c should have blurb about accaciatura / appogiatura
2156 @cindex @code{\grace}
2160 Grace notes are ornaments that are written out. The most common ones
2161 are acciaccatura, which should be played as very short. It is denoted
2162 by a slurred small note with a slashed stem. The appoggiatura is a
2163 grace note that takes a fixed fraction of the main note, is and
2164 denoted as a slurred note in small print without a slash.
2165 They are entered with the commands @code{\acciaccatura} and
2166 @code{\appoggiatura}, as demonstrated in the following example
2169 @cindex appoggiatura
2170 @cindex acciaccatura
2172 @lilypond[quote,relative=2,verbatim,fragment]
2173 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2174 \acciaccatura { g16[ f] } e4
2177 Both are special forms of the @code{\grace} command. By prefixing this
2178 keyword to a music expression, a new one is formed, which will be
2179 printed in a smaller font and takes up no logical time in a measure.
2181 @lilypond[quote,relative=2,verbatim,fragment]
2183 \grace { c16[ d16] } c2 c4
2187 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2188 @code{\grace} command does not start a slur.
2190 Internally, timing for grace notes is done using a second, `grace'
2191 time. Every point in time consists of two rational numbers: one
2192 denotes the logical time, one denotes the grace timing. The above
2193 example is shown here with timing tuples
2195 @lilypond[quote,raggedright]
2198 c4 \grace c16 c4 \grace {
2201 \new Lyrics \lyrics {
2204 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2205 \markup { (\fraction 1 4 , 0 ) } 4
2207 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2208 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2210 \markup { ( \fraction 2 4 , 0 ) }
2216 The placement of grace notes is synchronized between different staves.
2217 In the following example, there are two sixteenth graces notes for
2218 every eighth grace note
2220 @lilypond[quote,relative=2,verbatim,fragment]
2221 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2222 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2227 If you want to end a note with a grace, the standard trick is to put
2228 the grace notes after a ``space note''
2230 @lilypond[quote,fragment,verbatim,relative=2]
2233 { s2 \grace { c16[ d] } } >>
2239 By adjusting the duration of the skip note (here it is a half-note),
2240 the space between the main-note and the grace is adjusted.
2243 A @code{\grace} section will introduce special typesetting settings,
2244 for example, to produce smaller type, and set directions. Hence, when
2245 introducing layout tweaks, they should be inside the grace section,
2247 @lilypond[quote,fragment,verbatim,relative=2]
2250 \override Stem #'direction = #-1
2252 \revert Stem #'direction
2259 The overrides should also be reverted inside the grace section.
2261 If the layout of grace sections must be changed throughout the music,
2262 then this can be accomplished through the function
2263 @code{add-grace-property}. The following example undefines the Stem
2264 direction for this grace, so stems do not always point up.
2268 #(add-grace-property 'Voice 'Stem 'direction '())
2274 Another option is to change the variables @code{startGraceMusic},
2275 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2276 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2277 @code{stopAppoggiaturaMusic}. More information is in the file
2278 @file{ly/grace-init.ly}.
2283 Program reference: @internalsref{GraceMusic}.
2287 A score that starts with an @code{\grace} section needs an explicit
2288 @code{\context Voice} declaration, otherwise the main note and grace
2289 note end up on different staves.
2291 Grace note synchronization can also lead to surprises. Staff notation,
2292 such as key signatures, bar lines, etc. are also synchronized. Take
2293 care when you mix staves with grace notes and staves without, for example,
2295 @lilypond[quote,relative=2,verbatim,fragment]
2296 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2297 \new Staff { c4 \bar "|:" d4 } >>
2301 This can be remedied by inserting grace skips, for the above example
2304 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2307 Grace sections should only be used within sequential music
2308 expressions. Nesting or juxtaposing grace sections is not supported,
2309 and might produce crashes or other errors.
2313 @subsection Glissando
2316 @cindex @code{\glissando}
2318 A glissando is a smooth change in pitch. It is denoted by a line or a
2319 wavy line between two notes.
2322 A glissando line can be requested by attaching a @code{\glissando} to
2325 @lilypond[quote,fragment,relative=1,verbatim]
2331 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2333 Example files: @file{input/regression,glissando.ly}
2339 Printing text over the line (such as @emph{gliss.}) is not supported.
2343 @subsection Dynamics
2356 @cindex @code{\ffff}
2366 Absolute dynamic marks are specified using a command after a note
2367 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2368 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2369 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2370 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2372 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2373 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2383 A crescendo mark is started with @code{\<} and terminated with
2384 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2385 with @code{\!}. Because these marks are bound to notes, if you must
2386 use spacer notes if multiple marks during one note are needed
2388 @lilypond[quote,fragment,verbatim]
2389 c''\< c''\! d''\> e''\!
2390 << f''1 { s4 s4\< s4\! \> s4\! } >>
2392 This may give rise to very short hairpins. Use @code{minimum-length}
2393 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2397 \override Staff.Hairpin #'minimum-length = #5
2400 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2401 is an example how to do it
2403 @lilypond[quote,fragment,relative=2,verbatim]
2413 You can also supply your own texts
2414 @lilypond[quote,fragment,relative=1,verbatim]
2416 \set crescendoText = \markup { \italic "cresc. poco" }
2417 \set crescendoSpanner = #'dashed-line
2427 @cindex @code{\dynamicUp}
2429 @cindex @code{\dynamicDown}
2430 @code{\dynamicDown},
2431 @cindex @code{\dynamicBoth}
2432 @code{\dynamicBoth}.
2434 @cindex direction, of dynamics
2438 Program reference: @internalsref{CrescendoEvent},
2439 @internalsref{DecrescendoEvent}, and
2440 @internalsref{AbsoluteDynamicEvent}.
2442 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2443 objects. Vertical positioning of these symbols is handled by the
2444 @internalsref{DynamicLineSpanner} object.
2452 @cindex @code{\repeat}
2455 Repetition is a central concept in music, and multiple notations exist
2456 for repetitions. In LilyPond, most of these notations can be captured
2457 in a uniform syntax. One of the advantages is that they can be
2458 rendered in MIDI accurately.
2460 The following types of repetition are supported
2464 Repeated music is fully written (played) out. Useful for MIDI
2465 output, and entering repetitive music.
2468 This is the normal notation: Repeats are not written out, but
2469 alternative endings (volte) are printed, left to right.
2473 Alternative endings are written stacked. This has limited use but may be
2474 used to typeset two lines of lyrics in songs with repeats, see
2475 @inputfileref{input,star-spangled-banner.ly}.
2483 Make beat or measure repeats. These look like percent signs.
2489 * Repeats and MIDI::
2490 * Manual repeat commands::
2492 * Tremolo subdivisions::
2497 @subsection Repeat syntax
2500 LilyPond has one syntactic construct for specifying different types of
2501 repeats. The syntax is
2504 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2507 If you have alternative endings, you may add
2508 @cindex @code{\alternative}
2510 \alternative @code{@{} @var{alternative1}
2512 @var{alternative3} @dots{} @code{@}}
2514 where each @var{alternative} is a music expression. If you do not
2515 give enough alternatives for all of the repeats, the first alternative
2516 is assumed to be played more than once.
2518 Normal notation repeats are used like this
2519 @lilypond[quote,fragment,verbatim,relative=2]
2521 \repeat volta 2 { c4 d e f }
2522 \repeat volta 2 { f e d c }
2525 With alternative endings
2526 @lilypond[quote,fragment,verbatim,relative=2]
2528 \repeat volta 2 {c4 d e f}
2529 \alternative { {d2 d} {f f,} }
2533 @lilypond[quote,fragment,verbatim,relative=2]
2536 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2537 \alternative { { g4 g g } { a | a a a a | b2. } }
2543 A nested repeat like
2552 is ambiguous, since it is is not clear to which @code{\repeat} the
2553 @code{\alternative} belongs. This ambiguity is resolved by always
2554 having the @code{\alternative} belong to the inner @code{\repeat}.
2555 For clarity, it is advisable to use braces in such situations.
2558 @node Repeats and MIDI
2559 @subsection Repeats and MIDI
2561 @cindex expanding repeats
2563 For instructions on how to expand repeats for MIDI output, see the
2564 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2569 Timing information is not remembered at the start of an alternative,
2570 so after a repeat timing information must be reset by hand, for
2571 example by setting @code{Score.measurePosition} or entering
2572 @code{\partial}. Similarly, slurs or ties are also not repeated.
2575 @node Manual repeat commands
2576 @subsection Manual repeat commands
2578 @cindex @code{repeatCommands}
2580 The property @code{repeatCommands} can be used to control the layout of
2581 repeats. Its value is a Scheme list of repeat commands, where each repeat
2585 @item the symbol @code{start-repeat},
2586 which prints a @code{|:} bar line,
2587 @item the symbol @code{end-repeat},
2588 which prints a @code{:|} bar line,
2589 @item the list @code{(volta @var{text})},
2590 which prints a volta bracket saying @var{text}: The text can be specified as
2591 a text string or as a markup text, see @ref{Text markup}. Do not
2592 forget to change the font, as the default number font does not contain
2593 alphabetic characters. Or,
2594 @item the list @code{(volta #f)}, which
2595 stops a running volta bracket
2598 @lilypond[quote,verbatim,fragment,relative=2]
2600 \set Score.repeatCommands = #'((volta "93") end-repeat)
2602 \set Score.repeatCommands = #'((volta #f))
2609 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2610 @internalsref{VoltaRepeatedMusic},
2611 @internalsref{UnfoldedRepeatedMusic}, and
2612 @internalsref{FoldedRepeatedMusic}.
2614 @node Tremolo repeats
2615 @subsection Tremolo repeats
2616 @cindex tremolo beams
2618 To place tremolo marks between notes, use @code{\repeat} with tremolo
2620 @lilypond[quote,verbatim,raggedright]
2622 \context Voice \notes\relative c' {
2623 \repeat "tremolo" 8 { c16 d16 }
2624 \repeat "tremolo" 4 { c16 d16 }
2625 \repeat "tremolo" 2 { c16 d16 }
2630 Tremolo marks can also be put on a single note. In this case, the
2631 note should not be surrounded by braces.
2632 @lilypond[quote,verbatim,raggedright]
2633 \repeat "tremolo" 4 c'16
2636 A similar mechanism is the tremolo subdivision, described in
2637 @ref{Tremolo subdivisions}.
2641 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2643 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2644 tremolos are @internalsref{StemTremolo} objects. The music expression is
2645 @internalsref{TremoloEvent}.
2647 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2648 @inputfileref{input/regression,stem-tremolo.ly}.
2650 @node Tremolo subdivisions
2651 @subsection Tremolo subdivisions
2652 @cindex tremolo marks
2653 @cindex @code{tremoloFlags}
2655 Tremolo marks can be printed on a single note by adding
2656 `@code{:}[@var{length}]' after the note. The length must be at least
2657 8. A @var{length} value of 8 gives one line across the note stem. If
2658 the length is omitted, the last value (stored in @code{tremoloFlags})
2661 @lilypond[quote,verbatim,fragment]
2662 c'2:8 c':32 | c': c': |
2665 @c [TODO : stok is te kort bij 32en]
2669 Tremolos entered in this way do not carry over into the MIDI output.
2673 In this manual: @ref{Tremolo repeats}.
2675 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2677 @node Measure repeats
2678 @subsection Measure repeats
2680 @cindex percent repeats
2681 @cindex measure repeats
2683 In the @code{percent} style, a note pattern can be repeated. It is
2684 printed once, and then the pattern is replaced with a special sign.
2685 Patterns of a one and two measures are replaced by percent-like signs,
2686 patterns that divide the measure length are replaced by slashes
2688 @lilypond[quote,verbatim,raggedright]
2689 \repeat "percent" 4 { c'4 }
2690 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2695 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2696 @internalsref{PercentRepeatedMusic}, and
2697 @internalsref{DoublePercentRepeat}.
2701 @node Rhythmic music
2702 @section Rhythmic music
2706 * Showing melody rhythms::
2707 * Entering percussion::
2708 * Percussion staves::
2712 @node Showing melody rhythms
2713 @subsection Showing melody rhythms
2715 Sometimes you might want to show only the rhythm of a melody. This
2716 can be done with the rhythmic staff. All pitches of notes on such a
2717 staff are squashed, and the staff itself has a single line
2719 @lilypond[quote,fragment,relative=1,verbatim]
2720 \context RhythmicStaff {
2722 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2728 Program reference: @internalsref{RhythmicStaff}.
2730 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2733 @node Entering percussion
2734 @subsection Entering percussion
2740 Percussion notes may be entered in @code{\drums} mode, which is
2741 similar to @code{notes}. Each piece of percussion has a full name and
2742 an abbreviated name, and both be used in input files
2745 hihat hh bassdrum bd
2747 @lilypond[quote,raggedright]
2748 \new DrumStaff \drums { hihat hh bassdrum bd }
2751 The complete list of drum names is in the init file
2752 @file{ly/drumpitch-init.ly}.
2753 @c TODO: properly document this.
2757 Program reference: @internalsref{DrumNoteEvent}.
2759 @node Percussion staves
2760 @subsection Percussion staves
2764 A percussion part for more than one instrument typically uses a
2765 multiline staff where each position in the staff refers to one piece
2769 To typeset the music, the notes must be interpreted in a
2770 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2773 @lilypond[quote,raggedright,verbatim]
2774 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2775 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2778 \new DrumVoice { \voiceOne \up }
2779 \new DrumVoice { \voiceTwo \down }
2784 The above example shows verbose polyphonic notation. The short
2785 polyphonic notation, described in @ref{Polyphony}, can also be used if
2786 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2788 @lilypond[quote,fragment,verbatim]
2790 \context DrumVoice = "1" { s1 *2 }
2791 \context DrumVoice = "2" { s1 *2 }
2795 { \repeat unfold 16 hh16 }
2804 There are also other layout possibilities. To use these, set the
2805 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2806 The following variables have been predefined
2810 is the default. It typesets a typical drum kit on a five-line staff
2812 @lilypond[quote,noindent]
2813 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2814 bd sn ss tomh tommh tomml toml tomfh tomfl }
2815 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2816 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2818 << \new DrumStaff\with {
2819 \remove Bar_engraver
2820 \remove Time_signature_engraver
2821 \override Stem #'transparent = ##t
2822 \override Stem #'Y-extent-callback = ##f
2823 minimumVerticalExtent = #'(-4.0 . 5.0)
2825 \context Lyrics \nam
2828 %% need to do this, because of indented @itemize
2831 \override LyricText #'font-family = #'typewriter
2832 \override BarNumber #'transparent =##T
2836 The drum scheme supports six different toms. When there fewer toms, simply
2837 select the toms that produce the desired result, i.e. to get toms on
2838 the three middle lines you use @code{tommh}, @code{tomml} and
2841 @item timbales-style
2842 to typeset timbales on a two line staff
2844 @lilypond[quote,raggedright]
2845 nam = \lyrics { timh ssh timl ssl cb }
2846 mus = \drums { timh ssh timl ssl cb s16 }
2849 \context DrumStaff \with {
2850 \remove Bar_engraver
2851 \remove Time_signature_engraver
2852 \override Stem #'transparent = ##t
2853 \override Stem #'Y-extent-callback = ##f
2854 \override StaffSymbol #'line-count = #2
2855 \override StaffSymbol #'staff-space = #2
2856 minimumVerticalExtent = #'(-3.0 . 4.0)
2857 drumStyleTable = #timbales-style
2860 \override LyricText #'font-family = #'typewriter
2867 to typeset congas on a two line staff
2869 @lilypond[quote,raggedright]
2870 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2871 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2874 \context DrumStaff\with {
2875 \remove Bar_engraver
2876 \remove Time_signature_engraver
2877 drumStyleTable = #congas-style
2878 \override StaffSymbol #'line-count = #2
2880 %% this sucks; it will lengthen stems.
2881 \override StaffSymbol #'staff-space = #2
2882 \override Stem #'transparent = ##t
2883 \override Stem #'Y-extent-callback = ##f
2886 \override LyricText #'font-family = #'typewriter
2892 to typeset bongos on a two line staff
2894 @lilypond[quote,raggedright]
2895 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2896 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2899 \context DrumStaff\with {
2900 \remove Bar_engraver
2901 \remove Time_signature_engraver
2902 \override StaffSymbol #'line-count = #2
2903 drumStyleTable = #bongos-style
2905 %% this sucks; it will lengthen stems.
2906 \override StaffSymbol #'staff-space = #2
2907 \override Stem #'transparent = ##t
2908 \override Stem #'Y-extent-callback = ##f
2911 \override LyricText #'font-family = #'typewriter
2917 @item percussion-style
2918 to typeset all kinds of simple percussion on one line staves
2919 @lilypond[quote,raggedright]
2920 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2921 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2924 \context DrumStaff\with{
2925 \remove Bar_engraver
2926 drumStyleTable = #percussion-style
2927 \override StaffSymbol #'line-count = #1
2928 \remove Time_signature_engraver
2929 \override Stem #'transparent = ##t
2930 \override Stem #'Y-extent-callback = ##f
2934 \override LyricText #'font-family = #'typewriter
2941 If you do not like any of the predefined lists you can define your own
2942 list at the top of your file
2944 @lilypond[quote,raggedright,verbatim]
2946 (bassdrum default #f -1)
2947 (snare default #f 0)
2949 (pedalhihat xcircle "stopped" 2)
2950 (lowtom diamond #f 3)))
2951 up = \drums { hh8 hh hh hh hhp4 hhp }
2952 down = \drums { bd4 sn bd toml8 toml }
2955 \set DrumStaff.drumStyleTable
2956 = #(alist->hash-table mydrums)
2957 \new DrumVoice { \voiceOne \up }
2958 \new DrumVoice { \voiceTwo \down }
2966 Init files: @file{ly/drumpitch-init.ly}.
2968 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2972 Because general MIDI does not contain rim shots, the sidestick is used
2973 for this purpose instead.
2976 @section Piano music
2978 Piano staves are two normal staves coupled with a brace. The staves
2979 are largely independent, but sometimes voices can cross between the
2980 two staves. The same notation is also used for harps and other key
2981 instruments. The @internalsref{PianoStaff} is especially built to
2982 handle this cross-staffing behavior. In this section we discuss the
2983 @internalsref{PianoStaff} and some other pianistic peculiarities.
2987 * Automatic staff changes::
2988 * Manual staff switches::
2991 * Staff switch lines::
2996 There is no support for putting chords across staves. You can get
2997 this result by increasing the length of the stem in the lower stave so
2998 it reaches the stem in the upper stave, or vice versa. An example is
2999 included with the distribution as
3000 @inputfileref{input/test,stem-cross-staff.ly}.
3002 Dynamics are not centered, but kludges do exist. See
3003 @inputfileref{input/template,piano-dynamics.ly}.
3005 @cindex cross staff stem
3006 @cindex stem, cross staff
3007 @cindex distance between staves in piano music
3009 The distance between the two staves is normally fixed across the
3010 entire score. It is possible to tune this per system, but it does
3011 require arcane command incantations. See
3012 @inputfileref{input/test,piano-staff-distance.ly}.
3015 @node Automatic staff changes
3016 @subsection Automatic staff changes
3017 @cindex Automatic staff changes
3019 Voices can switch automatically between the top and the bottom
3020 staff. The syntax for this is
3024 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3029 The two staves of the piano staff must be named @code{up} and
3032 A @code{\relative} section that is outside of @code{\autochange} has
3033 no effect on the pitches of @var{music}, so, if necessary, put
3034 @code{\relative} inside @code{\autochange} like
3038 \autochange \relative @dots{} \new Voice @dots{}
3043 The autochanger switches on basis of pitch (middle C is the turning
3044 point), and it looks ahead skipping over rests to switch in
3045 advance. Here is a practical example
3047 @lilypond[quote,verbatim,raggedright]
3048 \score { \notes \context PianoStaff <<
3049 \context Staff = "up" {
3050 \autochange \new Voice \relative c' {
3051 g4 a b c d r4 a g } }
3052 \context Staff = "down" {
3059 In this example, spacer rests are used to prevent the bottom staff from
3060 terminating too soon.
3065 In this manual: @ref{Manual staff switches}.
3067 Program reference: @internalsref{AutoChangeMusic}.
3073 The staff switches often do not end up in optimal places. For high
3074 quality output, staff switches should be specified manually.
3077 @code{\autochange} cannot be inside @code{\times}.
3079 Internally, the @code{\partcombine} interprets both arguments as
3080 @code{Voice}s named @code{one} and @code{two}, and then decides when
3081 the parts can be combined. Consequently, if the arguments switch to
3082 differently named @internalsref{Voice} contexts, the events in those
3086 @node Manual staff switches
3087 @subsection Manual staff switches
3089 @cindex manual staff switches
3090 @cindex staff switch, manual
3092 Voices can be switched between staves manually, using the following command
3094 \change Staff = @var{staffname} @var{music}
3098 The string @var{staffname} is the name of the staff. It switches the
3099 current voice from its current staff to the Staff called
3100 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3101 @code{"down"}. The @context{Staff} referred to must already exist, so
3102 usually the setup for a score will start with a setup of the staves,
3106 \context Staff = up @{
3107 \skip 1 * 10 %@emph{ keep staff alive}
3109 \context Staff = down @{
3110 \skip 1 * 10 %@emph{idem}
3116 and the @context{Voice} is inserted afterwards
3119 \context Staff = down
3120 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3128 Pianos have pedals that alter the way sound are produced. Generally, a
3129 piano has three pedals, sustain, una corda, and sostenuto.
3132 Piano pedal instruction can be expressed by attaching
3133 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3134 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3137 @lilypond[quote,fragment,verbatim]
3138 c'4\sustainDown c'4\sustainUp
3141 What is printed can be modified by setting @code{pedal@var{X}Strings},
3142 where @var{X} is one of the pedal types: @code{Sustain},
3143 @code{Sostenuto} or @code{UnaCorda}. Refer to
3144 @internalsref{SustainPedal} in the program reference for more
3147 Pedals can also be indicated by a sequence of brackets, by setting the
3148 @code{pedalSustainStyle} property to @code{bracket} objects
3150 @lilypond[quote,fragment,verbatim,relative=2]
3151 \set Staff.pedalSustainStyle = #'bracket
3153 b\sustainUp\sustainDown
3154 b g \sustainUp a \sustainDown \bar "|."
3157 A third style of pedal notation is a mixture of text and brackets,
3158 obtained by setting the @code{pedalSustainStyle} style property to
3161 @lilypond[quote,fragment,verbatim,relative=2]
3162 \set Staff.pedalSustainStyle = #'mixed
3164 b\sustainUp\sustainDown
3165 b g \sustainUp a \sustainDown \bar "|."
3168 The default `*Ped.' style for sustain and damper pedals corresponds to
3169 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3172 @lilypond[quote,fragment,verbatim,relative=2]
3173 c\sostenutoDown d e c, f g a\sostenutoUp
3176 For fine-tuning of the appearance of a pedal bracket, the properties
3177 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3178 @code{PianoPedalBracket} objects (see
3179 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3180 bracket may be extended to the end of the note head
3182 @lilypond[quote,fragment,verbatim,relative=2]
3183 \override Staff.PianoPedalBracket
3184 #'shorten-pair = #'(0 . -1.0)
3185 c\sostenutoDown d e c, f g a\sostenutoUp
3189 @subsection Arpeggio
3192 @cindex broken arpeggio
3193 @cindex @code{\arpeggio}
3195 You can specify an arpeggio sign on a chord by attaching an
3196 @code{\arpeggio} to a chord
3199 @lilypond[quote,fragment,relative=1,verbatim]
3203 When an arpeggio crosses staves, you attach an arpeggio to the chords
3204 in both staves, and set
3205 @internalsref{PianoStaff}.@code{connectArpeggios}
3207 @lilypond[quote,fragment,relative=1,verbatim]
3208 \context PianoStaff <<
3209 \set PianoStaff.connectArpeggios = ##t
3210 \new Staff { <c' e g c>\arpeggio }
3211 \new Staff { \clef bass <c,, e g>\arpeggio }
3215 The direction of the arpeggio is sometimes denoted by adding an
3216 arrowhead to the wiggly line
3218 @lilypond[quote,fragment,relative=1,verbatim]
3227 A square bracket on the left indicates that the player should not
3228 arpeggiate the chord
3230 @lilypond[quote,fragment,relative=1,verbatim]
3237 @cindex @code{\arpeggio}
3239 @cindex @code{\arpeggioUp}
3241 @cindex @code{\arpeggioDown}
3243 @cindex @code{\arpeggioBoth}
3244 @code{\arpeggioBoth},
3245 @cindex @code{\arpeggioBracket}
3246 @code{\arpeggioBracket}.
3250 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3251 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3252 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3256 It is not possible to mix connected arpeggios and unconnected
3257 arpeggios in one @internalsref{PianoStaff} at the same time.
3259 @node Staff switch lines
3260 @subsection Staff switch lines
3263 @cindex follow voice
3264 @cindex staff switching
3267 @cindex @code{followVoice}
3269 Whenever a voice switches to another staff a line connecting the notes
3270 can be printed automatically. This is enabled if the property
3271 @code{PianoStaff.followVoice} is set to true
3273 @lilypond[quote,fragment,relative=1,verbatim]
3274 \context PianoStaff <<
3275 \set PianoStaff.followVoice = ##t
3276 \context Staff \context Voice {
3281 \context Staff=two { \clef bass \skip 1*2 }
3287 The associated object is @internalsref{VoiceFollower}.
3291 @cindex @code{\showStaffSwitch}
3292 @code{\showStaffSwitch},
3293 @cindex @code{\hideStaffSwitch}
3294 @code{\hideStaffSwitch}.
3298 @section Vocal music
3300 This section discusses how to enter and print lyrics.
3304 * The Lyrics context::
3309 @node Entering lyrics
3310 @subsection Entering lyrics
3314 @cindex @code{\lyrics}
3317 Lyrics are entered in a special input mode. This mode is is introduced
3318 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3319 punctuation and accents without any hassle. Syllables are entered like
3320 notes, but with pitches replaced by text. For example,
3322 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3325 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3326 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3327 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3328 any 8-bit character with ASCII code over 127, or a two-character
3329 combination of a backslash followed by one of @code{`}, @code{'},
3330 @code{"}, or @code{^}.
3332 Subsequent characters of a word can be any character that is not a digit
3333 and not white space. One important consequence of this is that a word
3334 can end with @code{@}}. The following example is usually a bug. The
3335 syllable includes a @code{@}}, and hence the opening brace is not balanced
3337 \lyrics @{ twinkle@}
3340 @cindex @code{\property}, in @code{\lyrics}
3341 Similarly, a period following a alphabetic sequence, is included in
3342 the resulting string. As a consequence, spaces must be inserted around
3345 \override Score . LyricText #'font-shape = #'italic
3349 @cindex spaces, in lyrics
3350 @cindex quotes, in lyrics
3352 Any @code{_} character which appears in an unquoted word is converted
3353 to a space. This provides a mechanism for introducing spaces into words
3354 without using quotes. Quoted words can also be used in Lyrics mode to
3355 specify words that cannot be written with the above rules
3358 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3360 However, at least for english texts, you should use
3362 \lyrics @{ He said: ``Let my peo ple go'' @}
3364 to get the correct shape of the starting and ending quote.
3368 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3369 The hyphen will have variable length depending on the space between
3370 the syllables and it will be centered between the syllables.
3375 When a lyric is sung over many notes (this is called a melisma), this is
3376 indicated with a horizontal line centered between a syllable and the
3377 next one. Such a line is called an extender line, and it is entered as
3382 Program reference: events @internalsref{LyricEvent},
3383 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3384 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3385 @internalsref{LyricText}.
3387 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3391 The definition of lyrics mode is too complex.
3395 @node The Lyrics context
3396 @subsection The Lyrics context
3399 @c TODO: document \newlyrics
3401 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3403 \context Lyrics \lyrics @dots{}
3406 @cindex automatic syllable durations
3407 @cindex @code{\lyricsto}
3408 @cindex lyrics and melodies
3410 This will place the lyrics according to the durations that were
3411 entered. The lyrics can also be aligned under a given melody
3412 automatically. In this case, it is no longer necessary to enter the
3413 correct duration for each syllable. This is achieved by combining the
3414 melody and the lyrics with the @code{\lyricsto} expression
3416 \lyricsto @var{name} \new Lyrics \lyrics @dots{}
3419 This aligns the lyrics to the
3421 notes of the @internalsref{Voice} context called @var{name}, which has
3422 to exist. Therefore, normally the @code{Voice} is specified first, and
3423 then the lyrics are specified with @code{\lyricsto}.
3425 For different or more complex orderings, the best way is to setup the
3426 hierarchy of staves and lyrics first, e.g.
3428 \context ChoirStaff \notes <<
3429 \context Lyrics = sopranoLyrics @{ s1 @}
3430 \context Voice = soprano @{ @emph{music} @}
3431 \context Lyrics = tenorLyrics @{ s1 @}
3432 \context Voice = tenor @{ @emph{music} @}
3435 and then combine the appropriate melodies and lyric lines
3437 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3442 The final input would resemble
3445 << \context ChoirStaff \notes << @emph{setup the music} >>
3446 \lyricsto "soprano" @emph{etc}
3447 \lyricsto "alto" @emph{etc}
3453 The @code{\lyricsto} command detects melismata: it only puts one
3454 syllable under a tied or slurred group of notes. If you want to force
3455 an unslurred group of notes to be a melisma, insert @code{\melisma}
3456 after the first note of the group, and @code{\melismaEnd} after the
3459 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3461 \context Voice = "lala" {
3469 \lyricsto "lala" \new Lyrics \lyrics {
3475 In addition, notes are considered a melisma if they are manually
3476 beamed, and automatic beaming (see @ref{Setting automatic beam
3477 behavior}) is switched off. The criteria for deciding melismata can
3478 be tuned with the property @code{melismaBusyProperties}. See
3479 @internalsref{Melisma_translator} in the program reference for more
3482 Lyrics can also be entered without @code{\lyricsto}. In this case the
3483 durations of each syllable must be entered explicitly, for example,
3490 Alignment to a melody can be specified with the @code{associatedVoice}
3494 \set associatedVoice = #"melody"
3497 Here is an example demonstrating manual lyric durations,
3499 @lilypond[relative=1,verbatim,fragment]
3500 << \context Voice = melody {
3504 \new Lyrics \lyrics {
3505 \set associatedVoice = #"melody"
3513 When multiple stanzas are put on the same melody, it can happen that
3514 two stanzas have melismata in different locations. This can be
3515 remedied by switching off melismata for one
3516 @internalsref{Lyrics}. This is achieved by setting
3517 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3518 in @inputfileref{input/regression,lyric-combine-new.ly}.
3521 @cindex choral score
3523 A complete example of a SATB score setup is in the file
3524 @inputfileref{input/template,satb.ly}.
3529 @code{\melisma}, @code{\melismaEnd}
3530 @cindex @code{\melismaEnd}
3531 @cindex @code{\melisma}
3535 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3536 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3538 Examples: @inputfileref{input/template,satb.ly},
3539 @inputfileref{input/regression,lyric-combine-new.ly}.
3543 Melismata are not detected automatically, and extender lines must be
3547 For proper processing of extender lines, the
3548 @internalsref{Lyrics} and @internalsref{Voice} should be
3549 linked. This can be achieved either by using @code{\lyricsto} or by
3550 setting corresponding names for both contexts. The latter is explained
3551 in @ref{More stanzas}.
3553 @c TODO: document \new Staff << Voice \lyricsto >> bug
3556 @subsection More stanzas
3558 @cindex phrasing, in lyrics
3561 The lyrics should be aligned with the note heads of the melody. To
3562 achieve this, each line of lyrics should be marked to correspond with
3563 the melodic line. This is done automatically when @code{\lyricsto},
3564 but it can also be done manually.
3566 To this end, give the @internalsref{Voice} context an identity
3568 \context Voice = duet @{
3573 Then set the @internalsref{Lyrics} contexts to names starting with
3574 that identity followed by a dash. In the preceding example, the
3575 @internalsref{Voice} identity is @code{duet}, so the identities of the
3576 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3578 \context Lyrics = "duet-1" @{
3579 Hi, my name is Bert. @}
3580 \context Lyrics = "duet-2" @{
3581 Ooooo, ch\'e -- ri, je t'aime. @}
3584 The complete example is shown here
3585 @lilypond[quote,raggedright,verbatim]
3588 \notes \relative c'' \context Voice = duet {
3592 \lyricsto "duet" \new Lyrics \lyrics {
3593 \set vocalName = "Bert"
3594 Hi, my name is Bert. }
3595 \lyricsto "duet" \new Lyrics \lyrics {
3596 \set vocalName = "Ernie"
3597 Ooooo, ch\'e -- ri, je t'aime. }
3603 @cindex stanza number
3604 @cindex singer's names
3605 @cindex name of singer
3607 Stanza numbers can be added by setting @code{stanza}, e.g.
3609 @lilypond[quote,verbatim,relative=2]
3611 \context Voice = duet {
3612 \time 3/4 g2 e4 a2 f4 g2. }
3613 \lyricsto "duet" \new Lyrics \lyrics {
3615 Hi, my name is Bert. }
3619 This example also demonstrates how names of the singers can be added
3620 using @code{vocalName} analogous to instrument annotations for staves.
3621 A short version may be entered as @code{vocNam}.
3623 To make empty spaces in lyrics, use @code{\skip}.
3628 Program reference: Layout objects @internalsref{LyricText} and
3629 @internalsref{VocalName}. Music expressions
3630 @internalsref{LyricEvent}.
3636 Input for lyrics introduces a syntactical ambiguity
3643 is interpreted as assigning a string identifier @code{\foo} such that
3644 it contains @code{"bar"}. However, it could also be interpreted as
3645 making or a music identifier @code{\foo} containing the syllable
3646 `bar'. The force the latter interpretation, use
3656 The term @emph{ambitus} denotes a range of pitches for a given voice
3657 in a part of music. It also may denote the pitch range that a musical
3658 instrument is capable of playing. Ambituses are printed on vocal
3659 parts, so singers can easily determine if it meets his or her
3662 It denoted at the beginning of a piece near the initial clef. The
3663 range is graphically specified by two note heads, that represent the
3664 minimum and maximum pitch. To print such ambituses, add the
3665 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3672 \consists Ambitus_engraver
3677 This results in the following output
3679 @lilypond[quote,raggedright]
3682 \notes \relative c' <<
3693 \consists Ambitus_engraver
3699 If you have multiple voices in a single staff, and you want a single
3700 ambitus per staff rather than per each voice, add the
3701 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3702 rather than to the @internalsref{Voice} context.
3704 It is possible to tune individual ambituses for multiple voices on a
3705 single staff, for example by erasing or shifting them horizontally. An
3706 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3710 Program reference: @internalsref{Ambitus}.
3712 Examples: @inputfileref{input/regression,ambitus.ly},
3713 @inputfileref{input/test,ambitus-mixed.ly}.
3717 There is no collision handling in the case of multiple per-voice
3723 Tablature notation is used for notating music for plucked string
3724 instruments. It notates pitches not by using note heads, but by
3725 indicating on which string and fret a note must be played. LilyPond
3726 offers limited support for tablature.
3729 * Tablatures basic::
3730 * Non-guitar tablatures::
3733 @node Tablatures basic
3734 @subsection Tablatures basic
3735 @cindex Tablatures basic
3737 The string number associated to a note is given as a backslash
3738 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3739 string. By default, string 1 is the highest one, and the tuning
3740 defaults to the standard guitar tuning (with 6 strings). The notes
3741 are printed as tablature, by using @internalsref{TabStaff} and
3742 @internalsref{TabVoice} contexts
3744 @lilypond[quote,fragment,verbatim]
3745 \notes \context TabStaff {
3753 When no string is specified, the first string that does not give a
3754 fret number less than @code{minimumFret} is selected. The default
3755 value for @code{minimumFret} is 0
3760 \set TabStaff.minimumFret = #8
3763 @lilypond[quote,noindent,raggedright]
3767 \set TabStaff.minimumFret = #8
3771 \context StaffGroup <<
3772 \context Staff { \clef "G_8" \frag }
3773 \context TabStaff { \frag }
3780 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3781 @internalsref{StringNumberEvent}.
3785 Chords are not handled in a special way, and hence the automatic
3786 string selector may easily select the same string to two notes in a
3790 @node Non-guitar tablatures
3791 @subsection Non-guitar tablatures
3792 @cindex Non-guitar tablatures
3794 You can change the number of strings, by setting the number of lines
3795 in the @internalsref{TabStaff}.
3797 You can change the tuning of the strings. A string tuning is given as
3798 a Scheme list with one integer number for each string, the number
3799 being the pitch (measured in semitones relative to middle C) of an
3800 open string. The numbers specified for @code{stringTuning} are the
3801 numbers of semitones to subtract or add, starting the specified pitch
3802 by default middle C, in string order. Thus, the notes are e, a, d, and
3805 @lilypond[quote,fragment,verbatim]
3806 \context TabStaff <<
3807 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3810 a,4 c' a e' e c' a e'
3817 No guitar special effects have been implemented.
3821 Program reference: @internalsref{Tab_note_heads_engraver}.
3825 @section Chord names
3828 LilyPond has support for both printing chord names. Chords may be
3829 entered in musical chord notation, i.e. @code{< .. >}, but they can
3830 also be entered by name. Internally, the chords are represented as a
3831 set of pitches, so they can be transposed
3834 @lilypond[quote,verbatim,raggedright]
3835 twoWays = \notes \transpose c c' {
3845 << \context ChordNames \twoWays
3846 \context Voice \twoWays >> }
3849 This example also shows that the chord printing routines do not try to
3850 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3856 * Printing chord names::
3861 @subsection Chords mode
3864 Chord mode is a mode where you can input sets of pitches using common
3865 names. It is introduced by the keyword @code{\chords}.
3866 In chords mode, a chord is entered by the root, which is entered
3868 @lilypond[quote,fragment,verbatim,relative=2]
3869 \chords { es4. d8 c2 }
3874 Other chords may be entered by suffixing a colon, and introducing a
3875 modifier, and optionally, a number
3877 @lilypond[quote,fragment,verbatim]
3878 \chords { e1:m e1:7 e1:m7 }
3880 The first number following the root is taken to be the `type' of the
3881 chord, thirds are added to the root until it reaches the specified
3883 @lilypond[quote,fragment,verbatim]
3884 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3887 @cindex root of chord
3888 @cindex additions, in chords
3889 @cindex removals, in chords
3891 More complex chords may also be constructed adding separate steps
3892 to a chord. Additions are added after the number following
3893 the colon, and are separated by dots
3895 @lilypond[quote,verbatim,fragment]
3896 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3898 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3900 @lilypond[quote,verbatim,fragment]
3901 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3903 Removals are specified similarly, and are introduced by a caret. They
3904 must come after the additions
3905 @lilypond[quote,verbatim,fragment]
3906 \chords { c^3 c:7^5 c:9^3.5 }
3909 Modifiers can be used to change pitches. The following modifiers are
3913 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3915 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3918 is the augmented chord. This modifier raises the 5th step.
3920 is the major 7th chord. This modifier raises the 7th step if present.
3922 is the suspended 4th or 2nd. This modifier removes the 3rd
3923 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3926 Modifiers can be mixed with additions
3927 @lilypond[quote,verbatim,fragment]
3928 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3931 @cindex modifiers, in chords.
3938 Since an unaltered 11 does not sound good when combined with an
3939 unaltered 3, the 11 is removed in this case (unless it is added
3942 @lilypond[quote,fragment,verbatim]
3943 \chords { c:13 c:13.11 c:m13 }
3948 An inversion (putting one pitch of the chord on the bottom), as well
3949 as bass notes, can be specified by appending
3950 @code{/}@var{pitch} to the chord
3951 @lilypond[quote,fragment,verbatim]
3952 \chords { c1 c/g c/f }
3956 A bass note can be added instead of transposed out of the chord,
3957 by using @code{/+}@var{pitch}.
3959 @lilypond[quote,fragment,verbatim]
3960 \chords { c1 c/+g c/+f }
3963 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3964 of the commands continue to work, for example, @code{r} and
3965 @code{\skip} can be used to insert rests and spaces, and property
3966 commands may be used to change various settings.
3972 Each step can only be present in a chord once. The following
3973 simply produces the augmented chord, since @code{5+} is interpreted
3976 @lilypond[quote,verbatim,fragment]
3977 \chords { c:5.5-.5+ }
3981 @node Printing chord names
3982 @subsection Printing chord names
3984 @cindex printing chord names
3988 For displaying printed chord names, use the @internalsref{ChordNames} context.
3989 The chords may be entered either using the notation
3990 described above, or directly using @code{<} and @code{>}
3992 @lilypond[quote,verbatim,raggedright]
3994 \chords {a1 b c} <d' f' a'> <e' g' b'>
3998 \context ChordNames \scheme
3999 \context Staff \scheme
4004 You can make the chord changes stand out by setting
4005 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4006 display chord names when there is a change in the chords scheme and at
4007 the start of a new line
4009 @lilypond[quote,verbatim,linewidth=9\cm]
4011 c1:m c:m \break c:m c:m d
4015 \context ChordNames {
4016 \set chordChanges = ##t
4018 \context Staff \transpose c c' \scheme
4023 The default chord name layout is a system for Jazz music, proposed by
4024 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4025 following properties
4028 @cindex chordNameExceptions
4029 @item chordNameExceptions
4030 This is a list that contains the chords that have special formatting.
4032 @inputfileref{input/regression,chord-name-exceptions.ly}.
4033 @cindex exceptions, chord names.
4036 @cindex majorSevenSymbol
4037 @item majorSevenSymbol
4038 This property contains the markup object used for the 7th step, when
4039 it is major. Predefined options are @code{whiteTriangleMarkup} and
4040 @code{blackTriangleMarkup}. See
4041 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4043 @cindex chordNameSeparator
4044 @item chordNameSeparator
4045 Different parts of a chord name are normally separated by a
4046 slash. By setting @code{chordNameSeparator}, you can specify other
4048 @lilypond[quote,fragment,verbatim]
4049 \context ChordNames \chords {
4051 \set chordNameSeparator
4052 = \markup { \typewriter "|" }
4057 @cindex chordRootNamer
4058 @item chordRootNamer
4059 The root of a chord is usually printed as a letter with an optional
4060 alteration. The transformation from pitch to letter is done by this
4061 function. Special note names (for example, the German ``H'' for a
4062 B-chord) can be produced by storing a new function in this property.
4064 The predefined variables @code{\germanChords},
4065 @code{\semiGermanChords} set these variables.
4068 @cindex chordNoteNamer
4069 @item chordNoteNamer
4070 The default is to print single pitch, e.g. the bass note, using the
4071 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4072 to a specialized function to change this behavior. For example, the
4073 base can be printed in lower case.
4078 There are also two other chord name schemes implemented: an alternate
4079 Jazz chord notation, and a systematic scheme called Banter chords. The
4080 alternate jazz notation is also shown on the chart in @ref{Chord name
4081 chart}. Turning on these styles is described in the input file
4082 @inputfileref{input/test,chord-names-jazz.ly}.
4086 @cindex chords, jazz
4091 @cindex @code{\germanChords}
4092 @code{\germanChords},
4093 @cindex @code{\semiGermanChords}
4094 @code{\semiGermanChords}.
4101 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4102 @inputfileref{input/regression,chord-name-exceptions.ly},
4103 @inputfileref{input/test,chord-names-jazz.ly},
4104 @inputfileref{input/test,chord-names-german.ly}.
4106 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4111 Chord names are determined solely from the list of pitches. Chord
4112 inversions are not identified, and neither are added bass notes. This
4113 may result in strange chord names when chords are entered with the
4114 @code{< .. >} syntax.
4119 @node Orchestral music
4120 @section Orchestral music
4122 @cindex Writing parts
4124 Orchestral music involves some special notation, both in the full
4125 score and the individual parts. This section explains how to tackle
4126 some common problems in orchestral music.
4131 * Multiple staff contexts::
4134 * Instrument names::
4136 * Instrument transpositions::
4137 * Multi measure rests::
4138 * Automatic part combining::
4140 * Different editions from one source::
4141 * Quoting other voices::
4144 @node Multiple staff contexts
4145 @subsection Multiple staff contexts
4147 Polyphonic scores consist of many staves. These staves can be
4148 constructed in three different ways
4150 @item The group is started with a brace at the left, and bar lines are
4151 connected. This is done with the @internalsref{GrandStaff} context.
4153 @item The group is started with a bracket, and bar lines are connected. This is done with the
4154 @internalsref{StaffGroup} context
4157 @item The group is started with a vertical line. Bar lines are not
4158 connected. This is the default for the score.
4162 @cindex Staff, multiple
4163 @cindex bracket, vertical
4164 @cindex brace, vertical
4171 @node Rehearsal marks
4172 @subsection Rehearsal marks
4173 @cindex Rehearsal marks
4175 @cindex @code{\mark}
4177 To print a rehearsal mark, use the @code{\mark} command
4178 @lilypond[quote,fragment,verbatim]
4189 (The letter I is skipped in accordance with engraving traditions.)
4191 The mark is incremented automatically if you use @code{\mark
4192 \default}, but you can also use an integer argument to set the mark
4193 manually. The value to use is stored in the property
4194 @code{rehearsalMark}.
4196 The style is defined by the property @code{markFormatter}. It is a
4197 function taking the current mark (an integer) and the current context
4198 as argument. It should return a markup object. In the following
4199 example, @code{markFormatter} is set to a canned procedure. After a
4200 few measures, it is set to function that produces a boxed number.
4202 @lilypond[quote,verbatim,fragment,relative=2]
4203 \set Score.markFormatter = #format-mark-numbers
4206 \set Score.markFormatter
4207 = #(lambda (mark context)
4208 (make-bold-markup (make-box-markup (number->string mark))))
4213 The file @file{scm/translation-functions.scm} contains the definitions
4214 of @code{format-mark-numbers} (the default format) and
4215 @code{format-mark-letters}. They can be used as inspiration for other
4216 formatting functions.
4219 @cindex coda on bar line
4220 @cindex segno on bar line
4221 @cindex fermata on bar line
4222 @cindex bar lines, symbols on
4224 The @code{\mark} command can also be used to put signs like coda,
4225 segno and fermatas on a bar line. Use @code{\markup} to
4226 to access the appropriate symbol
4228 @lilypond[quote,fragment,verbatim,relative=2]
4229 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4233 In the case of a line break, marks must also be printed at the end of
4234 the line, and not at the beginning. Use the following to force that
4237 \override Score.RehearsalMark
4238 #'break-visibility = #begin-of-line-invisible
4244 @cindex bar lines, putting symbols on
4248 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4250 Init files: @file{scm/translation-functions.scm} contains the
4251 definition of @code{format-mark-numbers} and
4252 @code{format-mark-letters}. They can be used as inspiration for other
4253 formatting functions.
4255 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4256 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4260 @subsection Bar numbers
4264 @cindex measure numbers
4265 @cindex currentBarNumber
4267 Bar numbers are printed by default at the start of the line. The
4268 number itself is stored in the
4269 @code{currentBarNumber} property,
4270 which is normally updated automatically for every measure.
4272 Bar numbers can be typeset at regular intervals instead of at the
4273 beginning of each line. This is illustrated in the following example,
4274 whose source is available as
4275 @inputfileref{input/test,bar-number-regular-interval.ly}
4277 @lilypondfile[quote]{bar-number-regular-interval.ly}
4281 Program reference: @internalsref{BarNumber}.
4283 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4284 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4288 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4289 there is one at the top. To solve this, the
4290 @code{padding} property of @internalsref{BarNumber} can be
4291 used to position the number correctly.
4293 @node Instrument names
4294 @subsection Instrument names
4296 In an orchestral score, instrument names are printed left side of the
4299 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4300 and @internalsref{Staff}.@code{instr}. This will print a string before
4301 the start of the staff. For the first start, @code{instrument} is
4302 used, for the next ones @code{instr} is used.
4304 @lilypond[quote,verbatim,raggedright,relative=1]
4305 \set Staff.instrument = "Ploink "
4306 \set Staff.instr = "Plk "
4312 You can also use markup texts to construct more complicated instrument
4315 @lilypond[quote,fragment,verbatim,raggedright]
4317 \set Staff.instrument = \markup {
4318 \column < "Clarinetti" { "in B"
4319 \smaller \flat } > }
4326 Program reference: @internalsref{InstrumentName}.
4330 When you put a name on a grand staff or piano staff the width of the
4331 brace is not taken into account. You must add extra spaces to the end of
4332 the name to avoid a collision.
4335 @subsection Transpose
4337 @cindex transposition of pitches
4338 @cindex @code{\transpose}
4340 A music expression can be transposed with @code{\transpose}. The
4343 \transpose @var{from} @var{to} @var{musicexpr}
4346 This means that @var{musicexpr} is transposed by the interval between
4347 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4348 is changed to @code{to}.
4351 For example, consider a piece written in the key of D major. If
4352 this piece is a little too low for its performer, it can be
4353 transposed up to E major with
4355 \transpose d e @dots{}
4358 Consider a part written for violin (a C instrument). If
4359 this part is to be played on the A clarinet, the following
4360 transposition will produce the appropriate part
4363 \transpose a c @dots{}
4366 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4367 inside a @code{\notes} section. @code{\transpose} distinguishes
4368 between enharmonic pitches: both @code{\transpose c cis} or
4369 @code{\transpose c des} will transpose up half a tone. The first
4370 version will print sharps and the second version will print flats
4372 @lilypond[quote,raggedright,verbatim]
4373 mus =\notes { \key d \major cis d fis g }
4374 \score { \notes \context Staff {
4377 \transpose c g' \mus
4378 \transpose c f' \mus
4385 Program reference: @internalsref{TransposedMusic}, and
4386 @internalsref{UntransposableMusic}.
4390 If you want to use both @code{\transpose} and @code{\relative},
4391 you must put @code{\transpose} outside of @code{\relative}, since
4392 @code{\relative} will have no effect music that appears inside a
4395 @node Instrument transpositions
4396 @subsection Instrument transpositions
4398 The key of a transposing instrument can also be specified. This
4399 applies to many wind instruments, for example, clarinets (B-flat, A and
4400 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4403 The transposition is entered after the keyword @code{\transposition}
4406 \transposition bes %% B-flat clarinet
4409 This command sets the property @code{instrumentTransposition}. The value of
4410 this property is used for MIDI output and quotations. It does not
4411 affect how notes are printed in the current staff.
4413 @cindex transposition, MIDI
4414 @cindex transposition, instrument
4417 @node Multi measure rests
4418 @subsection Multi measure rests
4419 @cindex multi measure rests
4420 @cindex Rests, multi measure
4424 Multi measure rests are entered using `@code{R}'. It is specifically
4425 meant for full bar rests and for entering parts: the rest can expand
4426 to fill a score with rests, or it can be printed as a single
4427 multimeasure rest. This expansion is controlled by the property
4428 @code{Score.skipBars}. If this is set to true, empty measures will not
4429 be expanded, and the appropriate number is added automatically
4431 @lilypond[quote,fragment,verbatim]
4432 \time 4/4 r1 | R1 | R1*2
4433 \set Score.skipBars = ##t R1*17 R1*4
4436 The @code{1} in @code{R1} is similar to the duration notation used for
4437 notes. Hence, for time signatures other than 4/4, you must enter other
4438 durations. This can be done with augmentation dots or fractions
4440 @lilypond[quote,fragment,verbatim]
4441 \set Score.skipBars = ##t
4449 An @code{R} spanning a single measure is printed as either a whole rest
4450 or a breve, centered in the measure regardless of the time signature.
4452 @cindex text on multi-measure rest
4453 @cindex script on multi-measure rest
4454 @cindex fermata on multi-measure rest
4456 Texts can be added to multi-measure rests by using the
4457 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4458 replaced. If you need both texts and the number, you must add the
4459 number by hand. A variable (@code{\fermataMarkup}) is provided for
4463 @lilypond[quote,verbatim,fragment]
4465 R2._\markup { "Ad lib" }
4469 If you want to have a text on the left end of a multi-measure rest,
4470 attach the text to a zero-length skip note, i.e.
4478 @cindex whole rests for a full measure
4482 Program reference: @internalsref{MultiMeasureRestEvent},
4483 @internalsref{MultiMeasureTextEvent},
4484 @internalsref{MultiMeasureRestMusicGroup}, and
4485 @internalsref{MultiMeasureRest}.
4487 The layout object @internalsref{MultiMeasureRestNumber} is for the
4488 default number, and @internalsref{MultiMeasureRestText} for user
4493 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4494 over multi-measure rests.
4496 @cindex condensing rests
4498 There is no way to automatically condense multiple rests into a single
4499 multimeasure rest. Multi measure rests do not take part in rest
4502 Be careful when entering multimeasure rests followed by whole
4503 notes. The following will enter two notes lasting four measures each
4507 When @code{skipBars} is set, the result will look OK, but the bar
4508 numbering will be off.
4510 @node Automatic part combining
4511 @subsection Automatic part combining
4512 @cindex automatic part combining
4513 @cindex part combiner
4516 Automatic part combining is used to merge two parts of music onto a
4517 staff. It is aimed at typesetting orchestral scores. When the two
4518 parts are identical for a period of time, only one is shown. In
4519 places where the two parts differ, they are typeset as separate
4520 voices, and stem directions are set automatically. Also, solo and
4521 @emph{a due} parts are identified and can be marked.
4523 The syntax for part combining is
4526 \partcombine @var{musicexpr1} @var{musicexpr2}
4529 The music expressions will be interpreted as @internalsref{Voice}
4530 contexts. If using relative octaves, @code{\relative} should be
4531 specified for both music expressions, i.e.
4534 \partcombine \relative @dots{} @var{musicexpr1}
4535 \relative @dots{} @var{musicexpr2}
4539 A @code{\relative} section that is outside of @code{\partcombine} has
4540 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
4543 The following example demonstrates the basic functionality of the part
4544 combiner: putting parts on one staff, and setting stem directions and
4547 @lilypond[quote,verbatim,raggedright,fragment]
4548 \new Staff \partcombine
4549 \relative g' { g g a( b) c c r r }
4550 \relative g' { g g r4 r e e g g }
4553 The first @code{g} appears only once, although it was
4554 specified twice (once in each part). Stem, slur and tie directions are
4555 set automatically, depending whether there is a solo or unisono. The
4556 first part (with context called @code{one}) always gets up stems, and
4557 `solo', while the second (called @code{two}) always gets down stems and
4560 If you just want the merging parts, and not the textual markings, you
4561 may set the property @code{soloADue} to false
4563 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4565 \set Staff.soloADue = ##f
4567 \relative g' { g a( b) r }
4568 \relative g' { g r4 r f }
4574 Program reference: @internalsref{PartCombineMusic},
4575 @internalsref{SoloOneEvent}, and
4576 @internalsref{SoloTwoEvent}, and
4577 @internalsref{UnisonoEvent}.
4581 In @code{soloADue} mode, when the two voices play the same notes on and
4582 off, the part combiner may typeset @code{a2} more than once in a
4585 @code{\partcombine} cannot be inside @code{\times}.
4587 @code{\partcombine} cannot be inside @code{\relative}.
4589 Internally, the @code{\partcombine} interprets both arguments as
4590 @code{Voice}s named @code{one} and @code{two}, and then decides when
4591 the parts can be combined. Consequently, if the arguments switch to
4592 differently named @internalsref{Voice} contexts, the events in those
4596 @subsection Hiding staves
4598 @cindex Frenched scores
4599 @cindex Hiding staves
4601 In orchestral scores, staff lines that only have rests are usually
4602 removed. This saves some space. This style is called `French Score'.
4603 For @internalsref{Lyrics},
4604 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4605 switched on by default. When these line of these contexts turn out
4606 empty after the line-breaking process, they are removed.
4608 For normal staves, a specialized @internalsref{Staff} context is
4609 available, which does the same: staves containing nothing (or only
4610 multi measure rests) are removed. The context definition is stored in
4611 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4612 in this example disappears in the second line
4615 @lilypond[quote,verbatim]
4617 \notes \relative c' <<
4618 \new Staff { e4 f g a \break c1 }
4619 \new Staff { c4 d e f \break R1 }
4623 \context { \RemoveEmptyStaffContext }
4628 The first page shows all staves in full. If empty staves should be
4629 removed from the first page too, set @code{remove-first} to false in
4630 @internalsref{RemoveEmptyVerticalGroup}.
4632 Another application is making ossia sections, i.e. alternative
4633 melodies on a separate piece of staff, with help of a Frenched
4634 staff. See @inputfileref{input/test,ossia.ly} for an example.
4637 @node Different editions from one source
4638 @subsection Different editions from one source
4640 The @code{\tag} command marks music expressions with a name. These
4641 tagged expressions can be filtered out later. With this mechanism it
4642 is possible to make different versions of the same music source.
4644 In the following example, we see two versions of a piece of music, one
4645 for the full score, and one with cue notes for the instrumental part
4661 The same can be applied to articulations, texts, etc.: they are
4664 -\tag #@var{your-tag}
4666 to an articulation, for example,
4671 This defines a note with a conditional fingering indication.
4673 By applying the @code{remove-tag} function, tagged expressions can be
4674 filtered. For example,
4678 \applymusic #(remove-tag 'score) @var{the music}
4679 \applymusic #(remove-tag 'part) @var{the music}
4684 @lilypondfile[quote]{tag-filter.ly}
4686 The argument of the @code{\tag} command should be a symbol, or a list
4687 of symbols, for example,
4689 \tag #'(original-part transposed-part) @dots{}
4694 Examples: @inputfileref{input/regression,tag-filter.ly}.
4697 @node Quoting other voices
4698 @subsection Quoting other voices
4700 With quotations, fragments of other parts can be inserted into a part
4701 directly. Before a part can be quoted, it must be marked especially as
4702 quotable. This is done with code @code{\addquote} command. The
4703 quotation may then be done with @code{\quote}
4706 \addquote @var{name} @var{music}
4707 \quote @var{name} @var{duration}
4712 Here, @var{name} is an identifying string. The @var{music} is any kind
4713 of music. This is an example of @code{\addquote}
4716 \addquote clarinet \notes\relative c' {
4721 During a part, a piece of music can be quoted with the @code{\quote}
4728 This would cite 3 quarter notes (a dotted half note) of the previously
4729 added clarinet voice.
4731 Quotations take into account the transposition both source and target
4732 instruments, if they are specified using the @code{\transposition} command.
4734 @lilypond[quote,raggedright,verbatim]
4735 \addquote clarinet \notes\relative c' {
4741 e'8 f'8 \quote clarinet 2
4747 Only the contents of the first @internalsref{Voice} occurring in an
4748 @code{\addquote} command will be considered for quotation, so
4749 @var{music} can not contain @code{\new} and @code{\context Voice}
4750 statements that would switch to a different Voice.
4755 In this manual: @ref{Instrument transpositions}.
4757 Examples: @inputfileref{input/regression,quote.ly}
4758 @inputfileref{input/regression,quote-transposition.ly}
4760 Program reference: @internalsref{QuoteMusic}.
4762 @node Ancient notation
4763 @section Ancient notation
4765 @cindex Vaticana, Editio
4766 @cindex Medicaea, Editio
4771 Support for ancient notation includes features for mensural notation
4772 and Gregorian Chant notation. There is also limited support for
4773 figured bass notation.
4775 Many graphical objects provide a @code{style} property, see
4776 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4777 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4778 signatures}. By manipulating such a grob property, the typographical
4779 appearance of the affected graphical objects can be accommodated for a
4780 specific notation flavor without need for introducing any new
4783 Other aspects of ancient notation can not that easily be expressed as
4784 in terms of just changing a style property of a graphical object.
4785 Therefore, some notational concepts are introduced specifically for
4786 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4787 @ref{Ligatures}, and @ref{Figured bass}.
4791 * Ancient note heads::
4792 * Ancient accidentals::
4796 * Ancient time signatures::
4801 * Vaticana style contexts::
4804 If this all is way too much of documentation for you, and you just
4805 want to dive into typesetting without worrying too much about the
4806 details on how to customize a context, you may have a look at the
4807 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4808 set up predefined style-specific voice and staff contexts, and
4809 directly go ahead with the note entry.
4813 Ligatures need special spacing that has not yet been implemented. As
4814 a result, there is too much space between ligatures most of the time,
4815 and line breaking often is unsatisfactory. Also, lyrics do not
4816 correctly align with ligatures.
4818 Accidentals must not be printed within a ligature, but instead need to
4819 be collected and printed in front of it.
4821 Augmentum dots within ligatures are not handled correctly.
4824 @node Ancient note heads
4825 @subsection Ancient note heads
4830 For ancient notation, a note head style other than the @code{default}
4831 style may be chosen. This is accomplished by setting the @code{style}
4832 property of the NoteHead object to the desired value (@code{baroque},
4833 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4834 differs from the @code{default} style only in using a square shape for
4835 @code{\breve} note heads. The @code{neo_mensural} style differs from
4836 the @code{baroque} style in that it uses rhomboidal heads for whole
4837 notes and all smaller durations. Stems are centered on the note
4838 heads. This style is in particular useful when transcribing mensural
4839 music, e.g. for the incipit. The @code{mensural} style finally
4840 produces note heads that mimic the look of note heads in historic
4841 printings of the 16th century.
4843 The following example demonstrates the @code{neo_mensural} style
4845 @lilypond[quote,fragment,raggedright,verbatim]
4846 \override NoteHead #'style = #'neo_mensural
4847 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4850 When typesetting a piece in Gregorian Chant notation, a Gregorian
4851 ligature engraver will automatically select the proper note heads,
4852 such there is no need to explicitly set the note head style. Still,
4853 the note head style can be set e.g. to @code{vaticana_punctum} to
4854 produce punctum neumes. Similarly, a mensural ligature engraver is
4855 used to automatically assemble mensural ligatures. See
4856 @ref{Ligatures} for how ligature engravers work.
4861 @ref{Percussion staves} use note head styles of their own that are
4862 frequently used in contemporary music notation.
4864 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4865 overview over all available note head styles.
4868 @node Ancient accidentals
4869 @subsection Ancient accidentals
4874 Use the @code{style} property of grob @internalsref{Accidental} to
4875 select ancient accidentals. Supported styles are
4876 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4878 @lilypond[quote,raggedright,staffsize=26]
4886 { " " \musicglyph #"accidentals-vaticana-1"
4887 " " \musicglyph #"accidentals-vaticana0" }
4891 { " " \musicglyph #"accidentals-medicaea-1" }
4895 { " " \musicglyph #"accidentals-hufnagel-1" }
4899 { " " \musicglyph #"accidentals-mensural-1"
4900 " " \musicglyph #"accidentals-mensural1" }
4909 \remove "Bar_number_engraver"
4913 \remove "Clef_engraver"
4914 \remove "Key_engraver"
4915 \remove "Time_signature_engraver"
4916 \remove "Staff_symbol_engraver"
4917 minimumVerticalExtent = ##f
4923 As shown, not all accidentals are supported by each style. When
4924 trying to access an unsupported accidental, LilyPond will switch to a
4925 different style, as demonstrated in
4926 @inputfileref{input/test,ancient-accidentals.ly}.
4928 Similarly to local accidentals, the style of the key signature can be
4929 controlled by the @code{style} property of the
4930 @internalsref{KeySignature} grob.
4934 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4935 @ref{Accidentals} give a general introduction into the use of
4936 accidentals. @ref{Key signature} gives a general introduction into
4937 the use of key signatures.
4939 Program reference: @internalsref{KeySignature}.
4941 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4944 @subsection Ancient rests
4949 Use the @code{style} property of grob @internalsref{Rest} to select
4950 ancient accidentals. Supported styles are @code{classical},
4951 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4952 from the @code{default} style only in that the quarter rest looks like
4953 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4954 well for e.g. the incipit of a transcribed mensural piece of music.
4955 The @code{mensural} style finally mimics the appearance of rests as
4956 in historic prints of the 16th century.
4958 The following example demonstrates the @code{neo_mensural} style
4960 @lilypond[quote,fragment,raggedright,verbatim]
4961 \override Rest #'style = #'neo_mensural
4962 r\longa r\breve r1 r2 r4 r8 r16
4965 There are no 32th and 64th rests specifically for the mensural or
4966 neo-mensural style. Instead, the rests from the default style will be
4967 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4970 There are no rests in Gregorian Chant notation; instead, it uses
4975 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4979 @subsection Ancient clefs
4984 LilyPond supports a variety of clefs, many of them ancient.
4986 The following table shows all ancient clefs that are supported via the
4987 @code{\clef} command. Some of the clefs use the same glyph, but
4988 differ only with respect to the line they are printed on. In such
4989 cases, a trailing number in the name is used to enumerate these clefs.
4990 Still, you can manually force a clef glyph to be typeset on an
4991 arbitrary line, as described in @ref{Clef}. The note printed to the
4992 right side of each clef in the example column denotes the @code{c'}
4993 with respect to that clef.
4995 @multitable @columnfractions .3 .3 .3 .1
4999 @b{Description} @tab
5000 @b{Supported Clefs} @tab
5004 @code{clefs-neo_mensural_c} @tab
5005 modern style mensural C clef @tab
5006 @code{neo_mensural_c1}, @code{neo_mensural_c2},
5007 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
5008 @lilypond[quote,relative=1,notime]
5009 \override Staff.TimeSignature #'transparent = ##t
5010 \clef "neo_mensural_c2" c
5014 @code{clefs-petrucci_c1}
5015 @code{clefs-petrucci_c2}
5016 @code{clefs-petrucci_c3}
5017 @code{clefs-petrucci_c4}
5018 @code{clefs-petrucci_c5}
5021 petrucci style mensural C clefs, for use on different staff lines
5022 (the examples shows the 2nd staff line C clef).
5032 @lilypond[quote,relative=1,notime]
5033 \override Staff.TimeSignature #'transparent = ##t
5034 \clef "petrucci_c2" c
5038 @code{clefs-petrucci_f} @tab
5039 petrucci style mensural F clef @tab
5040 @code{petrucci_f} @tab
5041 @lilypond[quote,relative=1,notime]
5042 \override Staff.TimeSignature #'transparent = ##t
5043 \clef "petrucci_f" c
5047 @code{clefs-petrucci_g} @tab
5048 petrucci style mensural G clef @tab
5049 @code{petrucci_g} @tab
5050 @lilypond[quote,relative=1,notime]
5051 \override Staff.TimeSignature #'transparent = ##t
5052 \clef "petrucci_g" c
5056 @code{clefs-mensural_c} @tab
5057 historic style mensural C clef @tab
5058 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5059 @code{mensural_c4} @tab
5060 @lilypond[quote,relative=1,notime]
5061 \override Staff.TimeSignature #'transparent = ##t
5062 \clef "mensural_c2" c
5066 @code{clefs-mensural_f} @tab
5067 historic style mensural F clef @tab
5068 @code{mensural_f} @tab
5069 @lilypond[quote,relative=1,notime]
5070 \override Staff.TimeSignature #'transparent = ##t
5071 \clef "mensural_f" c
5075 @code{clefs-mensural_g} @tab
5076 historic style mensural G clef @tab
5077 @code{mensural_g} @tab
5078 @lilypond[quote,relative=1,notime]
5079 \override Staff.TimeSignature #'transparent = ##t
5080 \clef "mensural_g" c
5084 @code{clefs-vaticana_do} @tab
5085 Editio Vaticana style do clef @tab
5086 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5087 @lilypond[quote,relative=1,notime]
5088 \override Staff.StaffSymbol #'line-count = #4
5089 \override Staff.TimeSignature #'transparent = ##t
5090 \clef "vaticana_do2" c
5094 @code{clefs-vaticana_fa} @tab
5095 Editio Vaticana style fa clef @tab
5096 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5097 @lilypond[quote,relative=1,notime]
5098 \override Staff.StaffSymbol #'line-count = #4
5099 \override Staff.TimeSignature #'transparent = ##t
5100 \clef "vaticana_fa2" c
5104 @code{clefs-medicaea_do} @tab
5105 Editio Medicaea style do clef @tab
5106 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5107 @lilypond[quote,relative=1,notime]
5108 \override Staff.StaffSymbol #'line-count = #4
5109 \override Staff.TimeSignature #'transparent = ##t
5110 \clef "medicaea_do2" c
5114 @code{clefs-medicaea_fa} @tab
5115 Editio Medicaea style fa clef @tab
5116 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5117 @lilypond[quote,relative=1,notime]
5118 \override Staff.StaffSymbol #'line-count = #4
5119 \override Staff.TimeSignature #'transparent = ##t
5120 \clef "medicaea_fa2" c
5124 @code{clefs-hufnagel_do} @tab
5125 historic style hufnagel do clef @tab
5126 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5127 @lilypond[quote,relative=1,notime]
5128 \override Staff.StaffSymbol #'line-count = #4
5129 \override Staff.TimeSignature #'transparent = ##t
5130 \clef "hufnagel_do2" c
5134 @code{clefs-hufnagel_fa} @tab
5135 historic style hufnagel fa clef @tab
5136 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5137 @lilypond[quote,relative=1,notime]
5138 \override Staff.StaffSymbol #'line-count = #4
5139 \override Staff.TimeSignature #'transparent = ##t
5140 \clef "hufnagel_fa2" c
5144 @code{clefs-hufnagel_do_fa} @tab
5145 historic style hufnagel combined do/fa clef @tab
5146 @code{hufnagel_do_fa} @tab
5147 @lilypond[quote,relative=1,notime]
5148 \override Staff.TimeSignature #'transparent = ##t
5149 \clef "hufnagel_do_fa" c
5156 @emph{Modern style} means ``as is typeset in contemporary editions of
5157 transcribed mensural music''.
5159 @emph{Petrucci style} means ``inspired by printings published by the
5160 famous engraver Petrucci (1466-1539)''.
5162 @emph{Historic style} means ``as was typeset or written in historic
5163 editions (other than those of Petrucci)''.
5165 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5167 Petrucci used C clefs with differently balanced left-side vertical
5168 beams, depending on which staff line it is printed.
5172 In this manual: see @ref{Clef}.
5176 The mensural g clef is mapped to the Petrucci g clef, until a new
5177 mensural g clef is implemented.
5182 @subsection Ancient flags
5187 Use the @code{flag-style} property of grob @internalsref{Stem} to
5188 select ancient flags. Besides the @code{default} flag style,
5189 only @code{mensural} style is supported
5191 @lilypond[quote,fragment,raggedright,verbatim]
5192 \override Stem #'flag-style = #'mensural
5193 \override Stem #'thickness = #1.0
5194 \override NoteHead #'style = #'mensural
5196 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
5197 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5200 Note that the innermost flare of each mensural flag always is
5201 vertically aligned with a staff line. If you do not like this
5202 behavior, you can set the @code{adjust-if-on-staffline} property of
5203 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5204 of the end of each flare is different between notes on staff lines and
5205 notes between staff lines
5207 @lilypond[quote,fragment,raggedright]
5208 \override Stem #'flag-style = #'mensural
5209 \override Stem #'thickness = #1.0
5210 \override Stem #'adjust-if-on-staffline = ##f
5211 \override NoteHead #'style = #'mensural
5213 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
5214 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5217 There is no particular flag style for neo-mensural notation. Hence,
5218 when typesetting e.g. the incipit of a transcribed piece of mensural
5219 music, the default flag style should be used. There are no flags in
5220 Gregorian Chant notation.
5223 @node Ancient time signatures
5224 @subsection Ancient time signatures
5226 @cindex time signatures
5229 There is limited support for mensural time signatures. The
5230 glyphs are hard-wired to particular time fractions. In other words,
5231 to get a particular mensural signature glyph with the @code{\time n/m}
5232 command, @code{n} and @code{m} have to be chosen according to the
5238 \set Score.timing = ##f
5239 \set Score.barAlways = ##t
5240 s_\markup { "$\\backslash$time 4/4" }
5241 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5243 s_\markup { "$\\backslash$time 2/2" }
5244 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5246 s_\markup { "$\\backslash$time 6/4" }
5247 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5249 s_\markup { "$\\backslash$time 6/8" }
5250 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5252 s_\markup { "$\\backslash$time 3/2" }
5253 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5255 s_\markup { "$\\backslash$time 3/4" }
5256 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5258 s_\markup { "$\\backslash$time 9/4" }
5259 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5261 s_\markup { "$\\backslash$time 9/8" }
5262 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5264 s_\markup { "$\\backslash$time 4/8" }
5265 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5267 s_\markup { "$\\backslash$time 2/4" }
5268 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5276 \remove Staff_symbol_engraver
5277 \remove Clef_engraver
5278 \remove Time_signature_engraver
5284 Use the @code{style} property of grob @internalsref{TimeSignature} to
5285 select ancient time signatures. Supported styles are
5286 @code{neo_mensural} and @code{mensural}. The above table uses the
5287 @code{neo_mensural} style. This style is appropriate e.g. for the
5288 incipit of transcriptions of mensural pieces. The @code{mensural}
5289 style mimics the look of historical printings of the 16th century.
5291 @inputfileref{input/test,time.ly} gives an overview over all available
5292 ancient and modern styles.
5296 Program reference: @ref{Time signature} gives a general introduction into the use of time
5301 Mensural signature glyphs are mapped to time fractions in a hard-wired
5302 way. This mapping is sensible, but still arbitrary: given a mensural
5303 time signature, the time fraction represents a modern meter that
5304 usually will be a good choice when transcribing a mensural piece of
5305 music. For a particular piece of mensural music, however, the mapping
5306 may be unsatisfactory. In particular, the mapping assumes a fixed
5307 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5308 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5309 accessible through the @code{\time} command.
5311 Mensural time signatures are supported typographically, but not yet
5312 musically. The internal representation of durations is
5313 based on a purely binary system; a ternary division such as 1 brevis =
5314 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5315 prolatione maiori) is not correctly handled: event times in ternary
5316 modes will be badly computed, resulting e.g. in horizontally
5317 misaligned note heads, and bar checks are likely to erroneously fail.
5319 The syntax and semantics of the @code{\time} command for mensural
5320 music is subject to change.
5323 @subsection Custodes
5328 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5329 symbol that appears at the end of a staff. It anticipates the pitch
5330 of the first note(s) of the following line and thus helps the player
5331 or singer to manage line breaks during performance, thus enhancing
5332 readability of a score.
5334 Custodes were frequently used in music notation until the 17th
5335 century. Nowadays, they have survived only in a few particular forms
5336 of musical notation such as contemporary editions of Gregorian chant
5337 like the @emph{editio vaticana}. There are different custos glyphs
5338 used in different flavors of notational style.
5340 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5341 @internalsref{Staff} context when declaring the @code{\paper} block,
5342 as shown in the following example
5348 \consists Custos_engraver
5349 Custos \override #'style = #'mensural
5354 The result looks like this
5356 @lilypond[quote,raggedright]
5360 \override Staff.Custos #'style = #'mensural
5367 \consists Custos_engraver
5373 The custos glyph is selected by the @code{style} property. The styles
5374 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5375 @code{mensural}. They are demonstrated in the following fragment
5379 \new Lyrics \lyrics {
5383 { " " \musicglyph #"custodes-vaticana-u0" }
5387 { " " \musicglyph #"custodes-medicaea-u0" }
5392 { " " \musicglyph #"custodes-hufnagel-u0" }
5397 { " " \musicglyph #"custodes-mensural-u0" }
5409 Program reference: @internalsref{Custos}.
5411 Examples: @inputfileref{input/regression,custos.ly}.
5415 @subsection Divisiones
5421 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5422 `division') is a staff context symbol that is used to structure
5423 Gregorian music into phrases and sections. The musical meaning of
5424 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5425 can be characterized as short, medium and long pause, somewhat like
5426 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5427 a chant, but is also frequently used within a single
5428 antiphonal/responsorial chant to mark the end of each section.
5431 To use divisiones, include the file @code{gregorian-init.ly}. It
5432 contains definitions that you can apply by just inserting
5433 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5434 and @code{\finalis} at proper places in the input. Some editions use
5435 @emph{virgula} or @emph{caesura} instead of divisio minima.
5436 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5439 @lilypondfile[quote,raggedright]{divisiones.ly}
5443 @cindex @code{\virgula}
5445 @cindex @code{\caesura}
5447 @cindex @code{\divisioMinima}
5448 @code{\divisioMinima},
5449 @cindex @code{\divisioMaior}
5450 @code{\divisioMaior},
5451 @cindex @code{\divisioMaxima}
5452 @code{\divisioMaxima},
5453 @cindex @code{\finalis}
5458 In this manual: @ref{Breath marks}.
5460 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5462 Examples: @inputfileref{input/test,divisiones.ly}.
5465 @subsection Ligatures
5469 @c TODO: Should double check if I recalled things correctly when I wrote
5470 @c down the following paragraph by heart.
5472 A ligature is a coherent graphical symbol that represents at least two
5473 distinct notes. Ligatures originally appeared in the manuscripts of
5474 Gregorian chant notation roughly since the 9th century to denote
5475 ascending or descending sequences of notes.
5477 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5478 Some ligature styles may need additional input syntax specific for
5479 this particular type of ligature. By default, the
5480 @internalsref{LigatureBracket} engraver just puts a square bracket
5483 @lilypond[quote,raggedright,verbatim]
5485 \notes \transpose c c' {
5493 To select a specific style of ligatures, a proper ligature engraver
5494 has to be added to the @internalsref{Voice} context, as explained in
5495 the following subsections. Only white mensural ligatures
5496 are supported with certain limitations.
5499 * White mensural ligatures::
5500 * Gregorian square neumes ligatures::
5503 @node White mensural ligatures
5504 @subsubsection White mensural ligatures
5506 @cindex Mensural ligatures
5507 @cindex White mensural ligatures
5509 There is limited support for white mensural ligatures.
5511 To engrave white mensural ligatures, in the paper block the
5512 @internalsref{Mensural_ligature_engraver} has to be put into the
5513 @internalsref{Voice} context, and remove the
5514 @internalsref{Ligature_bracket_engraver}
5520 \remove Ligature_bracket_engraver
5521 \consists Mensural_ligature_engraver
5526 There is no additional input language to describe the shape of a
5527 white mensural ligature. The shape is rather determined solely from
5528 the pitch and duration of the enclosed notes. While this approach may
5529 take a new user a while to get accustomed, it has the great advantage
5530 that the full musical information of the ligature is known internally.
5531 This is not only required for correct MIDI output, but also allows for
5532 automatic transcription of the ligatures.
5537 \set Score.timing = ##f
5538 \set Score.defaultBarType = "empty"
5539 \override NoteHead #'style = #'neo_mensural
5540 \override Staff.TimeSignature #'style = #'neo_mensural
5542 \[ g\longa c\breve a\breve f\breve d'\longa \]
5544 \[ e1 f1 a\breve g\longa \]
5546 @lilypond[quote,raggedright]
5548 \notes \transpose c c' {
5549 \set Score.timing = ##f
5550 \set Score.defaultBarType = "empty"
5551 \override NoteHead #'style = #'neo_mensural
5552 \override Staff.TimeSignature #'style = #'neo_mensural
5554 \[ g\longa c\breve a\breve f\breve d'\longa \]
5556 \[ e1 f1 a\breve g\longa \]
5561 \remove Ligature_bracket_engraver
5562 \consists Mensural_ligature_engraver
5568 Without replacing @internalsref{Ligature_bracket_engraver} with
5569 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5572 @lilypond[quote,raggedright]
5574 \notes \transpose c c' {
5575 \set Score.timing = ##f
5576 \set Score.defaultBarType = "empty"
5577 \override NoteHead #'style = #'neo_mensural
5578 \override Staff.TimeSignature #'style = #'neo_mensural
5580 \[ g\longa c\breve a\breve f\breve d'\longa \]
5582 \[ e1 f1 a\breve g\longa \]
5589 The implementation is experimental; it may output strange warnings or
5590 even crash in some cases or produce weird results on more complex
5593 @node Gregorian square neumes ligatures
5594 @subsubsection Gregorian square neumes ligatures
5596 @cindex Square neumes ligatures
5597 @cindex Gregorian square neumes ligatures
5599 Gregorian square neumes notation (following the style of the Editio
5600 Vaticana) is under heavy development, but not yet really usable for
5601 production purposes. Core ligatures can already be typeset, but
5602 essential issues for serious typesetting are still under development,
5603 such as (among others) horizontal alignment of multiple ligatures,
5604 lyrics alignment and proper accidentals handling. Still, this section
5605 gives a sneak preview of what Gregorian chant may look like once it
5608 The following table contains the extended neumes table of the 2nd
5609 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5610 1983 by the monks of Solesmes.
5612 @multitable @columnfractions .4 .2 .2 .2
5615 @b{Neuma aut@*Neumarum Elementa} @tab
5616 @b{Figurae@*Rectae} @tab
5617 @b{Figurae@*Liquescentes Auctae} @tab
5618 @b{Figurae@*Liquescentes Deminutae}
5620 @c TODO: \paper block is identical in all of the below examples.
5621 @c Therefore, it should somehow be included rather than duplicated all
5624 @c why not make identifiers in ly/engraver-init.ly? --hwn
5626 @c Because it's just used to typeset plain notes without
5627 @c a staff for demonstration purposes rather than something
5628 @c special of Gregorian chant notation. --jr
5633 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5634 \include "gregorian-init.ly"
5636 \notes \transpose c c' {
5639 \noBreak s^\markup {"a"} \noBreak
5641 % Punctum Inclinatum
5643 \noBreak s^\markup {"b"}
5649 \remove "Bar_number_engraver"
5653 \remove "Clef_engraver"
5654 \remove "Key_engraver"
5655 \override StaffSymbol #'transparent = ##t
5656 \remove "Time_signature_engraver"
5657 \remove "Bar_engraver"
5658 minimumVerticalExtent = ##f
5662 \remove Ligature_bracket_engraver
5663 \consists Vaticana_ligature_engraver
5664 \override NoteHead #'style = #'vaticana_punctum
5665 \override Stem #'transparent = ##t
5671 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5672 \include "gregorian-init.ly"
5674 \notes \transpose c c' {
5675 % Punctum Auctum Ascendens
5676 \[ \auctum \ascendens b \]
5677 \noBreak s^\markup {"c"} \noBreak
5679 % Punctum Auctum Descendens
5680 \[ \auctum \descendens b \]
5681 \noBreak s^\markup {"d"} \noBreak
5683 % Punctum Inclinatum Auctum
5684 \[ \inclinatum \auctum b \]
5685 \noBreak s^\markup {"e"}
5691 \remove "Bar_number_engraver"
5695 \remove "Clef_engraver"
5696 \remove "Key_engraver"
5697 \override StaffSymbol #'transparent = ##t
5698 \remove "Time_signature_engraver"
5699 \remove "Bar_engraver"
5700 minimumVerticalExtent = ##f
5704 \remove Ligature_bracket_engraver
5705 \consists Vaticana_ligature_engraver
5706 \override NoteHead #'style = #'vaticana_punctum
5707 \override Stem #'transparent = ##t
5713 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5714 \include "gregorian-init.ly"
5716 \notes \transpose c c' {
5717 % Punctum Inclinatum Parvum
5718 \[ \inclinatum \deminutum b \]
5719 \noBreak s^\markup {"f"}
5725 \remove "Bar_number_engraver"
5729 \remove "Clef_engraver"
5730 \remove "Key_engraver"
5731 \override StaffSymbol #'transparent = ##t
5732 \remove "Time_signature_engraver"
5733 \remove "Bar_engraver"
5734 minimumVerticalExtent = ##f
5738 \remove Ligature_bracket_engraver
5739 \consists Vaticana_ligature_engraver
5740 \override NoteHead #'style = #'vaticana_punctum
5741 \override Stem #'transparent = ##t
5750 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5751 \include "gregorian-init.ly"
5753 \notes \transpose c c' {
5756 \noBreak s^\markup {"g"}
5762 \remove "Bar_number_engraver"
5766 \remove "Clef_engraver"
5767 \remove "Key_engraver"
5768 \override StaffSymbol #'transparent = ##t
5769 \remove "Time_signature_engraver"
5770 \remove "Bar_engraver"
5771 minimumVerticalExtent = ##f
5775 \remove Ligature_bracket_engraver
5776 \consists Vaticana_ligature_engraver
5777 \override NoteHead #'style = #'vaticana_punctum
5778 \override Stem #'transparent = ##t
5787 @code{3. Apostropha vel Stropha}
5789 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5790 \include "gregorian-init.ly"
5792 \notes \transpose c c' {
5795 \noBreak s^\markup {"h"}
5801 \remove "Bar_number_engraver"
5805 \remove "Clef_engraver"
5806 \remove "Key_engraver"
5807 \override StaffSymbol #'transparent = ##t
5808 \remove "Time_signature_engraver"
5809 \remove "Bar_engraver"
5810 minimumVerticalExtent = ##f
5814 \remove Ligature_bracket_engraver
5815 \consists Vaticana_ligature_engraver
5816 \override NoteHead #'style = #'vaticana_punctum
5817 \override Stem #'transparent = ##t
5823 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5824 \include "gregorian-init.ly"
5826 \notes \transpose c c' {
5828 \[ \stropha \auctum b \]
5829 \noBreak s^\markup {"i"}
5835 \remove "Bar_number_engraver"
5839 \remove "Clef_engraver"
5840 \remove "Key_engraver"
5841 \override StaffSymbol #'transparent = ##t
5842 \remove "Time_signature_engraver"
5843 \remove "Bar_engraver"
5844 minimumVerticalExtent = ##f
5848 \remove Ligature_bracket_engraver
5849 \consists Vaticana_ligature_engraver
5850 \override NoteHead #'style = #'vaticana_punctum
5851 \override Stem #'transparent = ##t
5861 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5862 \include "gregorian-init.ly"
5864 \notes \transpose c c' {
5867 \noBreak s^\markup {"j"}
5873 \remove "Bar_number_engraver"
5877 \remove "Clef_engraver"
5878 \remove "Key_engraver"
5879 \override StaffSymbol #'transparent = ##t
5880 \remove "Time_signature_engraver"
5881 \remove "Bar_engraver"
5882 minimumVerticalExtent = ##f
5886 \remove Ligature_bracket_engraver
5887 \consists Vaticana_ligature_engraver
5888 \override NoteHead #'style = #'vaticana_punctum
5889 \override Stem #'transparent = ##t
5898 @code{5. Clivis vel Flexa}
5900 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5901 \include "gregorian-init.ly"
5903 \notes \transpose c c' {
5912 \remove "Bar_number_engraver"
5916 \remove "Clef_engraver"
5917 \remove "Key_engraver"
5918 \override StaffSymbol #'transparent = ##t
5919 \remove "Time_signature_engraver"
5920 \remove "Bar_engraver"
5921 minimumVerticalExtent = ##f
5925 \remove Ligature_bracket_engraver
5926 \consists Vaticana_ligature_engraver
5927 \override NoteHead #'style = #'vaticana_punctum
5928 \override Stem #'transparent = ##t
5934 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5935 \include "gregorian-init.ly"
5937 \notes \transpose c c' {
5938 % Clivis Aucta Descendens
5939 \[ b \flexa \auctum \descendens g \]
5940 \noBreak s^\markup {"l"} \noBreak
5942 % Clivis Aucta Ascendens
5943 \[ b \flexa \auctum \ascendens g \]
5944 \noBreak s^\markup {"m"}
5950 \remove "Bar_number_engraver"
5954 \remove "Clef_engraver"
5955 \remove "Key_engraver"
5956 \override StaffSymbol #'transparent = ##t
5957 \remove "Time_signature_engraver"
5958 \remove "Bar_engraver"
5959 minimumVerticalExtent = ##f
5963 \remove Ligature_bracket_engraver
5964 \consists Vaticana_ligature_engraver
5965 \override NoteHead #'style = #'vaticana_punctum
5966 \override Stem #'transparent = ##t
5972 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5973 \include "gregorian-init.ly"
5975 \notes \transpose c c' {
5977 \[ b \flexa \deminutum g \]
5984 \remove "Bar_number_engraver"
5988 \remove "Clef_engraver"
5989 \remove "Key_engraver"
5990 \override StaffSymbol #'transparent = ##t
5991 \remove "Time_signature_engraver"
5992 \remove "Bar_engraver"
5993 minimumVerticalExtent = ##f
5997 \remove Ligature_bracket_engraver
5998 \consists Vaticana_ligature_engraver
5999 \override NoteHead #'style = #'vaticana_punctum
6000 \override Stem #'transparent = ##t
6007 @code{6. Podatus vel Pes}
6009 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6010 \include "gregorian-init.ly"
6012 \notes \transpose c c' {
6021 \remove "Bar_number_engraver"
6025 \remove "Clef_engraver"
6026 \remove "Key_engraver"
6027 \override StaffSymbol #'transparent = ##t
6028 \remove "Time_signature_engraver"
6029 \remove "Bar_engraver"
6030 minimumVerticalExtent = ##f
6034 \remove Ligature_bracket_engraver
6035 \consists Vaticana_ligature_engraver
6036 \override NoteHead #'style = #'vaticana_punctum
6037 \override Stem #'transparent = ##t
6043 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6044 \include "gregorian-init.ly"
6046 \notes \transpose c c' {
6047 % Pes Auctus Descendens
6048 \[ g \pes \auctum \descendens b \]
6049 \noBreak s^\markup {"p"} \noBreak
6051 % Pes Auctus Ascendens
6052 \[ g \pes \auctum \ascendens b \]
6053 \noBreak s^\markup {"q"}
6059 \remove "Bar_number_engraver"
6063 \remove "Clef_engraver"
6064 \remove "Key_engraver"
6065 \override StaffSymbol #'transparent = ##t
6066 \remove "Time_signature_engraver"
6067 \remove "Bar_engraver"
6068 minimumVerticalExtent = ##f
6072 \remove Ligature_bracket_engraver
6073 \consists Vaticana_ligature_engraver
6074 \override NoteHead #'style = #'vaticana_punctum
6075 \override Stem #'transparent = ##t
6081 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6082 \include "gregorian-init.ly"
6084 \notes \transpose c c' {
6086 \[ g \pes \deminutum b \]
6093 \remove "Bar_number_engraver"
6097 \remove "Clef_engraver"
6098 \remove "Key_engraver"
6099 \override StaffSymbol #'transparent = ##t
6100 \remove "Time_signature_engraver"
6101 \remove "Bar_engraver"
6102 minimumVerticalExtent = ##f
6106 \remove Ligature_bracket_engraver
6107 \consists Vaticana_ligature_engraver
6108 \override NoteHead #'style = #'vaticana_punctum
6109 \override Stem #'transparent = ##t
6116 @code{7. Pes Quassus}
6118 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6119 \include "gregorian-init.ly"
6121 \notes \transpose c c' {
6123 \[ \oriscus g \pes \virga b \]
6130 \remove "Bar_number_engraver"
6134 \remove "Clef_engraver"
6135 \remove "Key_engraver"
6136 \override StaffSymbol #'transparent = ##t
6137 \remove "Time_signature_engraver"
6138 \remove "Bar_engraver"
6139 minimumVerticalExtent = ##f
6143 \remove Ligature_bracket_engraver
6144 \consists Vaticana_ligature_engraver
6145 \override NoteHead #'style = #'vaticana_punctum
6146 \override Stem #'transparent = ##t
6152 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6153 \include "gregorian-init.ly"
6155 \notes \transpose c c' {
6156 % Pes Quassus Auctus Descendens
6157 \[ \oriscus g \pes \auctum \descendens b \]
6164 \remove "Bar_number_engraver"
6168 \remove "Clef_engraver"
6169 \remove "Key_engraver"
6170 \override StaffSymbol #'transparent = ##t
6171 \remove "Time_signature_engraver"
6172 \remove "Bar_engraver"
6173 minimumVerticalExtent = ##f
6177 \remove Ligature_bracket_engraver
6178 \consists Vaticana_ligature_engraver
6179 \override NoteHead #'style = #'vaticana_punctum
6180 \override Stem #'transparent = ##t
6188 @code{8. Quilisma Pes}
6190 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6191 \include "gregorian-init.ly"
6193 \notes \transpose c c' {
6195 \[ \quilisma g \pes b \]
6202 \remove "Bar_number_engraver"
6206 \remove "Clef_engraver"
6207 \remove "Key_engraver"
6208 \override StaffSymbol #'transparent = ##t
6209 \remove "Time_signature_engraver"
6210 \remove "Bar_engraver"
6211 minimumVerticalExtent = ##f
6215 \remove Ligature_bracket_engraver
6216 \consists Vaticana_ligature_engraver
6217 \override NoteHead #'style = #'vaticana_punctum
6218 \override Stem #'transparent = ##t
6224 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6225 \include "gregorian-init.ly"
6227 \notes \transpose c c' {
6228 % Quilisma Pes Auctus Descendens
6229 \[ \quilisma g \pes \auctum \descendens b \]
6236 \remove "Bar_number_engraver"
6240 \remove "Clef_engraver"
6241 \remove "Key_engraver"
6242 \override StaffSymbol #'transparent = ##t
6243 \remove "Time_signature_engraver"
6244 \remove "Bar_engraver"
6245 minimumVerticalExtent = ##f
6249 \remove Ligature_bracket_engraver
6250 \consists Vaticana_ligature_engraver
6251 \override NoteHead #'style = #'vaticana_punctum
6252 \override Stem #'transparent = ##t
6260 @code{9. Podatus Initio Debilis}
6262 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6263 \include "gregorian-init.ly"
6265 \notes \transpose c c' {
6266 % Pes Initio Debilis
6267 \[ \deminutum g \pes b \]
6274 \remove "Bar_number_engraver"
6278 \remove "Clef_engraver"
6279 \remove "Key_engraver"
6280 \override StaffSymbol #'transparent = ##t
6281 \remove "Time_signature_engraver"
6282 \remove "Bar_engraver"
6283 minimumVerticalExtent = ##f
6287 \remove Ligature_bracket_engraver
6288 \consists Vaticana_ligature_engraver
6289 \override NoteHead #'style = #'vaticana_punctum
6290 \override Stem #'transparent = ##t
6296 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6297 \include "gregorian-init.ly"
6299 \notes \transpose c c' {
6300 % Pes Auctus Descendens Initio Debilis
6301 \[ \deminutum g \pes \auctum \descendens b \]
6308 \remove "Bar_number_engraver"
6312 \remove "Clef_engraver"
6313 \remove "Key_engraver"
6314 \override StaffSymbol #'transparent = ##t
6315 \remove "Time_signature_engraver"
6316 \remove "Bar_engraver"
6317 minimumVerticalExtent = ##f
6321 \remove Ligature_bracket_engraver
6322 \consists Vaticana_ligature_engraver
6323 \override NoteHead #'style = #'vaticana_punctum
6324 \override Stem #'transparent = ##t
6334 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6335 \include "gregorian-init.ly"
6337 \notes \transpose c c' {
6339 \[ a \pes b \flexa g \]
6346 \remove "Bar_number_engraver"
6350 \remove "Clef_engraver"
6351 \remove "Key_engraver"
6352 \override StaffSymbol #'transparent = ##t
6353 \remove "Time_signature_engraver"
6354 \remove "Bar_engraver"
6355 minimumVerticalExtent = ##f
6359 \remove Ligature_bracket_engraver
6360 \consists Vaticana_ligature_engraver
6361 \override NoteHead #'style = #'vaticana_punctum
6362 \override Stem #'transparent = ##t
6368 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6369 \include "gregorian-init.ly"
6371 \notes \transpose c c' {
6372 % Torculus Auctus Descendens
6373 \[ a \pes b \flexa \auctum \descendens g \]
6380 \remove "Bar_number_engraver"
6384 \remove "Clef_engraver"
6385 \remove "Key_engraver"
6386 \override StaffSymbol #'transparent = ##t
6387 \remove "Time_signature_engraver"
6388 \remove "Bar_engraver"
6389 minimumVerticalExtent = ##f
6393 \remove Ligature_bracket_engraver
6394 \consists Vaticana_ligature_engraver
6395 \override NoteHead #'style = #'vaticana_punctum
6396 \override Stem #'transparent = ##t
6402 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6403 \include "gregorian-init.ly"
6405 \notes \transpose c c' {
6406 % Torculus Deminutus
6407 \[ a \pes b \flexa \deminutum g \]
6414 \remove "Bar_number_engraver"
6418 \remove "Clef_engraver"
6419 \remove "Key_engraver"
6420 \override StaffSymbol #'transparent = ##t
6421 \remove "Time_signature_engraver"
6422 \remove "Bar_engraver"
6423 minimumVerticalExtent = ##f
6427 \remove Ligature_bracket_engraver
6428 \consists Vaticana_ligature_engraver
6429 \override NoteHead #'style = #'vaticana_punctum
6430 \override Stem #'transparent = ##t
6437 @code{11. Torculus Initio Debilis}
6439 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6440 \include "gregorian-init.ly"
6442 \notes \transpose c c' {
6443 % Torculus Initio Debilis
6444 \[ \deminutum a \pes b \flexa g \]
6451 \remove "Bar_number_engraver"
6455 \remove "Clef_engraver"
6456 \remove "Key_engraver"
6457 \override StaffSymbol #'transparent = ##t
6458 \remove "Time_signature_engraver"
6459 \remove "Bar_engraver"
6460 minimumVerticalExtent = ##f
6464 \remove Ligature_bracket_engraver
6465 \consists Vaticana_ligature_engraver
6466 \override NoteHead #'style = #'vaticana_punctum
6467 \override Stem #'transparent = ##t
6473 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6474 \include "gregorian-init.ly"
6476 \notes \transpose c c' {
6477 % Torculus Auctus Descendens Initio Debilis
6478 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6485 \remove "Bar_number_engraver"
6489 \remove "Clef_engraver"
6490 \remove "Key_engraver"
6491 \override StaffSymbol #'transparent = ##t
6492 \remove "Time_signature_engraver"
6493 \remove "Bar_engraver"
6494 minimumVerticalExtent = ##f
6498 \remove Ligature_bracket_engraver
6499 \consists Vaticana_ligature_engraver
6500 \override NoteHead #'style = #'vaticana_punctum
6501 \override Stem #'transparent = ##t
6507 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6508 \include "gregorian-init.ly"
6510 \notes \transpose c c' {
6511 % Torculus Deminutus Initio Debilis
6512 \[ \deminutum a \pes b \flexa \deminutum g \]
6519 \remove "Bar_number_engraver"
6523 \remove "Clef_engraver"
6524 \remove "Key_engraver"
6525 \override StaffSymbol #'transparent = ##t
6526 \remove "Time_signature_engraver"
6527 \remove "Bar_engraver"
6528 minimumVerticalExtent = ##f
6532 \remove Ligature_bracket_engraver
6533 \consists Vaticana_ligature_engraver
6534 \override NoteHead #'style = #'vaticana_punctum
6535 \override Stem #'transparent = ##t
6542 @code{12. Porrectus}
6544 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6545 \include "gregorian-init.ly"
6547 \notes \transpose c c' {
6549 \[ a \flexa g \pes b \]
6556 \remove "Bar_number_engraver"
6560 \remove "Clef_engraver"
6561 \remove "Key_engraver"
6562 \override StaffSymbol #'transparent = ##t
6563 \remove "Time_signature_engraver"
6564 \remove "Bar_engraver"
6565 minimumVerticalExtent = ##f
6569 \remove Ligature_bracket_engraver
6570 \consists Vaticana_ligature_engraver
6571 \override NoteHead #'style = #'vaticana_punctum
6572 \override Stem #'transparent = ##t
6578 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6579 \include "gregorian-init.ly"
6581 \notes \transpose c c' {
6582 % Porrectus Auctus Descendens
6583 \[ a \flexa g \pes \auctum \descendens b \]
6590 \remove "Bar_number_engraver"
6594 \remove "Clef_engraver"
6595 \remove "Key_engraver"
6596 \override StaffSymbol #'transparent = ##t
6597 \remove "Time_signature_engraver"
6598 \remove "Bar_engraver"
6599 minimumVerticalExtent = ##f
6603 \remove Ligature_bracket_engraver
6604 \consists Vaticana_ligature_engraver
6605 \override NoteHead #'style = #'vaticana_punctum
6606 \override Stem #'transparent = ##t
6612 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6613 \include "gregorian-init.ly"
6615 \notes \transpose c c' {
6616 % Porrectus Deminutus
6617 \[ a \flexa g \pes \deminutum b \]
6624 \remove "Bar_number_engraver"
6628 \remove "Clef_engraver"
6629 \remove "Key_engraver"
6630 \override StaffSymbol #'transparent = ##t
6631 \remove "Time_signature_engraver"
6632 \remove "Bar_engraver"
6633 minimumVerticalExtent = ##f
6637 \remove Ligature_bracket_engraver
6638 \consists Vaticana_ligature_engraver
6639 \override NoteHead #'style = #'vaticana_punctum
6640 \override Stem #'transparent = ##t
6649 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6650 \include "gregorian-init.ly"
6652 \notes \transpose c c' {
6654 \[ \virga b \inclinatum a \inclinatum g \]
6661 \remove "Bar_number_engraver"
6665 \remove "Clef_engraver"
6666 \remove "Key_engraver"
6667 \override StaffSymbol #'transparent = ##t
6668 \remove "Time_signature_engraver"
6669 \remove "Bar_engraver"
6670 minimumVerticalExtent = ##f
6674 \remove Ligature_bracket_engraver
6675 \consists Vaticana_ligature_engraver
6676 \override NoteHead #'style = #'vaticana_punctum
6677 \override Stem #'transparent = ##t
6683 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6684 \include "gregorian-init.ly"
6686 \notes \transpose c c' {
6688 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6695 \remove "Bar_number_engraver"
6699 \remove "Clef_engraver"
6700 \remove "Key_engraver"
6701 \override StaffSymbol #'transparent = ##t
6702 \remove "Time_signature_engraver"
6703 \remove "Bar_engraver"
6704 minimumVerticalExtent = ##f
6708 \remove Ligature_bracket_engraver
6709 \consists Vaticana_ligature_engraver
6710 \override NoteHead #'style = #'vaticana_punctum
6711 \override Stem #'transparent = ##t
6717 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6718 \include "gregorian-init.ly"
6720 \notes \transpose c c' {
6721 % Climacus Deminutus
6722 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6729 \remove "Bar_number_engraver"
6733 \remove "Clef_engraver"
6734 \remove "Key_engraver"
6735 \override StaffSymbol #'transparent = ##t
6736 \remove "Time_signature_engraver"
6737 \remove "Bar_engraver"
6738 minimumVerticalExtent = ##f
6742 \remove Ligature_bracket_engraver
6743 \consists Vaticana_ligature_engraver
6744 \override NoteHead #'style = #'vaticana_punctum
6745 \override Stem #'transparent = ##t
6752 @code{14. Scandicus}
6754 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6755 \include "gregorian-init.ly"
6757 \notes \transpose c c' {
6759 \[ g \pes a \virga b \]
6766 \remove "Bar_number_engraver"
6770 \remove "Clef_engraver"
6771 \remove "Key_engraver"
6772 \override StaffSymbol #'transparent = ##t
6773 \remove "Time_signature_engraver"
6774 \remove "Bar_engraver"
6775 minimumVerticalExtent = ##f
6779 \remove Ligature_bracket_engraver
6780 \consists Vaticana_ligature_engraver
6781 \override NoteHead #'style = #'vaticana_punctum
6782 \override Stem #'transparent = ##t
6788 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6789 \include "gregorian-init.ly"
6791 \notes \transpose c c' {
6792 % Scandicus Auctus Descendens
6793 \[ g \pes a \pes \auctum \descendens b \]
6800 \remove "Bar_number_engraver"
6804 \remove "Clef_engraver"
6805 \remove "Key_engraver"
6806 \override StaffSymbol #'transparent = ##t
6807 \remove "Time_signature_engraver"
6808 \remove "Bar_engraver"
6809 minimumVerticalExtent = ##f
6813 \remove Ligature_bracket_engraver
6814 \consists Vaticana_ligature_engraver
6815 \override NoteHead #'style = #'vaticana_punctum
6816 \override Stem #'transparent = ##t
6822 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6823 \include "gregorian-init.ly"
6825 \notes \transpose c c' {
6826 % Scandicus Deminutus
6827 \[ g \pes a \pes \deminutum b \]
6834 \remove "Bar_number_engraver"
6838 \remove "Clef_engraver"
6839 \remove "Key_engraver"
6840 \override StaffSymbol #'transparent = ##t
6841 \remove "Time_signature_engraver"
6842 \remove "Bar_engraver"
6843 minimumVerticalExtent = ##f
6847 \remove Ligature_bracket_engraver
6848 \consists Vaticana_ligature_engraver
6849 \override NoteHead #'style = #'vaticana_punctum
6850 \override Stem #'transparent = ##t
6859 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6860 \include "gregorian-init.ly"
6862 \notes \transpose c c' {
6864 \[ g \oriscus a \pes \virga b \]
6871 \remove "Bar_number_engraver"
6875 \remove "Clef_engraver"
6876 \remove "Key_engraver"
6877 \override StaffSymbol #'transparent = ##t
6878 \remove "Time_signature_engraver"
6879 \remove "Bar_engraver"
6880 minimumVerticalExtent = ##f
6884 \remove Ligature_bracket_engraver
6885 \consists Vaticana_ligature_engraver
6886 \override NoteHead #'style = #'vaticana_punctum
6887 \override Stem #'transparent = ##t
6893 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6894 \include "gregorian-init.ly"
6896 \notes \transpose c c' {
6897 % Salicus Auctus Descendens
6898 \[ g \oriscus a \pes \auctum \descendens b \]
6905 \remove "Bar_number_engraver"
6909 \remove "Clef_engraver"
6910 \remove "Key_engraver"
6911 \override StaffSymbol #'transparent = ##t
6912 \remove "Time_signature_engraver"
6913 \remove "Bar_engraver"
6914 minimumVerticalExtent = ##f
6918 \remove Ligature_bracket_engraver
6919 \consists Vaticana_ligature_engraver
6920 \override NoteHead #'style = #'vaticana_punctum
6921 \override Stem #'transparent = ##t
6931 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6932 \include "gregorian-init.ly"
6934 \notes \transpose c c' {
6936 \[ \stropha b \stropha b \stropha a \]
6943 \remove "Bar_number_engraver"
6947 \remove "Clef_engraver"
6948 \remove "Key_engraver"
6949 \override StaffSymbol #'transparent = ##t
6950 \remove "Time_signature_engraver"
6951 \remove "Bar_engraver"
6952 minimumVerticalExtent = ##f
6956 \remove Ligature_bracket_engraver
6957 \consists Vaticana_ligature_engraver
6958 \override NoteHead #'style = #'vaticana_punctum
6959 \override Stem #'transparent = ##t
6970 Unlike most other neumes notation systems, the input language for
6971 neumes does not necessarily reflect directly the typographical
6972 appearance, but is designed to solely focuse on musical meaning. For
6973 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6974 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6975 a Porrectus with a curved flexa shape and only a single Punctum head.
6976 There is no command to explicitly typeset the curved flexa shape; the
6977 decision of when to typeset a curved flexa shape is purely taken from
6978 the musical input. The idea of this approach is to separate the
6979 musical aspects of the input from the notation style of the output.
6980 This way, the same input can be reused to typeset the same music in a
6981 different style of Gregorian chant notation.
6983 The following table shows the code fragments that produce the
6984 ligatures in the above neumes table. The letter in the first column
6985 in each line of the below table indicates to which ligature in the
6986 above table it refers. The second column gives the name of the
6987 ligature. The third column shows the code fragment that produces this
6988 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6990 @multitable @columnfractions .1 .4 .5
7004 Punctum Inclinatum @tab
7005 @code{\[ \inclinatum b \]}
7009 Punctum Auctum Ascendens @tab
7010 @code{\[ \auctum \ascendens b \]}
7014 Punctum Auctum Descendens @tab
7015 @code{\[ \auctum \descendens b \]}
7019 Punctum Inclinatum Auctum @tab
7020 @code{\[ \inclinatum \auctum b \]}
7024 Punctum Inclinatum Parvum @tab
7025 @code{\[ \inclinatum \deminutum b \]}
7030 @code{\[ \virga b \]}
7035 @code{\[ \stropha b \]}
7040 @code{\[ \stropha \auctum b \]}
7045 @code{\[ \oriscus b \]}
7049 Clivis vel Flexa @tab
7050 @code{\[ b \flexa g \]}
7054 Clivis Aucta Descendens @tab
7055 @code{\[ b \flexa \auctum \descendens g \]}
7059 Clivis Aucta Ascendens @tab
7060 @code{\[ b \flexa \auctum \ascendens g \]}
7065 @code{\[ b \flexa \deminutum g \]}
7069 Podatus vel Pes @tab
7070 @code{\[ g \pes b \]}
7074 Pes Auctus Descendens @tab
7075 @code{\[ g \pes \auctum \descendens b \]}
7079 Pes Auctus Ascendens @tab
7080 @code{\[ g \pes \auctum \ascendens b \]}
7085 @code{\[ g \pes \deminutum b \]}
7090 @code{\[ \oriscus g \pes \virga b \]}
7094 Pes Quassus Auctus Descendens @tab
7095 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7100 @code{\[ \quilisma g \pes b \]}
7104 Quilisma Pes Auctus Descendens @tab
7105 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7109 Pes Initio Debilis @tab
7110 @code{\[ \deminutum g \pes b \]}
7114 Pes Auctus Descendens Initio Debilis @tab
7115 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7120 @code{\[ a \pes b \flexa g \]}
7124 Torculus Auctus Descendens @tab
7125 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7129 Torculus Deminutus @tab
7130 @code{\[ a \pes b \flexa \deminutum g \]}
7134 Torculus Initio Debilis @tab
7135 @code{\[ \deminutum a \pes b \flexa g \]}
7139 Torculus Auctus Descendens Initio Debilis @tab
7140 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7144 Torculus Deminutus Initio Debilis @tab
7145 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7150 @code{\[ a \flexa g \pes b \]}
7154 Porrectus Auctus Descendens @tab
7155 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7159 Porrectus Deminutus @tab
7160 @code{\[ a \flexa g \pes \deminutum b \]}
7165 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7169 Climacus Auctus @tab
7170 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7174 Climacus Deminutus @tab
7175 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7180 @code{\[ g \pes a \virga b \]}
7184 Scandicus Auctus Descendens @tab
7185 @code{\[ g \pes a \pes \auctum \descendens b \]}
7189 Scandicus Deminutus @tab
7190 @code{\[ g \pes a \pes \deminutum b \]}
7195 @code{\[ g \oriscus a \pes \virga b \]}
7199 Salicus Auctus Descendens @tab
7200 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7205 @code{\[ \stropha b \stropha b \stropha a \]}
7211 The following head prefixes are supported
7213 @cindex @code{\virga}
7215 @cindex @code{\stropha}
7217 @cindex @code{\inclinatum}
7219 @cindex @code{\auctum}
7221 @cindex @code{\descendens}
7223 @cindex @code{\ascendens}
7225 @cindex @code{\oriscus}
7227 @cindex @code{\quilisma}
7229 @cindex @code{\deminutum}
7232 Head prefixes can be accumulated, though restrictions apply. For
7233 example, either @code{\descendens} or @code{\ascendens} can be applied
7234 to a head, but not both to the same head.
7237 @cindex @code{\flexa}
7238 Two adjacent heads can be tied together with the @code{\pes} and
7239 @code{\flexa} infix commands for a rising and falling line of melody,
7244 @node Vaticana style contexts
7245 @subsection Vaticana style contexts
7247 @cindex VaticanaVoiceContext
7248 @cindex VaticanaStaffContext
7250 The predefined @code{VaticanaVoiceContext} and
7251 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7252 Gregorian Chant in the style of the Editio Vaticana. These contexts
7253 initialize all relevant context properties and grob properties to
7254 proper values. With these contexts, you can immediately go ahead
7255 entering the chant, as the following short excerpt demonstrates
7257 @lilypond[quote,raggedright,verbatim,noindent]
7258 \include "gregorian-init.ly"
7261 \context VaticanaVoice = "cantus" {
7262 \override Score.BarNumber #'transparent = ##t
7264 \[ c'\melisma c' \flexa a \]
7265 \[ a \flexa \deminutum g\melismaEnd \]
7267 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7268 c' \divisioMinima \break
7269 \[ c'\melisma c' \flexa a \]
7270 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7273 \lyricsto "cantus" \new Lyrics \lyrics {
7274 San- ctus, San- ctus, San- ctus
7281 @subsection Figured bass
7283 @cindex Basso continuo
7285 @c TODO: musicological blurb about FB
7288 LilyPond has limited support for figured bass
7290 @lilypond[quote,verbatim,fragment]
7292 \context Voice \notes { \clef bass dis4 c d ais }
7293 \context FiguredBass \figures {
7294 < 6 >4 < 7 >8 < 6+ [_!] >
7300 The support for figured bass consists of two parts: there is an input
7301 mode, introduced by @code{\figures}, where you can enter bass figures
7302 as numbers, and there is a context called @internalsref{FiguredBass} that
7303 takes care of making @internalsref{BassFigure} objects.
7305 In figures input mode, a group of bass figures is delimited by
7306 @code{<} and @code{>}. The duration is entered after the @code{>>}
7310 @lilypond[quote,fragment]
7311 \context FiguredBass
7315 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7321 @lilypond[quote,fragment]
7322 \context FiguredBass
7323 \figures { <4- 6+ 7!> }
7326 Spaces or dashes may be inserted by using @code{_}. Brackets are
7327 introduced with @code{[} and @code{]}
7332 @lilypond[quote,fragment]
7333 \context FiguredBass
7334 \figures { < [4 6] 8 [_! 12]> }
7337 Although the support for figured bass may superficially resemble chord
7338 support, it works much simpler. The @code{\figures} mode simply
7339 stores the numbers , and @internalsref{FiguredBass} context prints
7340 them as entered. There is no conversion to pitches, and no
7341 realizations of the bass are played in the MIDI file.
7343 Internally, the code produces markup texts. You can use any of the
7344 markup text properties to override formatting. For example, the
7345 vertical spacing of the figures may be set with @code{baseline-skip}.
7349 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7350 and @internalsref{FiguredBass} context.
7354 Slash notation for alterations is not supported.
7356 @node Contemporary notation
7357 @section Contemporary notation
7359 In the 20th century, composers have greatly expanded the musical
7360 vocabulary. With this expansion, many innovations in musical notation
7361 have been tried. The book by Stone (1980) gives a comprehensive
7362 overview (see @ref{Literature list}). In general, the use of new,
7363 innovative notation makes a piece harder to understand and perform and
7364 its use should therefore be avoided if possible. For this reason,
7365 support for contemporary notation in LilyPond is limited.
7374 @subsection Clusters
7378 A cluster indicates a continuous range of pitches to be played. They
7379 can be denoted as the envelope of a set of notes. They are entered by
7380 applying the function @code{notes-to-clusters} to a sequence of
7383 @lilypond[quote,relative=2,verbatim]
7384 \applymusic #notes-to-clusters { <c e > <b f'> }
7387 The following example (from
7388 @inputfileref{input/regression,cluster.ly}) shows what the result
7391 @lilypondfile[quote]{cluster.ly}
7393 Ordinary notes and clusters can be put together in the same staff,
7394 even simultaneously. In such a case no attempt is made to
7395 automatically avoid collisions between ordinary notes and clusters.
7399 Program reference: @internalsref{ClusterSpanner},
7400 @internalsref{ClusterSpannerBeacon},
7401 @internalsref{Cluster_spanner_engraver}, and
7402 @internalsref{ClusterNoteEvent}.
7404 Examples: @inputfileref{input/regression,cluster.ly}.
7408 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7409 accurately. Use @code{<g a>8 <e a>8} instead.
7414 @subsection Fermatas
7420 Contemporary music notation frequently uses special fermata symbols to
7421 indicate fermatas of differing lengths. The following fermatas are
7424 @lilypond[quote,raggedright]
7447 \context Lyrics \lyrics {
7448 \override LyricText #'font-family = #'typewriter
7449 "shortfermata" "fermata" "longfermata" "verylongfermata"
7455 See @ref{Articulations} for general instructions how to apply scripts
7456 such as fermatas to a @code{\notes@{@}} block.
7459 @node Special notation
7460 @section Special notation
7464 * Easy Notation note heads::
7468 @subsection Balloon help
7470 Elements of notation can be marked and named with the help of a square
7471 balloon. The primary purpose of this feature is to explain notation.
7473 The following example demonstrates its use.
7475 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7478 #(add-balloon-text 'NoteHead "heads, or tails?"
7484 The function @code{add-balloon-text} takes the name of a grob, the
7485 label to print and where to put the label relative to the object. In
7486 the above example, the text ``heads or tails?'' ends 3 spaces below
7490 @cindex notation, explaining
7494 Program reference: @internalsref{text-balloon-interface}.
7496 Examples: @inputfileref{input/regression,balloon.ly}.
7498 @node Easy Notation note heads
7499 @subsection Easy Notation note heads
7501 @cindex easy notation
7504 The `easy play' note head includes a name inside the head. It is
7505 used in music for beginners
7507 @lilypond[quote,raggedright,verbatim,staffsize=26]
7512 The command @code{\setEasyHeads} overrides settings for the
7513 @internalsref{NoteHead} object. To make the letters readable, it has
7514 to be printed in a large font size. To print with a larger font, see
7515 @ref{Setting global staff size}.
7520 If you view the result with Xdvi, staff lines may show through the
7521 letters. Printing the PostScript file obtained does produce the
7526 @cindex \setEasyHeads
7527 @code{\setEasyHeads}
7533 Entered music can also be converted to MIDI output. The performance
7534 is intended for proof-hearing the music for errors.
7536 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7537 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7538 marks translate to a fixed fraction of the available MIDI volume
7539 range, crescendi and decrescendi make the volume vary linearly between
7540 their two extremities. The fractions can be adjusted by
7541 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7542 For each type of MIDI instrument, a volume range can be defined. This
7543 gives a basic equalizer control, which can enhance the quality of
7544 the MIDI output remarkably. The equalizer can be controlled by
7545 setting @code{instrumentEqualizer}.
7549 Many musically interesting effects, such as swing, articulation,
7550 slurring, etc., are not translated to MIDI.
7552 The MIDI output allocates a channel for each Staff, and one for global
7553 settings. Hence, the MIDI file should not have more than 15 staves
7554 (or 14 if you do not use drums). Other staves will remain silent.
7559 * MIDI instrument names::
7564 @subsection MIDI block
7568 The MIDI block is analogous to the paper block, but it is somewhat
7569 simpler. The @code{\midi} block can contain
7573 @item a @code{\tempo} definition, and
7574 @item context definitions.
7577 A number followed by a period is interpreted as a real number, so
7578 for setting the tempo for dotted notes, an extra space should be
7579 inserted, for example
7582 \midi @{ \tempo 4 . = 120 @}
7586 @cindex context definition
7588 Context definitions follow precisely the same syntax as within the
7589 \paper block. Translation modules for sound are called performers.
7590 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7593 @node MIDI instrument names
7594 @subsection MIDI instrument names
7596 @cindex instrument names
7597 @cindex @code{Staff.midiInstrument}
7599 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7600 property. The instrument name should be chosen from the list in
7601 @ref{MIDI instruments}.
7605 If the selected string does not exactly match, the default is used,
7606 which is the Grand Piano.