2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[quote,fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C
90 @lilypond[quote,fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[quote,verbatim,relative=3]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave
153 @lilypond[quote,fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch
186 @lilypond[quote,fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
209 @lilypond[quote,relative=1]
220 Rests are entered like notes, with the note name @code{r}
222 @lilypond[quote,raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone
236 @lilypond[quote,raggedright,verbatim]
242 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}
255 @lilypond[quote,raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command
262 @lilypond[quote,raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[quote,raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[quote,fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
349 In the following example, the first three notes take up exactly two
350 beats, but no triplet bracket is printed.
351 @lilypond[quote,fragment,relative=3,verbatim]
353 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 This manual: @ref{Tuplets}
374 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
379 Whenever a note is found, a @internalsref{Stem} object is created
380 automatically. For whole notes and rests, they are also created but
385 @cindex @code{\stemUp}
387 @cindex @code{\stemDown}
389 @cindex @code{\stemBoth}
400 A tie connects two adjacent note heads of the same pitch. The tie in
401 effect extends the length of a note. Ties should not be confused with
402 slurs, which indicate articulation, or phrasing slurs, which indicate
403 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
405 @lilypond[quote,fragment,verbatim]
406 e' ~ e' <c' e' g'> ~ <c' e' g'>
409 When a tie is applied to a chord, all note heads whose pitches match
410 are connected. When no note heads match, no ties will be created.
412 In its meaning a tie is just a way of extending a note duration, similar
413 to the augmentation dot; in the following example there are two ways of
414 notating exactly the same concept
416 @lilypond[quote,fragment,raggedright]
417 \time 3/4 c'2. c'2 ~ c'4
419 If you need to tie a lot of notes over bars, it may be easier to use automatic
420 note splitting (see @ref{Automatic note splitting}).
425 @cindex @code{\tieUp}
427 @cindex @code{\tieDown}
429 @cindex @code{\tieBoth}
431 @cindex @code{\tieDotted}
433 @cindex @code{\tieSolid}
438 In this manual: @ref{Automatic note splitting}.
440 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
442 For tying only a subset of the note heads of a pair of chords, see
443 @inputfileref{input/regression,tie-chord-partial.ly}.
448 Switching staves when a tie is active will not produce a slanted tie.
450 Formatting of ties is a difficult subject. The results are often not
460 @cindex @code{\times}
462 Tuplets are made out of a music expression by multiplying all durations
465 @cindex @code{\times}
467 \times @var{fraction} @var{musicexpr}
471 The duration of @var{musicexpr} will be multiplied by the fraction.
472 The fraction's denominator will be printed over the notes, optionally
473 with a bracket. The most common tuplet is the triplet in which 3
474 notes have the length of 2, so the notes are 2/3 of their written
477 @lilypond[quote,fragment,verbatim]
478 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
481 The property @code{tupletSpannerDuration} specifies how long each
482 bracket should last. With this, you can make lots of tuplets while
483 typing @code{\times} only once, saving lots of typing. In the next
484 example, there are two triplets shown, while @code{\times} was only
487 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
488 \set tupletSpannerDuration = #(ly:make-moment 1 4)
489 \times 2/3 { c'8 c c c c c }
492 The format of the number is determined by the property
493 @code{tupletNumberFormatFunction}. The default prints only the
494 denominator, but if it is set to the Scheme function
495 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
499 @cindex @code{tupletNumberFormatFunction}
500 @cindex tuplet formatting
505 @cindex @code{\tupletUp}
507 @cindex @code{\tupletDown}
509 @cindex @code{\tupletBoth}
514 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
516 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
520 Nested tuplets are not formatted automatically. In this case, outer
521 tuplet brackets should be moved manually, which is demonstrated in
522 @inputfileref{input/regression,tuplet-nest.ly}.
526 @node Easier music entry
527 @section Easier music entry
530 This section deals with tricks and features of the input language that
531 were added solely to help entering music, finding and correcting
532 mistakes. There are also external tools that make debugging easier.
533 See @ref{Point and click} for more information.
535 It is also possible to enter and edit music using other programs. For
536 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
537 website for more information.
544 * Skipping corrected music::
545 * Automatic note splitting::
551 @node Relative octaves
552 @subsection Relative octaves
554 @cindex relative octave specification
556 Octaves are specified by adding @code{'} and @code{,} to pitch names.
557 When you copy existing music, it is easy to accidentally put a pitch
558 in the wrong octave and hard to find such an error. The relative
559 octave mode prevents these errors: a single error puts the rest of the
560 piece off by one octave
562 @cindex @code{\relative}
564 \relative @var{startpitch} @var{musicexpr}
567 The octave of notes that appear in @var{musicexpr} are calculated as
568 follows: If no octave changing marks are used, the basic interval
569 between this and the last note is always taken to be a fourth or
570 less. This distance is determined without regarding alterations; a
571 @code{fisis} following a @code{ceses} will be put above the
574 The octave changing marks @code{'} and @code{,} can be added to raise
575 or lower the pitch by an extra octave. Upon entering relative mode,
576 an absolute starting pitch must be specified that will act as the
577 predecessor of the first note of @var{musicexpr}.
579 Here is the relative mode shown in action
580 @lilypond[quote,fragment,raggedright,verbatim]
586 Octave changing marks are used for intervals greater than a fourth
587 @lilypond[quote,fragment,verbatim]
593 If the preceding item is a chord, the first note of the chord is used
594 to determine the first note of the next chord
596 @lilypond[quote,fragment,verbatim]
603 @cindex @code{\notes}
605 The pitch after the @code{\relative} contains a note name. To parse
606 the note name as a pitch, it must surrounded by @code{\notes}
608 The relative conversion will not affect @code{\transpose},
609 @code{\chords} or @code{\relative} sections in its argument. If you
610 want to use relative within transposed music, you must place an
611 additional @code{\relative} inside the @code{\transpose}.
614 @subsection Octave check
617 Octave checks make octave errors easier to correct: a note may be
618 followed by @code{=}@var{quotes} which indicates what its absolute
619 octave should be. In the following example,
621 \relative c'' @{ c='' b=' d,='' @}
625 @c take care with @code, adds confusing quotes.
626 the d will generate a warning, because a d'' is expected, but a d' is
627 found. In the output, the octave is corrected for this and the
632 There is also a syntax that is separate from the notes.
637 This checks that @var{pitch} (without octave) yields @var{pitch} (with
638 octave) in \relative mode. If not, a warning is printed, and the
639 octave is corrected, for example, the first check is passed
640 successfully. The second check fails with an error message. The
641 octave is adjusted so the following notes are in the correct octave
652 The octave of a note following an octave check is determined with
653 respect to the note preceding it. In the next fragment, the last note
654 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
655 be deleted without changing the meaning of the piece.
657 @lilypond[quote,verbatim,fragment]
666 @subsection Bar check
670 @cindex @code{barCheckSynchronize}
673 Bar checks help detect errors in the durations. A bar check is
674 entered using the bar symbol, `@code{|}'. Whenever it is encountered
675 during interpretation, it should fall on a measure boundary. If it
676 does not, a warning is printed. In the next example, the second bar
677 check will signal an error
679 \time 3/4 c2 e4 | g2 |
682 Bar checks can also be used in lyrics, for example
687 Twin -- kle | Twin -- kle
692 @cindex skipTypesetting
694 Failed bar checks are caused by entering incorrect
695 durations. Incorrect durations often completely garble up the score,
696 especially if it is polyphonic, so you should start correcting the
697 score by scanning for failed bar checks and incorrect durations. To
698 speed up this process, you can use @code{skipTypesetting}, described
701 @node Skipping corrected music
702 @subsection Skipping corrected music
704 The property @code{Score.skipTypesetting} can be used to switch on and
705 off typesetting completely during the interpretation phase. When
706 typesetting is switched off, the music is processed much more quickly.
707 This can be used to skip over the parts of a score that have already
708 been checked for errors
710 @lilypond[quote,fragment,raggedright,verbatim]
713 \set Score.skipTypesetting = ##t
715 \set Score.skipTypesetting = ##f
719 @node Automatic note splitting
720 @subsection Automatic note splitting
722 Long notes can be converted automatically to tied notes. This is done
723 by replacing the @internalsref{Note_heads_engraver} by the
724 @internalsref{Completion_heads_engraver}.
725 In the following examples, notes crossing the bar line are split and tied.
728 @lilypond[quote,fragment,verbatim,relative=2,raggedright]
730 \remove "Note_heads_engraver"
731 \consists "Completion_heads_engraver"
733 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
737 This engraver splits all running notes at the bar line, and inserts
738 ties. One of its uses is to debug complex scores: if the measures are
739 not entirely filled, then the ties exactly show how much each measure
744 Not all durations (especially those containing tuplets) can be
745 represented exactly; the engraver will not insert tuplets.
749 Examples: @inputfileref{input/regression,completion-heads.ly}.
751 Program reference: @internalsref{Completion_heads_engraver}.
755 @section Staff notation
757 This section describes music notation that occurs on staff level,
758 such as keys, clefs and time signatures.
760 @cindex Staff notation
774 @subsection Staff symbol
776 @cindex adjusting staff symbol
778 Notes, dynamic signs, etc. are grouped
779 with a set of horizontal lines, into a staff (plural `staves'). In our
780 system, these lines are drawn using a separate layout object called
784 @cindex staff lines, setting number of
785 @cindex staff lines, setting thickness of
786 @cindex thickness of staff lines, setting
787 @cindex number of staff lines, setting
791 Program reference: @internalsref{StaffSymbol}.
793 Examples: @inputfileref{input/test,staff-lines.ly},
794 @inputfileref{input/test,staff-size.ly}.
798 If a staff is ended halfway a piece, the staff symbol may not end
799 exactly on the bar line.
803 @subsection Key signature
804 @cindex Key signature
808 The key signature indicates the scale in which a piece is played. It
809 is denoted by a set of alterations (flats or sharps) at the start of
813 Setting or changing the key signature is done with the @code{\key}
816 @code{\key} @var{pitch} @var{type}
819 @cindex @code{\minor}
820 @cindex @code{\major}
821 @cindex @code{\minor}
822 @cindex @code{\ionian}
823 @cindex @code{\locrian}
824 @cindex @code{\aeolian}
825 @cindex @code{\mixolydian}
826 @cindex @code{\lydian}
827 @cindex @code{\phrygian}
828 @cindex @code{\dorian}
830 Here, @var{type} should be @code{\major} or @code{\minor} to get
831 @var{pitch}-major or @var{pitch}-minor, respectively.
832 The standard mode names @code{\ionian},
833 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
834 @code{\phrygian}, and @code{\dorian} are also defined.
836 This command sets the context property
837 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
838 can be specified by setting this property directly.
840 Accidentals and key signatures often confuse new users, because
841 unaltered notes get natural signs depending on the key signature. For
842 more information, see @ref{More about pitches}.
846 The ordering of a key cancellation is wrong when it is combined with
847 repeat bar lines. The cancellation is also printed after a line break.
851 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
853 @cindex @code{keySignature}
860 The clef indicates which lines of the staff correspond to which
864 The clef can be set or changed with the @code{\clef} command
865 @lilypond[quote,fragment,verbatim]
866 \key f\major c''2 \clef alto g'2
869 Supported clef-names include
870 @c Moved standard clefs to the top /MB
874 @item treble, violin, G, G2
887 G clef on 1st line, so-called French violin clef
892 @cindex mezzosoprano clef
895 @cindex baritone clef
898 @cindex varbaritone clef
909 By adding @code{_8} or @code{^8} to the clef name, the clef is
910 transposed one octave down or up, respectively, and @code{_15} and
911 @code{^15} transposes by two octaves. The argument @var{clefname}
912 must be enclosed in quotes when it contains underscores or digits. For
916 @cindex choral tenor clef
917 @lilypond[quote,verbatim,fragment,relative=1]
921 This command is equivalent to setting @code{clefGlyph},
922 @code{clefPosition} (which controls the Y position of the clef),
923 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
924 when any of these properties are changed.
928 Program reference: the object for this symbol is @internalsref{Clef}.
932 @node Ottava brackets
933 @subsection Ottava brackets
935 ``Ottava'' brackets introduce an extra transposition of an octave for
936 the staff. They are created by invoking the function
937 @code{set-octavation}
943 @lilypond[quote,verbatim,fragment]
953 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
954 (for 15ma) as arguments. Internally the function sets the properties
955 @code{ottavation} (e.g. to @code{"8va"}) and
956 @code{centralCPosition}. For overriding the text of the bracket, set
957 @code{ottavation} after invoking @code{set-octavation}, i.e.,
961 \set Staff.ottavation = #"8"
966 Program reference: @internalsref{OttavaBracket}.
968 Examples: @inputfileref{input/regression,ottava.ly},
969 @inputfileref{input/regression,ottava-broken.ly}.
973 @code{set-octavation} will get confused when clef changes happen
974 during an octavation bracket.
977 @subsection Time signature
978 @cindex Time signature
982 Time signature indicates the metrum of a piece: a regular pattern of
983 strong and weak beats. It is denoted by a fraction at the start of the
987 The time signature is set or changed by the @code{\time}
989 @lilypond[quote,fragment,verbatim]
990 \time 2/4 c'2 \time 3/4 c'2.
993 The symbol that is printed can be customized with the @code{style}
994 property. Setting it to @code{#'()} uses fraction style for 4/4 and
995 2/2 time. There are many more options for its layout. See
996 @inputfileref{input/test,time.ly} for more examples.
999 This command sets the property @code{timeSignatureFraction},
1000 @code{beatLength} and @code{measureLength} in the @code{Timing}
1001 context, which is normally aliased to @internalsref{Score}. The
1002 property @code{measureLength} determines where bar lines should be
1003 inserted, and how automatic beams should be generated. Changing the
1004 value of @code{timeSignatureFraction} also causes the symbol to be
1007 More options are available through the Scheme function
1008 @code{set-time-signature}. In combination with the
1009 @internalsref{Measure_grouping_engraver}, it will create
1010 @internalsref{MeasureGrouping} signs. Such signs ease reading
1011 rhythmically complex modern music. In the following example, the 9/8
1012 measure is subdivided in 2, 2, 2 and 3. This is passed to
1013 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1015 @lilypond[quote,raggedright,verbatim]
1017 \notes \relative c'' {
1018 #(set-time-signature 9 8 '(2 2 2 3))
1019 g8[ g] d[ d] g[ g] a8[( bes g]) |
1020 #(set-time-signature 5 8 '(3 2))
1026 \consists "Measure_grouping_engraver"
1034 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1039 Automatic beaming does not use the measure grouping specified with
1040 @code{set-time-signature}.
1042 @node Partial measures
1043 @subsection Partial measures
1046 @cindex partial measure
1047 @cindex measure, partial
1048 @cindex shorten measures
1049 @cindex @code{\partial}
1051 Partial measures, for example in upsteps, are entered using the
1052 @code{\partial} command
1053 @lilypond[quote,fragment,verbatim,relative=2]
1054 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1057 The syntax for this command is
1059 \partial @var{duration}
1061 This is internally translated into
1063 \set Timing.measurePosition = -@var{length of duration}
1066 The property @code{measurePosition} contains a rational number
1067 indicating how much of the measure has passed at this point.
1069 @node Unmetered music
1070 @subsection Unmetered music
1072 Bar lines and bar numbers are calculated automatically. For unmetered
1073 music (e.g. cadenzas), this is not desirable. By setting
1074 @code{Score.timing} to false, this automatic timing can be switched
1075 off. Empty bar lines,
1082 indicate where line breaks can occur.
1088 @cindex @code{\cadenzaOn}
1090 @cindex @code{\cadenzaOff}
1094 @subsection Bar lines
1098 @cindex measure lines
1102 Bar lines delimit measures, but are also used to indicate repeats.
1103 Normally, they are inserted automatically. Line breaks may only
1104 happen on bar lines.
1106 Special types of bar lines can be forced with the @code{\bar} command
1108 @lilypond[quote,relative=2,fragment,verbatim]
1112 The following bar types are available
1113 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1126 For allowing line breaks, there is a special command,
1130 This will insert an invisible bar line, and allow line breaks at this
1133 In scores with many staves, a @code{\bar} command in one staff is
1134 automatically applied to all staves. The resulting bar lines are
1135 connected between different staves of a @internalsref{StaffGroup}
1137 @lilypond[quote,fragment,verbatim]
1139 \context StaffGroup <<
1145 \new Staff { \clef bass c4 g e g }
1147 \new Staff { \clef bass c2 c2 }
1151 A bar line is created whenever the @code{whichBar} property is set.
1152 At the start of a measure it is set to the contents of
1153 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1154 to override default measure bars.
1156 The command @code{\bar }@var{bartype} is a short cut for doing
1157 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1158 is set to a string, a bar line of that type is created.
1161 @cindex repeatCommands
1162 @cindex defaultBarType
1164 You are encouraged to use @code{\repeat} for repetitions. See
1171 In this manual: @ref{Repeats}.
1174 Program reference: the bar line objects that are created at
1175 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1176 lines that span staves are @internalsref{SpanBar} objects.
1178 @cindex bar lines at start of system
1179 @cindex start of system
1181 The bar lines at the start of each system are
1182 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1183 @internalsref{SystemStartBracket}. Only one of these types is created
1184 in every context, and that type is determined by the property
1185 @code{systemStartDelimiter}.
1187 Examples: @inputfileref{input/test,bar-lines.ly},
1193 The easiest way to enter fragments with more than one voice on a staff
1194 is to split chords using the separator @code{\\}. You can use it for
1195 small, short-lived voices or for single chords
1197 @lilypond[quote,verbatim,fragment]
1198 \context Staff \relative c'' {
1199 c4 << { f d e } \\ { b c2 } >>
1200 c4 << g' \\ b, \\ f' \\ d >>
1204 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1205 voices are sometimes called "layers" other notation packages}
1207 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1208 each of these contexts, vertical direction of slurs, stems, etc. is set
1211 @cindex @code{\voiceOne}
1212 @cindex @code{\voiceFour}
1214 This can also be done by instantiating @internalsref{Voice} contexts
1215 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1216 a stem directions and horizontal shift for each part
1219 @lilypond[quote,raggedright,verbatim]
1222 \new Voice { \voiceOne cis2 b }
1223 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1224 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1228 The command @code{\oneVoice} will revert back to the normal setting.
1229 @cindex @code{\oneVoice}
1232 Normally, note heads with a different number of dots are not merged, but
1233 when the object property @code{merge-differently-dotted} is set in
1234 the @internalsref{NoteCollision} object, they are merged
1235 @lilypond[quote,verbatim,fragment,raggedright]
1236 \relative c'' \context Voice << {
1238 \override Staff.NoteCollision
1239 #'merge-differently-dotted = ##t
1241 } \\ { g8.[ f16] g8.[ f16] } >>
1244 Similarly, you can merge half note heads with eighth notes, by setting
1245 @code{merge-differently-headed}
1246 @lilypond[quote,fragment,relative=3,verbatim]
1249 \override Staff.NoteCollision
1250 #'merge-differently-headed = ##t
1251 c8 c4. } \\ { c2 c2 } >>
1254 LilyPond also vertically shifts rests that are opposite of a stem
1257 @lilypond[quote,raggedright,fragment,verbatim]
1258 \context Voice << c''4 \\ r4 >>
1266 @cindex @code{\oneVoice}
1268 @cindex @code{\voiceOne}
1270 @cindex @code{\voiceTwo}
1272 @cindex @code{\voiceThree}
1274 @cindex @code{\voiceFour}
1278 The following commands specify in what chords of the current voice
1279 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1280 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1283 @cindex @code{\shiftOn}
1285 @cindex @code{\shiftOnn}
1287 @cindex @code{\shiftOnnn}
1289 @cindex @code{\shiftOff}
1296 Program reference: the objects responsible for resolving collisions are
1297 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1299 Examples: See also example files
1300 @inputfileref{input/regression,collision-dots.ly},
1301 @inputfileref{input/regression,collision-head-chords.ly},
1302 @inputfileref{input/regression,collision-heads.ly},
1303 @inputfileref{input/regression,collision-mesh.ly}, and
1304 @inputfileref{input/regression,collisions.ly}.
1309 Resolving collisions is a intricate subject, and only a few situations
1310 are handled. When LilyPond cannot cope, the @code{force-hshift}
1311 property of the @internalsref{NoteColumn} object and pitched rests can
1312 be used to override typesetting decisions.
1314 When using @code{merge-differently-headed} with an upstem eighth or a
1315 shorter note, and a downstem half note, the eighth note gets the wrong
1318 There is no support for clusters where the same note occurs with
1319 different accidentals in the same chord. In this case, it is
1320 recommended to use enharmonic transcription, or to use special cluster
1321 notation (see @ref{Clusters}).
1326 Beams are used to group short notes into chunks that are aligned with
1327 the metrum. They are inserted automatically
1329 @lilypond[quote,fragment,verbatim,relative=3]
1330 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1333 When these automatic decisions are not good enough, beaming can be
1334 entered explicitly. It is also possible to define beaming patterns
1335 that differ from the defaults.
1337 Individual notes may be marked with @code{\noBeam}, to prevent them
1340 @lilypond[quote,fragment,verbatim,relative=3]
1341 \time 2/4 c8 c\noBeam c c
1347 Program reference: @internalsref{Beam}.
1350 @cindex Automatic beams
1353 * Setting automatic beam behavior::
1357 @subsection Manual beams
1358 @cindex beams, manual
1362 In some cases it may be necessary to override the automatic beaming
1363 algorithm. For example, the autobeamer will not put beams over rests
1364 or bar lines. Such beams are specified by manually: the begin and end
1365 point are marked with @code{[} and @code{]}
1367 @lilypond[quote,fragment,relative=1,verbatim]
1369 r4 r8[ g' a r8] r8 g[ | a] r8
1373 @cindex @code{stemLeftBeamCount}
1375 Normally, beaming patterns within a beam are determined automatically.
1376 If necessary, the properties @code{stemLeftBeamCount} and
1377 @code{stemRightBeamCount} can be used to override the defaults. If
1378 either property is set, its value will be used only once, and then it
1381 @lilypond[quote,fragment,relative=1,verbatim]
1384 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1387 @cindex @code{stemRightBeamCount}
1390 The property @code{subdivideBeams} can be set in order to subdivide
1391 all 16th or shorter beams at beat positions, as defined by the
1392 @code{beatLength} property.
1395 @lilypond[quote,relative=2,verbatim,noindent]
1397 \set subdivideBeams = ##t
1399 \set Score.beatLength = #(ly:make-moment 1 8)
1402 @cindex subdivideBeams
1404 Kneed beams are inserted automatically, when a large gap is detected
1405 between the note heads. This behavior can be tuned through the object
1406 property @code{auto-knee-gap}.
1408 Normally, line breaks are forbidden when beams cross bar lines. This
1409 behavior can be changed by setting @code{allowBeamBreak}.
1411 @cindex @code{allowBeamBreak}
1412 @cindex beams and line breaks
1414 @cindex beams, kneed
1416 @cindex auto-knee-gap
1422 @cindex Frenched staves
1424 Automatically kneed cross-staff beams cannot be used together with
1430 @node Setting automatic beam behavior
1431 @subsection Setting automatic beam behavior
1433 @cindex @code{autoBeamSettings}
1434 @cindex @code{(end * * * *)}
1435 @cindex @code{(begin * * * *)}
1436 @cindex automatic beams, tuning
1437 @cindex tuning automatic beaming
1439 @c [TODO: use \applycontext]
1441 In normal time signatures, automatic beams can start on any note but can
1442 only end in a few positions within the measure: beams can end on a beat,
1443 or at durations specified by the properties in
1444 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1445 are defined in @file{scm/auto-beam.scm}.
1447 The value of @code{autoBeamSettings} is changed with two functions,
1449 #(override-auto-beam-setting
1450 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1452 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1454 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1455 @var{context} is an optional context (default: @code{'Voice}). It
1456 determines whether the rule applies to begin or end-points. The
1457 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1458 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1459 to a time signature (wildcards `@code{* *}' may be entered to
1460 designate all time signatures), @var{a}/@var{b} is a duration. By
1461 default, this command changes settings for the current voice. It is
1462 also possible to adjust settings at higher contexts, by adding a
1463 @var{context} argument.
1465 For example, if automatic beams should end on every quarter note, use
1468 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1470 Since the duration of a quarter note is 1/4 of a whole note, it is
1471 entered as @code{(ly:make-moment 1 4)}.
1473 The same syntax can be used to specify beam starting points. In this
1474 example, automatic beams can only end on a dotted quarter note
1476 #(override-auto-beam-setting '(end * * * *) 3 8)
1478 In 4/4 time signature, this means that automatic beams could end only on
1479 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1480 3/8, has passed within the measure).
1482 Rules can also be restricted to specific time signatures. A rule that
1483 should only be applied in @var{N}/@var{M} time signature is formed by
1484 replacing the second asterisks by @var{N} and @var{M}. For example, a
1485 rule for 6/8 time exclusively looks like
1487 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1490 If a rule should be to applied only to certain types of beams, use the
1491 first pair of asterisks. Beams are classified according to the
1492 shortest note they contain. For a beam ending rule that only applies
1493 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1496 @cindex automatic beam generation
1498 @cindex @code{autoBeaming}
1501 If beams are used to indicate melismata in songs, then automatic
1502 beaming should be switched off. This is done by setting
1503 @code{autoBeaming} to @code{#f}.
1507 @cindex @code{\autoBeamOff}
1508 @code{\autoBeamOff},
1509 @cindex @code{\autoBeamOn}
1515 If a score ends while an automatic beam has not been ended and is
1516 still accepting notes, this last beam will not be typeset at all. The
1517 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1518 >>}. If a polyphonic voice ends while an automatic beam is still
1519 accepting notes, it is not typeset.
1521 The rules for ending a beam depend on the shortest note in a beam.
1522 So, while it is possible to have different ending rules for eight
1523 beams and sixteenth beams, a beam that contains both eight and
1524 sixteenth notes will use the rules for the sixteenth beam.
1526 In the example below, the autobeamer makes eight beams and sixteenth
1527 end at 3 eights; the third beam can only be corrected by specifying
1530 @lilypond[quote,raggedright,fragment,relative=1]
1531 #(override-auto-beam-setting '(end * * * *) 3 8)
1532 % rather show case where it goes wrong
1533 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1534 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1536 It is not possible to specify beaming parameters that act differently in
1537 different parts of a measure. This means that it is not possible to use
1538 automatic beaming in irregular meters such as @code{5/8}.
1541 @section Accidentals
1544 This section describes how to change the way that accidentals are
1545 inserted automatically before the running notes.
1547 Common rules for typesetting accidentals have been canned in a
1548 function. This function is called as follows
1550 @cindex @code{set-accidental-style}
1552 #(set-accidental-style 'modern 'Voice)
1555 The function takes two arguments: a symbol that denotes the style (in
1556 the example, @code{modern}), and another symbol that denotes the
1557 context name (in this example, @code{Voice}). If no context name is
1558 supplied, @code{Staff} is the default.
1560 The following styles are supported
1563 This is the default typesetting behavior. It should correspond
1564 to 18th century common practice: Accidentals are
1565 remembered to the end of the measure in which they occur and
1566 only on their own octave.
1570 The normal behavior is to remember the accidentals on
1571 Staff-level. This variable, however, typesets accidentals
1572 individually for each voice. Apart from that, the rule is similar to
1575 This leads to some weird and often unwanted results
1576 because accidentals from one voice do not get canceled in other
1578 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1580 #(set-accidental-style 'voice)
1586 Hence you should only use @code{voice} if the voices
1587 are to be read solely by individual musicians. If the staff is to be
1588 used by one musician (e.g. a conductor) then you use
1589 @code{modern} or @code{modern-cautionary}
1593 @cindex @code{modern} style accidentals
1594 This rule corresponds to the common practice in the 20th
1596 This rule prints the same accidentals as @code{default}, but temporary
1597 accidentals also are canceled in other octaves. Furthermore,
1598 in the same octave, they also get canceled in the following
1601 @lilypond[quote,raggedright,fragment,verbatim]
1602 #(set-accidental-style 'modern)
1603 cis' c'' cis'2 | c'' c'
1606 @item @code{modern-cautionary}
1607 @cindex @code{modern-cautionary}
1608 This rule is similar to @code{modern}, but the
1609 ``extra'' accidentals (the ones not typeset by
1610 @code{default}) are typeset as cautionary accidentals.
1611 They are printed in reduced size or with parentheses
1612 @lilypond[quote,raggedright,fragment,verbatim]
1613 #(set-accidental-style 'modern-cautionary)
1614 cis' c'' cis'2 | c'' c'
1617 @cindex @code{modern-voice}
1619 This rule is used for multivoice accidentals to be read both by musicians
1620 playing one voice and musicians playing all voices. Accidentals are
1621 typeset for each voice, but they @emph{are} canceled across voices in
1622 the same @internalsref{Staff}.
1624 @cindex @code{modern-voice-cautionary}
1625 @item modern-voice-cautionary
1626 This rule is the same as @code{modern-voice}, but with the extra
1627 accidentals (the ones not typeset by @code{voice}) typeset
1628 as cautionaries. Even though all accidentals typeset by
1629 @code{default} @emph{are} typeset by this variable then
1630 some of them are typeset as cautionaries.
1633 @cindex @code{piano} accidentals
1634 This rule reflects 20th century practice for piano notation. Very similar to
1635 @code{modern} but accidentals also get canceled
1636 across the staves in the same @internalsref{GrandStaff} or
1637 @internalsref{PianoStaff}.
1639 @item piano-cautionary
1640 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1641 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1642 typeset as cautionaries.
1645 @cindex @code{no-reset} accidental style
1647 This is the same as @code{default} but with accidentals lasting
1648 ``forever'' and not only until the next measure
1649 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1650 #(set-accidental-style 'no-reset)
1655 This is sort of the opposite of @code{no-reset}: Accidentals
1656 are not remembered at all---and hence all accidentals are
1657 typeset relative to the key signature, regardless of what was
1660 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1661 #(set-accidental-style 'forget)
1662 \key d\major c4 c cis cis d d dis dis
1669 Program reference: @internalsref{Accidental_engraver},
1670 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1675 Simultaneous notes are considered to be entered in sequential
1676 mode. This means that in a chord the accidentals are typeset as if the
1677 notes in the chord happened once at a time - in the order in which
1678 they appear in the input file.
1680 This is only a problem when accidentals in a chord depend on each
1681 other. This problem can be solved by manually inserting @code{!} and
1682 @code{?} for the problematic notes.
1684 In the default scheme, accidentals only depend on other
1685 accidentals with the same pitch on the same staff, so no conflicts are
1688 @node Expressive marks
1689 @section Expressive marks
1692 @c todo: should change ordering
1693 @c where to put text spanners, metronome marks,
1702 * Analysis brackets::
1704 * Fingering instructions::
1715 A slur indicates that notes are to be played bound or @emph{legato}.
1718 They are entered using parentheses
1719 @lilypond[quote,relative=2,fragment,verbatim]
1720 f( g)( a) a8 b( a4 g2 f4)
1725 @c TODO: should explain that ^( and _( set directions
1726 @c should set attachments with ^ and _ ?
1728 Slurs avoid crossing stems, and are generally attached to note heads.
1729 However, in some situations with beams, slurs may be attached to stem
1730 ends. If you want to override this layout you can do this through the
1731 object property @code{attachment} of @internalsref{Slur}. Its value
1732 is a pair of symbols, specifying the attachment type of the left and
1735 @lilypond[quote,fragment,relative=1,verbatim]
1737 \override Stem #'length = #5.5
1739 \override Slur #'attachment = #'(stem . stem)
1743 If a slur would strike through a stem or beam, the slur will be moved
1744 away upward or downward. If this happens, attaching the slur to the
1745 stems might look better
1747 @lilypond[quote,fragment,relative=1,verbatim]
1750 \override Slur #'attachment = #'(stem . stem)
1757 @cindex @code{\slurUp}
1759 @cindex @code{\slurDown}
1761 @cindex @code{\slurBoth}
1763 @cindex @code{\slurDotted}
1765 @cindex @code{\slurSolid}
1770 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1775 Producing nice slurs is a difficult problem, and LilyPond
1776 uses a simple, empiric method to produce slurs. In some cases, its
1780 @cindex Adjusting slurs
1782 @node Phrasing slurs
1783 @subsection Phrasing slurs
1785 @cindex phrasing slurs
1786 @cindex phrasing marks
1788 A phrasing slur (or phrasing mark) connects chords and is used to
1789 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1792 @lilypond[quote,fragment,verbatim,relative=1]
1793 \time 6/4 c'\( d( e) f( e) d\)
1796 Typographically, the phrasing slur behaves almost exactly like a
1797 normal slur. However, they are treated as different objects. A
1798 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1799 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1800 @code{\phrasingSlurBoth}.
1802 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1803 will only affect normal slurs and not phrasing slurs.
1807 @cindex @code{\phrasingSlurUp}
1808 @code{\phrasingSlurUp},
1809 @cindex @code{\phrasingSlurDown}
1810 @code{\phrasingSlurDown},
1811 @cindex @code{\phrasingSlurBoth}
1812 @code{\phrasingSlurBoth}.
1816 Program reference: see also @internalsref{PhrasingSlur}, and
1817 @internalsref{PhrasingSlurEvent}.
1821 Phrasing slurs have the same limitations in their formatting as normal
1822 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1825 @subsection Breath marks
1827 Breath marks are entered using @code{\breathe}
1830 @lilypond[quote,fragment,relative=1,verbatim]
1834 The glyph of the breath mark can be tuned by overriding the
1835 @code{text} property of the @code{BreathingSign} layout object with
1836 any markup text. For example,
1837 @lilypond[quote,fragment,verbatim,relative=1]
1839 \override BreathingSign #'text
1840 = #(make-musicglyph-markup "scripts-rvarcomma")
1847 Program reference: @internalsref{BreathingSign},
1848 @internalsref{BreathingSignEvent}.
1850 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1853 @node Metronome marks
1854 @subsection Metronome marks
1857 @cindex beats per minute
1858 @cindex metronome marking
1860 Metronome settings can be entered as follows
1862 \tempo @var{duration} = @var{per-minute}
1865 In the MIDI output, they are interpreted as a tempo change, and in the
1866 paper output, a metronome marking is printed
1867 @cindex @code{\tempo}
1868 @lilypond[quote,fragment,verbatim]
1874 Program reference: @internalsref{MetronomeChangeEvent}.
1879 @subsection Text spanners
1880 @cindex Text spanners
1882 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1883 are written as texts, and extended over many measures with dotted
1884 lines. You can create such texts using text spanners: attach
1885 @code{\startTextSpan} and @code{\stopTextSpan} to the
1886 start and ending note of the spanner.
1888 The string to be printed, as well as the style, is set through object
1891 @lilypond[quote,fragment,relative=1,verbatim]
1894 \override TextSpanner #'direction = #-1
1895 \override TextSpanner #'edge-text = #'("rall " . "")
1896 c2\startTextSpan b c\stopTextSpan a
1903 Internals @internalsref{TextSpanEvent},
1904 @internalsref{TextSpanner}.
1906 Examples: @inputfileref{input/regression,text-spanner.ly}.
1909 @node Analysis brackets
1910 @subsection Analysis brackets
1912 @cindex phrasing brackets
1913 @cindex musicological analysis
1914 @cindex note grouping bracket
1916 Brackets are used in musical analysis to indicate structure in musical
1917 pieces. LilyPond supports a simple form of nested horizontal brackets.
1918 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1919 @internalsref{Staff} context. A bracket is started with
1920 @code{\startGroup} and closed with @code{\stopGroup}
1922 @lilypond[quote,raggedright,verbatim]
1924 \notes \relative c'' {
1925 c4\startGroup\startGroup
1928 c4\stopGroup\stopGroup
1932 \StaffContext \consists "Horizontal_bracket_engraver"
1938 Program reference: @internalsref{HorizontalBracket},
1939 @internalsref{NoteGroupingEvent}.
1941 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1945 @subsection Articulations
1946 @cindex Articulations
1948 @cindex articulations
1952 A variety of symbols can appear above and below notes to indicate
1953 different characteristics of the performance. They are added to a note
1954 by adding a dash and the character signifying the
1955 articulation. They are demonstrated here
1957 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1959 The meanings of these shorthands can be changed. See
1960 @file{ly/script-init.ly} for examples.
1963 The script is automatically placed, but if you need to force
1964 directions, you can use @code{_} to force them down, or @code{^} to
1966 @lilypond[quote,fragment,verbatim]
1970 Other symbols can be added using the syntax
1971 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1972 can be forced up or down using @code{^} and @code{_},
1975 @lilypond[quote,verbatim,fragment,relative=3]
1976 c\fermata c^\fermata c_\fermata
1983 @cindex staccatissimo
1992 @cindex organ pedal marks
2001 @cindex prallmordent
2005 @cindex thumb marking
2010 @lilypondfile[quote,raggedright]{script-chart.ly}
2014 @cindex @code{\scriptUp}
2016 @cindex @code{\scriptDown}
2018 @cindex @code{\scriptBoth}
2023 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2027 These note ornaments appear in the printed output but have no
2028 effect on the MIDI rendering of the music.
2031 @node Fingering instructions
2032 @subsection Fingering instructions
2036 Fingering instructions can be entered using
2038 @var{note}-@var{digit}
2040 For finger changes, use markup texts
2042 @lilypond[quote,verbatim,raggedright,fragment]
2043 c'4-1 c'4-2 c'4-3 c'4-4
2044 c'^\markup { \finger "2-3" }
2047 @cindex finger change
2052 You can use the thumb-script to indicate that a note should be
2053 played with the thumb (e.g. in cello music)
2055 @lilypond[quote,verbatim,raggedright,fragment]
2056 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2059 Fingerings for chords can also be added to individual notes
2060 of the chord by adding them after the pitches
2061 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2062 < c-1 e-2 g-3 b-5 >4
2066 In this case, setting @code{fingeringOrientations} will put fingerings next
2069 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2070 \set fingeringOrientations = #'(left down)
2071 <c-1 es-2 g-4 bes-5 > 4
2072 \set fingeringOrientations = #'(up right down)
2073 <c-1 es-2 g-4 bes-5 > 4
2074 \set fingeringOrientations = #'(right)
2078 The last note demonstrates how fingering instructions can be put close
2079 to note heads in monophonic music, using this feature.
2083 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2085 Examples: @inputfileref{input/regression,finger-chords.ly}.
2088 @subsection Text scripts
2089 @cindex Text scripts
2091 @cindex text items, non-empty
2092 @cindex non-empty texts
2094 It is possible to place arbitrary strings of text or markup text (see
2095 @ref{Text markup}) above or below notes by using a string
2096 @code{c^"text"}. By default, these indications do not influence the
2097 note spacing, but by using the command @code{\fatText}, the widths
2098 will be taken into account
2100 @lilypond[quote,fragment,raggedright,verbatim]
2102 c4^"longtext" \fatText c4_"longlongtext" c4
2106 It is possible to use @TeX{} commands in the strings, but this should
2107 be avoided because the exact dimensions of the string can then no
2112 @cindex @code{\fatText}
2114 @cindex @code{\emptyText}
2119 In this manual: @ref{Text markup}.
2121 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2127 @subsection Grace notes
2130 @c should have blurb about accaciatura / appogiatura
2132 @cindex @code{\grace}
2136 Grace notes are ornaments that are written out. The most common ones
2137 are acciaccatura, which should be played as very short. It is denoted
2138 by a slurred small note with a slashed stem. The appoggiatura is a
2139 grace note that takes a fixed fraction of the main note, is and
2140 denoted as a slurred note in small print without a slash.
2141 They are entered with the commands @code{\acciaccatura} and
2142 @code{\appoggiatura}, as demonstrated in the following example
2145 @cindex appoggiatura
2146 @cindex acciaccatura
2148 @lilypond[quote,relative=3,verbatim,fragment]
2149 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2150 \acciaccatura { g16[ f] } e4
2153 Both are special forms of the @code{\grace} command. By prefixing this
2154 keyword to a music expression, a new one is formed, which will be
2155 printed in a smaller font and takes up no logical time in a measure.
2156 @lilypond[quote,relative=3,verbatim,fragment]
2158 \grace { c16[ d16] } c2 c4
2162 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2163 @code{\grace} command does not start a slur.
2165 Internally, timing for grace notes is done using a second, `grace'
2166 time. Every point in time consists of two rational numbers: one
2167 denotes the logical time, one denotes the grace timing. The above
2168 example is shown here with timing tuples
2170 @lilypond[quote,raggedright]
2173 c4 \grace c16 c4 \grace {
2176 \new Lyrics \lyrics {
2179 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2180 \markup { (\fraction 1 4 , 0 ) } 4
2182 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2183 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2185 \markup { ( \fraction 2 4 , 0 ) }
2191 The placement of grace notes is synchronized between different staves.
2192 In the following example, there are two sixteenth graces notes for
2193 every eighth grace note
2195 @lilypond[quote,relative=3,verbatim,fragment]
2196 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2197 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2202 If you want to end a note with a grace, the standard trick is to put
2203 the grace notes after a ``space note''
2205 @lilypond[quote,fragment,verbatim,relative=3]
2208 { s2 \grace { c16[ d] } } >>
2214 By adjusting the duration of the skip note (here it is a half-note),
2215 the space between the main-note and the grace is adjusted.
2218 A @code{\grace} section will introduce special typesetting settings,
2219 for example, to produce smaller type, and set directions. Hence, when
2220 introducing layout tweaks, they should be inside the grace section,
2222 @lilypond[quote,fragment,verbatim,relative=2]
2225 \override Stem #'direction = #-1
2227 \revert Stem #'direction
2234 The overrides should also be reverted inside the grace section.
2236 If the layout of grace sections must be changed throughout the music,
2237 then this can be accomplished through the function
2238 @code{add-grace-property}. The following example undefines the Stem
2239 direction for this grace, so stems do not always point up.
2243 #(add-grace-property "Voice" Stem direction '())
2249 Another option is to change the variables @code{startGraceMusic},
2250 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2251 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2252 @code{stopAppoggiaturaMusic}. More information is in the file
2253 @file{ly/grace-init.ly}.
2258 Program reference: @internalsref{GraceMusic}.
2262 A score that starts with an @code{\grace} section needs an explicit
2263 @code{\context Voice} declaration, otherwise the main note and grace
2264 note end up on different staves.
2266 Grace note synchronization can also lead to surprises. Staff notation,
2267 such as key signatures, bar lines, etc. are also synchronized. Take
2268 care when you mix staves with grace notes and staves without, for example,
2270 @lilypond[quote,relative=3,verbatim,fragment]
2271 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2272 \new Staff { c4 \bar "|:" d4 } >>
2276 This can be remedied by inserting grace skips, for the above example
2279 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2282 Grace sections should only be used within sequential music
2283 expressions. Nesting or juxtaposing grace sections is not supported,
2284 and might produce crashes or other errors.
2288 @subsection Glissando
2291 @cindex @code{\glissando}
2293 A glissando is a smooth change in pitch. It is denoted by a line or a
2294 wavy line between two notes.
2297 A glissando line can be requested by attaching a @code{\glissando} to
2300 @lilypond[quote,fragment,relative=1,verbatim]
2306 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2308 Example files: @file{input/regression,glissando.ly}
2314 Printing text over the line (such as @emph{gliss.}) is not supported.
2318 @subsection Dynamics
2331 @cindex @code{\ffff}
2341 Absolute dynamic marks are specified using a command after a note
2342 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2343 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2344 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2345 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2347 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2348 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2358 A crescendo mark is started with @code{\<} and terminated with
2359 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2360 with @code{\!}. Because these marks are bound to notes, if you must
2361 use spacer notes if multiple marks during one note are needed
2363 @lilypond[quote,fragment,verbatim]
2364 c''\< c''\! d''\> e''\!
2365 << f''1 { s4 s4\< s4\! \> s4\! } >>
2367 This may give rise to very short hairpins. Use @code{minimum-length}
2368 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2372 \override Staff.Hairpin #'minimum-length = #5
2375 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2376 is an example how to do it
2378 @lilypond[quote,fragment,relative=3,verbatim]
2388 You can also supply your own texts
2389 @lilypond[quote,fragment,relative=1,verbatim]
2391 \set crescendoText = \markup { \italic "cresc. poco" }
2392 \set crescendoSpanner = #'dashed-line
2402 @cindex @code{\dynamicUp}
2404 @cindex @code{\dynamicDown}
2405 @code{\dynamicDown},
2406 @cindex @code{\dynamicBoth}
2407 @code{\dynamicBoth}.
2409 @cindex direction, of dynamics
2413 Program reference: @internalsref{CrescendoEvent},
2414 @internalsref{DecrescendoEvent}, and
2415 @internalsref{AbsoluteDynamicEvent}.
2417 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2418 objects. Vertical positioning of these symbols is handled by the
2419 @internalsref{DynamicLineSpanner} object.
2427 @cindex @code{\repeat}
2430 Repetition is a central concept in music, and multiple notations exist
2431 for repetitions. In LilyPond, most of these notations can be captured
2432 in a uniform syntax. One of the advantages is that they can be
2433 rendered in MIDI accurately.
2435 The following types of repetition are supported
2439 Repeated music is fully written (played) out. Useful for MIDI
2440 output, and entering repetitive music.
2443 This is the normal notation: Repeats are not written out, but
2444 alternative endings (volte) are printed, left to right.
2448 Alternative endings are written stacked. This has limited use but may be
2449 used to typeset two lines of lyrics in songs with repeats, see
2450 @inputfileref{input,star-spangled-banner.ly}.
2458 Make beat or measure repeats. These look like percent signs.
2464 * Repeats and MIDI::
2465 * Manual repeat commands::
2467 * Tremolo subdivisions::
2472 @subsection Repeat syntax
2475 LilyPond has one syntactic construct for specifying different types of
2476 repeats. The syntax is
2479 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2482 If you have alternative endings, you may add
2483 @cindex @code{\alternative}
2485 \alternative @code{@{} @var{alternative1}
2487 @var{alternative3} @dots{} @code{@}}
2489 where each @var{alternative} is a music expression. If you do not
2490 give enough alternatives for all of the repeats, the first alternative
2491 is assumed to be played more than once.
2493 Normal notation repeats are used like this
2494 @lilypond[quote,fragment,verbatim,relative=2]
2496 \repeat volta 2 { c4 d e f }
2497 \repeat volta 2 { f e d c }
2500 With alternative endings
2501 @lilypond[quote,fragment,verbatim,relative=2]
2503 \repeat volta 2 {c4 d e f}
2504 \alternative { {d2 d} {f f,} }
2508 @lilypond[quote,fragment,verbatim,relative=2]
2511 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2512 \alternative { { g4 g g } { a | a a a a | b2. } }
2518 A nested repeat like
2527 is ambiguous, since it is is not clear to which @code{\repeat} the
2528 @code{\alternative} belongs. This ambiguity is resolved by always
2529 having the @code{\alternative} belong to the inner @code{\repeat}.
2530 For clarity, it is advisable to use braces in such situations.
2533 @node Repeats and MIDI
2534 @subsection Repeats and MIDI
2536 @cindex expanding repeats
2538 For instructions on how to expand repeats for MIDI output, see the
2539 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2544 Timing information is not remembered at the start of an alternative,
2545 so after a repeat timing information must be reset by hand, for
2546 example by setting @code{Score.measurePosition} or entering
2547 @code{\partial}. Similarly, slurs or ties are also not repeated.
2550 @node Manual repeat commands
2551 @subsection Manual repeat commands
2553 @cindex @code{repeatCommands}
2555 The property @code{repeatCommands} can be used to control the layout of
2556 repeats. Its value is a Scheme list of repeat commands, where each repeat
2560 @item the symbol @code{start-repeat},
2561 which prints a @code{|:} bar line,
2562 @item the symbol @code{end-repeat},
2563 which prints a @code{:|} bar line,
2564 @item the list @code{(volta @var{text})},
2565 which prints a volta bracket saying @var{text}: The text can be specified as
2566 a text string or as a markup text, see @ref{Text markup}. Do not
2567 forget to change the font, as the default number font does not contain
2568 alphabetic characters. Or,
2569 @item the list @code{(volta #f)}, which
2570 stops a running volta bracket
2573 @lilypond[quote,verbatim,fragment,relative=3]
2575 \set Score.repeatCommands = #'((volta "93") end-repeat)
2577 \set Score.repeatCommands = #'((volta #f))
2584 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2585 @internalsref{VoltaRepeatedMusic},
2586 @internalsref{UnfoldedRepeatedMusic}, and
2587 @internalsref{FoldedRepeatedMusic}.
2589 @node Tremolo repeats
2590 @subsection Tremolo repeats
2591 @cindex tremolo beams
2593 To place tremolo marks between notes, use @code{\repeat} with tremolo
2595 @lilypond[quote,verbatim,raggedright]
2597 \context Voice \notes\relative c' {
2598 \repeat "tremolo" 8 { c16 d16 }
2599 \repeat "tremolo" 4 { c16 d16 }
2600 \repeat "tremolo" 2 { c16 d16 }
2605 Tremolo marks can also be put on a single note. In this case, the
2606 note should not be surrounded by braces.
2607 @lilypond[quote,verbatim,raggedright]
2608 \repeat "tremolo" 4 c'16
2611 A similar mechanism is the tremolo subdivision, described in
2612 @ref{Tremolo subdivisions}.
2616 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2618 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2619 tremolos are @internalsref{StemTremolo} objects. The music expression is
2620 @internalsref{TremoloEvent}.
2622 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2623 @inputfileref{input/regression,stem-tremolo.ly}.
2625 @node Tremolo subdivisions
2626 @subsection Tremolo subdivisions
2627 @cindex tremolo marks
2628 @cindex @code{tremoloFlags}
2630 Tremolo marks can be printed on a single note by adding
2631 `@code{:}[@var{length}]' after the note. The length must be at least
2632 8. A @var{length} value of 8 gives one line across the note stem. If
2633 the length is omitted, the last value (stored in @code{tremoloFlags})
2636 @lilypond[quote,verbatim,fragment]
2637 c'2:8 c':32 | c': c': |
2640 @c [TODO : stok is te kort bij 32en]
2644 Tremolos entered in this way do not carry over into the MIDI output.
2648 In this manual: @ref{Tremolo repeats}.
2650 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2652 @node Measure repeats
2653 @subsection Measure repeats
2655 @cindex percent repeats
2656 @cindex measure repeats
2658 In the @code{percent} style, a note pattern can be repeated. It is
2659 printed once, and then the pattern is replaced with a special sign.
2660 Patterns of a one and two measures are replaced by percent-like signs,
2661 patterns that divide the measure length are replaced by slashes
2663 @lilypond[quote,verbatim,raggedright]
2664 \context Voice { \repeat "percent" 4 { c'4 }
2665 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2671 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2672 @internalsref{PercentRepeatedMusic}, and
2673 @internalsref{DoublePercentRepeat}.
2677 @node Rhythmic music
2678 @section Rhythmic music
2682 * Showing melody rhythms::
2683 * Entering percussion::
2684 * Percussion staves::
2688 @node Showing melody rhythms
2689 @subsection Showing melody rhythms
2691 Sometimes you might want to show only the rhythm of a melody. This
2692 can be done with the rhythmic staff. All pitches of notes on such a
2693 staff are squashed, and the staff itself has a single line
2695 @lilypond[quote,fragment,relative=1,verbatim]
2696 \context RhythmicStaff {
2698 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2704 Program reference: @internalsref{RhythmicStaff}.
2706 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2709 @node Entering percussion
2710 @subsection Entering percussion
2716 Percussion notes may be entered in @code{\drums} mode, which is
2717 similar to @code{notes}. Each piece of percussion has a full name and
2718 an abbreviated name, and both be used in input files
2721 hihat hh bassdrum bd
2723 @lilypond[quote,raggedright]
2724 \new DrumStaff \drums { hihat hh bassdrum bd
2728 The complete list of drum names is in the init file
2729 @file{ly/drumpitch-init.ly}.
2730 @c TODO: properly document this.
2734 Program reference: @internalsref{DrumNoteEvent}.
2736 @node Percussion staves
2737 @subsection Percussion staves
2741 A percussion part for more than one instrument typically uses a
2742 multiline staff where each position in the staff refers to one piece
2746 To typeset the music, the notes must be interpreted in a
2747 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2750 @lilypond[quote,raggedright,verbatim]
2751 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2752 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2755 \new DrumVoice { \voiceOne \up }
2756 \new DrumVoice { \voiceTwo \down }
2761 The above example shows verbose polyphonic notation. The short
2762 polyphonic notation, described in @ref{Polyphony}, can also be used if
2763 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2765 @lilypond[quote,fragment,verbatim]
2766 \drums \new DrumStaff <<
2767 \context DrumVoice = "1" { s1 *2 }
2768 \context DrumVoice = "2" { s1 *2 }
2772 { \repeat unfold 16 hh16 }
2781 There are also other layout possibilities. To use these, set the
2782 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2783 The following variables have been predefined
2787 is the default. It typesets a typical drum kit on a five-line staff
2789 @lilypond[quote,noindent]
2790 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2791 bd sn ss tomh tommh tomml toml tomfh tomfl }
2792 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2793 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2795 << \new DrumStaff\with {
2796 \remove Bar_engraver
2797 \remove Time_signature_engraver
2798 \override Stem #'transparent = ##t
2799 \override Stem #'Y-extent-callback = ##f
2800 minimumVerticalExtent = #'(-4.0 . 5.0)
2802 \context Lyrics \nam
2805 %% need to do this, because of indented @itemize
2807 \context { \ScoreContext
2808 \override LyricText #'font-family = #'typewriter
2809 \override BarNumber #'transparent =##T
2813 The drum scheme supports six different toms. When there fewer toms, simply
2814 select the toms that produce the desired result, i.e. to get toms on
2815 the three middle lines you use @code{tommh}, @code{tomml} and
2818 @item timbales-style
2819 to typeset timbales on a two line staff
2821 @lilypond[quote,raggedright]
2822 nam = \lyrics { timh ssh timl ssl cb }
2823 mus = \drums { timh ssh timl ssl cb s16 }
2826 \context DrumStaff \with {
2827 \remove Bar_engraver
2828 \remove Time_signature_engraver
2829 \override Stem #'transparent = ##t
2830 \override Stem #'Y-extent-callback = ##f
2831 \override StaffSymbol #'line-count = #2
2832 \override StaffSymbol #'staff-space = #2
2833 minimumVerticalExtent = #'(-3.0 . 4.0)
2834 drumStyleTable = #timbales-style
2837 \override LyricText #'font-family = #'typewriter
2844 to typeset congas on a two line staff
2846 @lilypond[quote,raggedright]
2847 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2848 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2851 \context DrumStaff\with {
2852 \remove Bar_engraver
2853 \remove Time_signature_engraver
2854 drumStyleTable = #congas-style
2855 \override StaffSymbol #'line-count = #2
2857 %% this sucks; it will lengthen stems.
2858 \override StaffSymbol #'staff-space = #2
2859 \override Stem #'transparent = ##t
2860 \override Stem #'Y-extent-callback = ##f
2863 \override LyricText #'font-family = #'typewriter
2869 to typeset bongos on a two line staff
2871 @lilypond[quote,raggedright]
2872 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2873 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2876 \context DrumStaff\with {
2877 \remove Bar_engraver
2878 \remove Time_signature_engraver
2879 \override StaffSymbol #'line-count = #2
2880 drumStyleTable = #bongos-style
2882 %% this sucks; it will lengthen stems.
2883 \override StaffSymbol #'staff-space = #2
2884 \override Stem #'transparent = ##t
2885 \override Stem #'Y-extent-callback = ##f
2888 \override LyricText #'font-family = #'typewriter
2894 @item percussion-style
2895 to typeset all kinds of simple percussion on one line staves
2896 @lilypond[quote,raggedright]
2897 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2898 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2901 \context DrumStaff\with{
2902 \remove Bar_engraver
2903 drumStyleTable = #percussion-style
2904 \override StaffSymbol #'line-count = #1
2905 \remove Time_signature_engraver
2906 \override Stem #'transparent = ##t
2907 \override Stem #'Y-extent-callback = ##f
2911 \override LyricText #'font-family = #'typewriter
2918 If you do not like any of the predefined lists you can define your own
2919 list at the top of your file
2921 @lilypond[quote,raggedright,verbatim]
2923 (bassdrum default #f -1)
2924 (snare default #f 0)
2926 (pedalhihat xcircle "stopped" 2)
2927 (lowtom diamond #f 3)))
2928 up = \drums { hh8 hh hh hh hhp4 hhp }
2929 down = \drums { bd4 sn bd toml8 toml }
2932 \set DrumStaff.drumStyleTable
2933 = #(alist->hash-table mydrums)
2934 \new DrumVoice { \voiceOne \up }
2935 \new DrumVoice { \voiceTwo \down }
2943 Init files: @file{ly/drumpitch-init.ly}.
2945 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2949 Because general MIDI does not contain rim shots, the sidestick is used
2950 for this purpose instead.
2953 @section Piano music
2955 Piano staves are two normal staves coupled with a brace. The staves
2956 are largely independent, but sometimes voices can cross between the
2957 two staves. The same notation is also used for harps and other key
2958 instruments. The @internalsref{PianoStaff} is especially built to
2959 handle this cross-staffing behavior. In this section we discuss the
2960 @internalsref{PianoStaff} and some other pianistic peculiarities.
2964 * Automatic staff changes::
2965 * Manual staff switches::
2968 * Staff switch lines::
2973 There is no support for putting chords across staves. You can get
2974 this result by increasing the length of the stem in the lower stave so
2975 it reaches the stem in the upper stave, or vice versa. An example is
2976 included with the distribution as
2977 @inputfileref{input/test,stem-cross-staff.ly}.
2979 Dynamics are not centered, but kludges do exist. See
2980 @inputfileref{input/template,piano-dynamics.ly}.
2982 @cindex cross staff stem
2983 @cindex stem, cross staff
2984 @cindex distance between staves in piano music
2986 The distance between the two staves is normally fixed across the
2987 entire score. It is possible to tune this per system, but it does
2988 require arcane command incantations. See
2989 @inputfileref{input/test,piano-staff-distance.ly}.
2992 @node Automatic staff changes
2993 @subsection Automatic staff changes
2994 @cindex Automatic staff changes
2996 Voices can switch automatically between the top and the bottom
2997 staff. The syntax for this is
2999 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3001 The two staves of the piano staff must be named @code{up} and
3004 The autochanger switches on basis of pitch (middle C is the turning
3005 point), and it looks ahead skipping over rests to switch in
3006 advance. Here is a practical example
3008 @lilypond[quote,verbatim,raggedright]
3009 \score { \notes \context PianoStaff <<
3010 \context Staff = "up" {
3011 \autochange \new Voice \relative c' {
3012 g4 a b c d r4 a g } }
3013 \context Staff = "down" {
3020 In this example, spacer rests are used to prevent the bottom staff from
3021 terminating too soon.
3026 In this manual: @ref{Manual staff switches}.
3028 Program reference: @internalsref{AutoChangeMusic}.
3034 The staff switches often do not end up in optimal places. For high
3035 quality output, staff switches should be specified manually.
3039 @node Manual staff switches
3040 @subsection Manual staff switches
3042 @cindex manual staff switches
3043 @cindex staff switch, manual
3045 Voices can be switched between staves manually, using the following command
3047 \change Staff = @var{staffname} @var{music}
3051 The string @var{staffname} is the name of the staff. It switches the
3052 current voice from its current staff to the Staff called
3053 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3062 Pianos have pedals that alter the way sound are produced. Generally, a
3063 piano has three pedals, sustain, una corda, and sostenuto.
3066 Piano pedal instruction can be expressed by attaching
3067 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3068 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3071 @lilypond[quote,fragment,verbatim]
3072 c'4\sustainDown c'4\sustainUp
3075 What is printed can be modified by setting @code{pedal@var{X}Strings},
3076 where @var{X} is one of the pedal types: @code{Sustain},
3077 @code{Sostenuto} or @code{UnaCorda}. Refer to
3078 @internalsref{SustainPedal} in the program reference for more
3081 Pedals can also be indicated by a sequence of brackets, by setting the
3082 @code{pedalSustainStyle} property to @code{bracket} objects
3084 @lilypond[quote,fragment,verbatim,relative=3]
3085 \set Staff.pedalSustainStyle = #'bracket
3087 b\sustainUp\sustainDown
3088 b g \sustainUp a \sustainDown \bar "|."
3091 A third style of pedal notation is a mixture of text and brackets,
3092 obtained by setting the @code{pedalSustainStyle} style property to
3095 @lilypond[quote,fragment,verbatim,relative=3]
3096 \set Staff.pedalSustainStyle = #'mixed
3098 b\sustainUp\sustainDown
3099 b g \sustainUp a \sustainDown \bar "|."
3102 The default `*Ped.' style for sustain and damper pedals corresponds to
3103 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3106 @lilypond[quote,fragment,verbatim,relative=3]
3107 c\sostenutoDown d e c, f g a\sostenutoUp
3110 For fine-tuning of the appearance of a pedal bracket, the properties
3111 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3112 @code{PianoPedalBracket} objects (see
3113 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3114 bracket may be extended to the end of the note head
3116 @lilypond[quote,fragment,verbatim]
3117 \override Staff.PianoPedalBracket
3118 #'shorten-pair = #'(0 . -1.0)
3119 c\sostenutoDown d e c, f g a\sostenutoUp
3123 @subsection Arpeggio
3126 @cindex broken arpeggio
3127 @cindex @code{\arpeggio}
3129 You can specify an arpeggio sign on a chord by attaching an
3130 @code{\arpeggio} to a chord
3133 @lilypond[quote,fragment,relative=1,verbatim]
3137 When an arpeggio crosses staves, you attach an arpeggio to the chords
3138 in both staves, and set
3139 @internalsref{PianoStaff}.@code{connectArpeggios}
3141 @lilypond[quote,fragment,relative=1,verbatim]
3142 \context PianoStaff <<
3143 \set PianoStaff.connectArpeggios = ##t
3144 \new Staff { <c' e g c>\arpeggio }
3145 \new Staff { \clef bass <c,, e g>\arpeggio }
3149 The direction of the arpeggio is sometimes denoted by adding an
3150 arrowhead to the wiggly line
3152 @lilypond[quote,fragment,relative=1,verbatim]
3161 A square bracket on the left indicates that the player should not
3162 arpeggiate the chord
3164 @lilypond[quote,fragment,relative=1,verbatim]
3171 @cindex @code{\arpeggio}
3173 @cindex @code{\arpeggioUp}
3175 @cindex @code{\arpeggioDown}
3177 @cindex @code{\arpeggioBoth}
3178 @code{\arpeggioBoth},
3179 @cindex @code{\arpeggioBracket}
3180 @code{\arpeggioBracket}.
3184 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3185 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3186 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3190 It is not possible to mix connected arpeggios and unconnected
3191 arpeggios in one @internalsref{PianoStaff} at the same time.
3193 @node Staff switch lines
3194 @subsection Staff switch lines
3197 @cindex follow voice
3198 @cindex staff switching
3201 @cindex @code{followVoice}
3203 Whenever a voice switches to another staff a line connecting the notes
3204 can be printed automatically. This is enabled if the property
3205 @code{PianoStaff.followVoice} is set to true
3207 @lilypond[quote,fragment,relative=1,verbatim]
3208 \context PianoStaff <<
3209 \set PianoStaff.followVoice = ##t
3210 \context Staff \context Voice {
3215 \context Staff=two { \clef bass \skip 1*2 }
3221 The associated object is @internalsref{VoiceFollower}.
3225 @cindex @code{\showStaffSwitch}
3226 @code{\showStaffSwitch},
3227 @cindex @code{\hideStaffSwitch}
3228 @code{\hideStaffSwitch}.
3232 @section Vocal music
3234 This section discusses how to enter and print lyrics.
3238 * The Lyrics context::
3243 @node Entering lyrics
3244 @subsection Entering lyrics
3248 @cindex @code{\lyrics}
3251 Lyrics are entered in a special input mode. This mode is is introduced
3252 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3253 punctuation and accents without any hassle. Syllables are entered like
3254 notes, but with pitches replaced by text. For example,
3256 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3259 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3260 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3261 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3262 any 8-bit character with ASCII code over 127, or a two-character
3263 combination of a backslash followed by one of @code{`}, @code{'},
3264 @code{"}, or @code{^}.
3266 Subsequent characters of a word can be any character that is not a digit
3267 and not white space. One important consequence of this is that a word
3268 can end with @code{@}}. The following example is usually a bug. The
3269 syllable includes a @code{@}}, and hence the opening brace is not balanced
3271 \lyrics @{ twinkle@}
3274 @cindex @code{\property}, in @code{\lyrics}
3275 Similarly, a period following a alphabetic sequence, is included in
3276 the resulting string. As a consequence, spaces must be inserted around
3279 \override Score . LyricText #'font-shape = #'italic
3283 @cindex spaces, in lyrics
3284 @cindex quotes, in lyrics
3286 Any @code{_} character which appears in an unquoted word is converted
3287 to a space. This provides a mechanism for introducing spaces into words
3288 without using quotes. Quoted words can also be used in Lyrics mode to
3289 specify words that cannot be written with the above rules
3292 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3294 However, at least for english texts, you should use
3296 \lyrics @{ He said: ``Let my peo ple go'' @}
3298 to get the correct shape of the starting and ending quote.
3302 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3303 The hyphen will have variable length depending on the space between
3304 the syllables and it will be centered between the syllables.
3309 When a lyric is sung over many notes (this is called a melisma), this is
3310 indicated with a horizontal line centered between a syllable and the
3311 next one. Such a line is called an extender line, and it is entered as
3316 Program reference: events @internalsref{LyricEvent},
3317 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3318 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3319 @internalsref{LyricText}.
3321 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3325 The definition of lyrics mode is too complex.
3329 @node The Lyrics context
3330 @subsection The Lyrics context
3332 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3334 \context Lyrics \lyrics @dots{}
3337 @cindex automatic syllable durations
3338 @cindex @code{\lyricsto}
3339 @cindex lyrics and melodies
3341 This will place the lyrics according to the durations that were
3342 entered. The lyrics can also be aligned under a given melody
3343 automatically. In this case, it is no longer necessary to enter the
3344 correct duration for each syllable. This is achieved by combining the
3345 melody and the lyrics with the @code{\lyricsto} expression
3347 \lyricsto @var{name} \new Lyrics @dots{}
3350 This aligns the lyrics to the
3352 notes of the @internalsref{Voice} context called @var{name}, which has
3353 to exist. Therefore, normally the @code{Voice} is specified first, and
3354 then the lyrics are specified with @code{\lyricsto}.
3356 For different or more complex orderings, the best way is to setup the
3357 hierarchy of staves and lyrics first, e.g.
3359 \context ChoirStaff \notes <<
3360 \context Lyrics = sopranoLyrics @{ s1 @}
3361 \context Voice = soprano @{ @emph{music} @}
3362 \context Lyrics = tenorLyrics @{ s1 @}
3363 \context Voice = tenor @{ @emph{music} @}
3366 and then combine the appropriate melodies and lyric lines
3368 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3373 The final input would resemble
3376 << \context ChoirStaff \notes << @emph{setup the music} >>
3377 \lyricsto "soprano" @emph{etc}
3378 \lyricsto "alto" @emph{etc}
3384 The @code{\lyricsto} command detects melismata: it only puts one
3385 syllable under a tied or slurred group of notes. If you want to force
3386 an unslurred group of notes to be a melisma, insert @code{\melisma}
3387 after the first note of the group, and @code{\melismaEnd} after the
3390 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3392 \context Voice = "lala" {
3400 \lyricsto "lala" \new Lyrics \lyrics {
3406 In addition, notes are considered a melisma if they are manually
3407 beamed, and automatic beaming (see @ref{Setting automatic beam
3408 behavior}) is switched off. The criteria for deciding melismata can
3409 be tuned with the property @code{melismaBusyProperties}. See
3410 @internalsref{Melisma_translator} in the program reference for more
3413 When multiple stanzas are put on the same melody, it can happen that
3414 two stanzas have melismata in different locations. This can be
3415 remedied by switching off melismata for one
3416 @internalsref{Lyrics}. This is achieved by setting
3417 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3418 in @inputfileref{input/regression,lyric-combine-new.ly}.
3421 @cindex choral score
3423 A complete example of a SATB score setup is in the file
3424 @inputfileref{input/template,satb.ly}.
3429 @code{\melisma}, @code{\melismaEnd}
3430 @cindex @code{\melismaEnd}
3431 @cindex @code{\melisma}
3435 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3436 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3438 Examples: @inputfileref{input/template,satb.ly},
3439 @inputfileref{input/regression,lyric-combine-new.ly}.
3443 Melismata are not detected automatically, and extender lines must be
3447 For proper processing of extender lines, the
3448 @internalsref{Lyrics} and @internalsref{Voice} should be
3449 linked. This can be achieved either by using @code{\lyricsto} or by
3450 setting corresponding names for both contexts. The latter is explained
3451 in @ref{More stanzas}.
3454 @subsection More stanzas
3456 @cindex phrasing, in lyrics
3459 The lyrics should be aligned with the note heads of the melody. To
3460 achieve this, each line of lyrics should be marked to correspond with
3461 the melodic line. This is done automatically when @code{\lyricsto},
3462 but it can also be done manually.
3464 To this end, give the @internalsref{Voice} context an identity
3466 \context Voice = duet @{
3471 Then set the @internalsref{Lyrics} contexts to names starting with
3472 that identity followed by a dash. In the preceding example, the
3473 @internalsref{Voice} identity is @code{duet}, so the identities of the
3474 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3476 \context Lyrics = "duet-1" @{
3477 Hi, my name is Bert. @}
3478 \context Lyrics = "duet-2" @{
3479 Ooooo, ch\'e -- ri, je t'aime. @}
3482 The complete example is shown here
3483 @lilypond[quote,raggedright,verbatim]
3486 \notes \relative c'' \context Voice = duet {
3490 \lyricsto "duet" \new Lyrics {
3491 \set vocalName = "Bert"
3492 Hi, my name is Bert. }
3493 \lyricsto "duet" \new Lyrics {
3494 \set vocalName = "Ernie"
3495 Ooooo, ch\'e -- ri, je t'aime. }
3501 @cindex stanza number
3502 @cindex singer's names
3503 @cindex name of singer
3505 Stanza numbers can be added by setting @code{stanza}, e.g.
3507 @lilypond[quote,verbatim,relative=3]
3509 \context Voice = duet {
3510 \time 3/4 g2 e4 a2 f4 g2. }
3511 \lyrics \lyricsto "duet" \new Lyrics {
3513 Hi, my name is Bert. }
3517 This example also demonstrates how names of the singers can be added
3518 using @code{vocalName} analogous to instrument annotations for staves.
3519 A short version may be entered as @code{vocNam}.
3521 To make empty spaces in lyrics, use @code{\skip}.
3526 Program reference: Layout objects @internalsref{LyricText} and
3527 @internalsref{VocalName}. Music expressions
3528 @internalsref{LyricEvent}.
3534 Input for lyrics introduces a syntactical ambiguity
3541 is interpreted as assigning a string identifier @code{\foo} such that
3542 it contains @code{"bar"}. However, it could also be interpreted as
3543 making or a music identifier @code{\foo} containing the syllable
3544 `bar'. The force the latter interpretation, use
3554 The term @emph{ambitus} denotes a range of pitches for a given voice
3555 in a part of music. It also may denote the pitch range that a musical
3556 instrument is capable of playing. Ambituses are printed on vocal
3557 parts, so singers can easily determine if it meets his or her
3560 It denoted at the beginning of a piece near the initial clef. The
3561 range is graphically specified by two note heads, that represent the
3562 minimum and maximum pitch. To print such ambituses, add the
3563 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3570 \consists Ambitus_engraver
3575 This results in the following output
3577 @lilypond[quote,raggedright]
3580 \notes \relative c' <<
3591 \consists Ambitus_engraver
3597 If you have multiple voices in a single staff, and you want a single
3598 ambitus per staff rather than per each voice, add the
3599 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3600 rather than to the @internalsref{Voice} context.
3602 It is possible to tune individual ambituses for multiple voices on a
3603 single staff, for example by erasing or shifting them horizontally. An
3604 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3608 Program reference: @internalsref{Ambitus}.
3610 Examples: @inputfileref{input/regression,ambitus.ly},
3611 @inputfileref{input/test,ambitus-mixed.ly}.
3615 There is no collision handling in the case of multiple per-voice
3621 Tablature notation is used for notating music for plucked string
3622 instruments. It notates pitches not by using note heads, but by
3623 indicating on which string and fret a note must be played. LilyPond
3624 offers limited support for tablature.
3627 * Tablatures basic::
3628 * Non-guitar tablatures::
3631 @node Tablatures basic
3632 @subsection Tablatures basic
3633 @cindex Tablatures basic
3635 The string number associated to a note is given as a backslash
3636 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3637 string. By default, string 1 is the highest one, and the tuning
3638 defaults to the standard guitar tuning (with 6 strings). The notes
3639 are printed as tablature, by using @internalsref{TabStaff} and
3640 @internalsref{TabVoice} contexts
3642 @lilypond[quote,fragment,verbatim]
3643 \notes \context TabStaff {
3651 When no string is specified, the first string that does not give a
3652 fret number less than @code{minimumFret} is selected. The default
3653 value for @code{minimumFret} is 0
3658 \set TabStaff.minimumFret = #8
3661 @lilypond[quote,noindent,raggedright]
3665 \set TabStaff.minimumFret = #8
3669 \context StaffGroup <<
3670 \context Staff { \clef "G_8" \frag }
3671 \context TabStaff { \frag }
3678 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3679 @internalsref{StringNumberEvent}.
3683 Chords are not handled in a special way, and hence the automatic
3684 string selector may easily select the same string to two notes in a
3688 @node Non-guitar tablatures
3689 @subsection Non-guitar tablatures
3690 @cindex Non-guitar tablatures
3692 You can change the number of strings, by setting the number of lines
3693 in the @internalsref{TabStaff}.
3695 You can change the tuning of the strings. A string tuning is given as
3696 a Scheme list with one integer number for each string, the number
3697 being the pitch (measured in semitones relative to middle C) of an
3698 open string. The numbers specified for @code{stringTuning} are the
3699 numbers of semitones to subtract or add, starting the specified pitch
3700 by default middle C, in string order. Thus, the notes are e, a, d, and
3703 @lilypond[quote,fragment,verbatim]
3704 \context TabStaff <<
3705 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3708 a,4 c' a e' e c' a e'
3715 No guitar special effects have been implemented.
3719 Program reference: @internalsref{Tab_note_heads_engraver}.
3723 @section Chord names
3726 LilyPond has support for both printing chord names. Chords may be
3727 entered in musical chord notation, i.e. @code{< .. >}, but they can
3728 also be entered by name. Internally, the chords are represented as a
3729 set of pitches, so they can be transposed
3732 @lilypond[quote,verbatim,raggedright]
3733 twoWays = \notes \transpose c c' {
3743 << \context ChordNames \twoWays
3744 \context Voice \twoWays >> }
3747 This example also shows that the chord printing routines do not try to
3748 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3754 * Printing chord names::
3759 @subsection Chords mode
3762 Chord mode is a mode where you can input sets of pitches using common
3763 names. It is introduced by the keyword @code{\chords}.
3764 In chords mode, a chord is entered by the root, which is entered
3766 @lilypond[quote,fragment,verbatim,relative=2]
3767 \chords { es4. d8 c2 }
3772 Other chords may be entered by suffixing a colon, and introducing a
3773 modifier, and optionally, a number
3775 @lilypond[quote,fragment,verbatim]
3776 \chords { e1:m e1:7 e1:m7 }
3778 The first number following the root is taken to be the `type' of the
3779 chord, thirds are added to the root until it reaches the specified
3781 @lilypond[quote,fragment,verbatim]
3782 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3785 @cindex root of chord
3786 @cindex additions, in chords
3787 @cindex removals, in chords
3789 More complex chords may also be constructed adding separate steps
3790 to a chord. Additions are added after the number following
3791 the colon, and are separated by dots
3793 @lilypond[quote,verbatim,fragment]
3794 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3796 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3798 @lilypond[quote,verbatim,fragment]
3799 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3801 Removals are specified similarly, and are introduced by a caret. They
3802 must come after the additions
3803 @lilypond[quote,verbatim,fragment]
3804 \chords { c^3 c:7^5 c:9^3.5 }
3807 Modifiers can be used to change pitches. The following modifiers are
3811 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3813 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3816 is the augmented chord. This modifier raises the 5th step.
3818 is the major 7th chord. This modifier raises the 7th step if present.
3820 is the suspended 4th or 2nd. This modifier removes the 3rd
3821 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3824 Modifiers can be mixed with additions
3825 @lilypond[quote,verbatim,fragment]
3826 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3829 @cindex modifiers, in chords.
3836 Since an unaltered 11 does not sound good when combined with an
3837 unaltered 13, the 11 is removed in this case (unless it is added
3840 @lilypond[quote,fragment,verbatim]
3841 \chords { c:13 c:13.11 c:m13 }
3846 An inversion (putting one pitch of the chord on the bottom), as well
3847 as bass notes, can be specified by appending
3848 @code{/}@var{pitch} to the chord
3849 @lilypond[quote,fragment,verbatim]
3850 \chords { c1 c/g c/f }
3854 A bass note can be added instead of transposed out of the chord,
3855 by using @code{/+}@var{pitch}.
3857 @lilypond[quote,fragment,verbatim]
3858 \chords { c1 c/+g c/+f }
3861 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3862 of the commands continue to work, for example, @code{r} and
3863 @code{\skip} can be used to insert rests and spaces, and property
3864 commands may be used to change various settings.
3870 Each step can only be present in a chord once. The following
3871 simply produces the augmented chord, since @code{5+} is interpreted
3874 @lilypond[quote,verbatim,fragment]
3875 \chords { c:5.5-.5+ }
3879 @node Printing chord names
3880 @subsection Printing chord names
3882 @cindex printing chord names
3886 For displaying printed chord names, use the @internalsref{ChordNames} context.
3887 The chords may be entered either using the notation
3888 described above, or directly using @code{<} and @code{>}
3890 @lilypond[quote,verbatim,raggedright]
3892 \chords {a1 b c} <d' f' a'> <e' g' b'>
3896 \context ChordNames \scheme
3897 \context Staff \scheme
3902 You can make the chord changes stand out by setting
3903 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3904 display chord names when there is a change in the chords scheme and at
3905 the start of a new line
3907 @lilypond[quote,verbatim,linewidth=9\cm]
3909 c1:m c:m \break c:m c:m d
3913 \context ChordNames {
3914 \set chordChanges = ##t
3916 \context Staff \transpose c c' \scheme
3921 The default chord name layout is a system for Jazz music, proposed by
3922 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3923 following properties
3926 @cindex chordNameExceptions
3927 @item chordNameExceptions
3928 This is a list that contains the chords that have special formatting.
3930 @inputfileref{input/regression,chord-name-exceptions.ly}.
3931 @cindex exceptions, chord names.
3934 @cindex majorSevenSymbol
3935 @item majorSevenSymbol
3936 This property contains the markup object used for the 7th step, when
3937 it is major. Predefined options are @code{whiteTriangleMarkup} and
3938 @code{blackTriangleMarkup}. See
3939 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3941 @cindex chordNameSeparator
3942 @item chordNameSeparator
3943 Different parts of a chord name are normally separated by a
3944 slash. By setting @code{chordNameSeparator}, you can specify other
3946 @lilypond[quote,fragment,verbatim]
3947 \context ChordNames \chords {
3949 \set chordNameSeparator
3950 = \markup { \typewriter "|" }
3955 @cindex chordRootNamer
3956 @item chordRootNamer
3957 The root of a chord is usually printed as a letter with an optional
3958 alteration. The transformation from pitch to letter is done by this
3959 function. Special note names (for example, the German ``H'' for a
3960 B-chord) can be produced by storing a new function in this property.
3962 The predefined variables @code{\germanChords},
3963 @code{\semiGermanChords} set these variables.
3966 @cindex chordNoteNamer
3967 @item chordNoteNamer
3968 The default is to print single pitch, e.g. the bass note, using the
3969 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3970 to a specialized function to change this behavior. For example, the
3971 base can be printed in lower case.
3976 There are also two other chord name schemes implemented: an alternate
3977 Jazz chord notation, and a systematic scheme called Banter chords. The
3978 alternate jazz notation is also shown on the chart in @ref{Chord name
3979 chart}. Turning on these styles is described in the input file
3980 @inputfileref{input/test,chord-names-jazz.ly}.
3984 @cindex chords, jazz
3989 @cindex @code{\germanChords}
3990 @code{\germanChords},
3991 @cindex @code{\semiGermanChords}
3992 @code{\semiGermanChords}.
3999 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4000 @inputfileref{input/regression,chord-name-exceptions.ly},
4001 @inputfileref{input/test,chord-names-jazz.ly},
4002 @inputfileref{input/test,chord-names-german.ly}.
4004 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4009 Chord names are determined solely from the list of pitches. Chord
4010 inversions are not identified, and neither are added bass notes. This
4011 may result in strange chord names when chords are entered with the
4012 @code{< .. >} syntax.
4017 @node Orchestral music
4018 @section Orchestral music
4020 @cindex Writing parts
4022 Orchestral music involves some special notation, both in the full
4023 score and the individual parts. This section explains how to tackle
4024 some common problems in orchestral music.
4029 * Multiple staff contexts::
4032 * Instrument names::
4034 * Instrument transpositions::
4035 * Multi measure rests::
4036 * Automatic part combining::
4038 * Different editions from one source::
4039 * Quoting other voices::
4042 @node Multiple staff contexts
4043 @subsection Multiple staff contexts
4045 Polyphonic scores consist of many staves. These staves can be
4046 constructed in three different ways
4048 @item The group is started with a brace at the left, and bar lines are
4049 connected. This is done with the @internalsref{GrandStaff} context.
4051 @item The group is started with a bracket, and bar lines are connected. This is done with the
4052 @internalsref{StaffGroup} context
4055 @item The group is started with a vertical line. Bar lines are not
4056 connected. This is the default for the score.
4060 @cindex Staff, multiple
4061 @cindex bracket, vertical
4062 @cindex brace, vertical
4069 @node Rehearsal marks
4070 @subsection Rehearsal marks
4071 @cindex Rehearsal marks
4073 @cindex @code{\mark}
4075 To print a rehearsal mark, use the @code{\mark} command
4076 @lilypond[quote,fragment,verbatim]
4087 (The letter I is skipped in accordance with engraving traditions.)
4089 The mark is incremented automatically if you use @code{\mark
4090 \default}, but you can also use an integer argument to set the mark
4091 manually. The value to use is stored in the property
4092 @code{rehearsalMark}.
4094 The style is defined by the property @code{markFormatter}. It is a
4095 function taking the current mark (an integer) and the current context
4096 as argument. It should return a markup object. In the following
4097 example, @code{markFormatter} is set to a canned procedure. After a
4098 few measures, it is set to function that produces a boxed number.
4100 @lilypond[quote,verbatim,fragment,relative=2]
4101 \set Score.markFormatter = #format-mark-numbers
4104 \set Score.markFormatter
4105 = #(lambda (mark context)
4106 (make-bold-markup (make-box-markup (number->string mark))))
4111 The file @file{scm/translation-functions.scm} contains the definitions
4112 of @code{format-mark-numbers} (the default format) and
4113 @code{format-mark-letters}. They can be used as inspiration for other
4114 formatting functions.
4117 @cindex coda on bar line
4118 @cindex segno on bar line
4119 @cindex fermata on bar line
4120 @cindex bar lines, symbols on
4122 The @code{\mark} command can also be used to put signs like coda,
4123 segno and fermatas on a bar line. Use @code{\markup} to
4124 to access the appropriate symbol
4126 @lilypond[quote,fragment,verbatim,relative=2]
4127 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4131 In the case of a line break, marks must also be printed at the end of
4132 the line, and not at the beginning. Use the following to force that
4135 \override Score.RehearsalMark
4136 #'break-visibility = #begin-of-line-invisible
4142 @cindex bar lines, putting symbols on
4146 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4148 Init files: @file{scm/translation-functions.scm} contains the
4149 definition of @code{format-mark-numbers} and
4150 @code{format-mark-letters}. They can be used as inspiration for other
4151 formatting functions.
4153 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4154 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4158 @subsection Bar numbers
4162 @cindex measure numbers
4163 @cindex currentBarNumber
4165 Bar numbers are printed by default at the start of the line. The
4166 number itself is stored in the
4167 @code{currentBarNumber} property,
4168 which is normally updated automatically for every measure.
4170 Bar numbers can be typeset at regular intervals instead of at the
4171 beginning of each line. This is illustrated in the following example,
4172 whose source is available as
4173 @inputfileref{input/test,bar-number-regular-interval.ly}
4175 @lilypondfile[quote]{bar-number-regular-interval.ly}
4179 Program reference: @internalsref{BarNumber}.
4181 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4182 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4186 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4187 there is one at the top. To solve this, the
4188 @code{padding} property of @internalsref{BarNumber} can be
4189 used to position the number correctly.
4191 @node Instrument names
4192 @subsection Instrument names
4194 In an orchestral score, instrument names are printed left side of the
4197 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4198 and @internalsref{Staff}.@code{instr}. This will print a string before
4199 the start of the staff. For the first start, @code{instrument} is
4200 used, for the next ones @code{instr} is used.
4202 @lilypond[quote,verbatim,raggedright,relative=3]
4203 \set Staff.instrument = "Ploink "
4204 \set Staff.instr = "Plk "
4210 You can also use markup texts to construct more complicated instrument
4213 @lilypond[quote,fragment,verbatim,raggedright]
4215 \set Staff.instrument = \markup {
4216 \column < "Clarinetti" { "in B"
4217 \smaller \flat } > }
4224 Program reference: @internalsref{InstrumentName}.
4228 When you put a name on a grand staff or piano staff the width of the
4229 brace is not taken into account. You must add extra spaces to the end of
4230 the name to avoid a collision.
4233 @subsection Transpose
4235 @cindex transposition of pitches
4236 @cindex @code{\transpose}
4238 A music expression can be transposed with @code{\transpose}. The syntax
4241 \transpose @var{from} @var{to} @var{musicexpr}
4244 This means that @var{musicexpr} is transposed by the interval between
4245 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4246 is changed to @code{to}.
4249 For example, consider a piece written in the key of D major. If
4250 this piece is a little too low for its performer, it can be
4251 transposed up to E major with
4253 \transpose d e @dots{}
4256 Consider a part written for violin (a C instrument). If
4257 this part is to be played on the A clarinet, the following
4258 transposition will produce the appropriate part
4261 \transpose a c @dots{}
4264 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4265 inside a @code{\notes} section. @code{\transpose} distinguishes
4266 between enharmonic pitches: both @code{\transpose c cis} or
4267 @code{\transpose c des} will transpose up half a tone. The first
4268 version will print sharps and the second version will print flats
4270 @lilypond[quote,raggedright,verbatim]
4271 mus =\notes { \key d \major cis d fis g }
4272 \score { \notes \context Staff {
4275 \transpose c g' \mus
4276 \transpose c f' \mus
4283 Program reference: @internalsref{TransposedMusic}, and
4284 @internalsref{UntransposableMusic}.
4288 If you want to use both @code{\transpose} and @code{\relative},
4289 you must put @code{\transpose} outside of @code{\relative}, since
4290 @code{\relative} will have no effect music that appears inside a
4293 @node Instrument transpositions
4294 @subsection Instrument transpositions
4296 The key of a transposing instrument can also be specified. This
4297 applies to many wind instruments, for example, clarinets (B-flat, A and
4298 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4301 The transposition is entered after the keyword @code{\transposition}
4304 \transposition bes %% B-flat clarinet
4307 This command sets the property @code{instrumentTuning}. The value of
4308 this property is used for MIDI output and quotations. It does not
4309 affect how notes are printed in the current staff.
4311 @cindex transposition, MIDI
4312 @cindex transposition, instrument
4315 @node Multi measure rests
4316 @subsection Multi measure rests
4317 @cindex multi measure rests
4318 @cindex Rests, multi measure
4322 Multi measure rests are entered using `@code{R}'. It is specifically
4323 meant for full bar rests and for entering parts: the rest can expand
4324 to fill a score with rests, or it can be printed as a single
4325 multimeasure rest. This expansion is controlled by the property
4326 @code{Score.skipBars}. If this is set to true, empty measures will not
4327 be expanded, and the appropriate number is added automatically
4329 @lilypond[quote,fragment,verbatim]
4330 \time 4/4 r1 | R1 | R1*2
4331 \set Score.skipBars = ##t R1*17 R1*4
4334 The @code{1} in @code{R1} is similar to the duration notation used for
4335 notes. Hence, for time signatures other than 4/4, you must enter other
4336 durations. This can be done with augmentation dots or fractions
4338 @lilypond[quote,fragment,verbatim]
4339 \set Score.skipBars = ##t
4347 An @code{R} spanning a single measure is printed as either a whole rest
4348 or a breve, centered in the measure regardless of the time signature.
4350 @cindex text on multi-measure rest
4351 @cindex script on multi-measure rest
4352 @cindex fermata on multi-measure rest
4354 Texts can be added to multi-measure rests by using the
4355 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4356 replaced. If you need both texts and the number, you must add the
4357 number by hand. A variable (@code{\fermataMarkup}) is provided for
4361 @lilypond[quote,verbatim,fragment]
4363 R2._\markup { "Ad lib" }
4367 If you want to have a text on the left end of a multi-measure rest,
4368 attach the text to a zero-length skip note, i.e.
4376 @cindex whole rests for a full measure
4380 Program reference: @internalsref{MultiMeasureRestEvent},
4381 @internalsref{MultiMeasureTextEvent},
4382 @internalsref{MultiMeasureRestMusicGroup}, and
4383 @internalsref{MultiMeasureRest}.
4385 The layout object @internalsref{MultiMeasureRestNumber} is for the
4386 default number, and @internalsref{MultiMeasureRestText} for user
4391 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4392 over multi-measure rests.
4394 @cindex condensing rests
4396 There is no way to automatically condense multiple rests into a single
4397 multimeasure rest. Multi measure rests do not take part in rest
4400 Be careful when entering multimeasure rests followed by whole
4401 notes. The following will enter two notes lasting four measures each
4405 When @code{skipBars} is set, the result will look OK, but the bar
4406 numbering will be off.
4408 @node Automatic part combining
4409 @subsection Automatic part combining
4410 @cindex automatic part combining
4411 @cindex part combiner
4414 Automatic part combining is used to merge two parts of music onto a
4415 staff. It is aimed at typesetting orchestral scores. When the two
4416 parts are identical for a period of time, only one is shown. In
4417 places where the two parts differ, they are typeset as separate
4418 voices, and stem directions are set automatically. Also, solo and
4419 @emph{a due} parts are identified and can be marked.
4422 The syntax for part combining is
4425 \partcombine @var{musicexpr1} @var{musicexpr2}
4428 The music expressions will be interpreted as @internalsref{Voice} contexts.
4430 The following example demonstrates the basic functionality of the part
4431 combiner: putting parts on one staff, and setting stem directions and
4434 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4435 \new Staff \partcombine
4436 { g g a( b) c c r r }
4437 { g g r4 r e e g g }
4440 The first @code{g} appears only once, although it was
4441 specified twice (once in each part). Stem, slur and tie directions are
4442 set automatically, depending whether there is a solo or unisono. The
4443 first part (with context called @code{one}) always gets up stems, and
4444 `solo', while the second (called @code{two}) always gets down stems and
4447 If you just want the merging parts, and not the textual markings, you
4448 may set the property @var{soloADue} to false
4450 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4452 \set Staff.soloADue = ##f
4461 Program reference: @internalsref{PartCombineMusic},
4462 @internalsref{SoloOneEvent}, and
4463 @internalsref{SoloTwoEvent}, and
4464 @internalsref{UnisonoEvent}.
4468 In @code{soloADue} mode, when the two voices play the same notes on and
4469 off, the part combiner may typeset @code{a2} more than once in a
4472 @code{\partcombine} can not be inside @code{\times}.
4474 Internally, the @code{\partcombine} interprets both arguments as
4475 @code{Voice}s named @code{one} and @code{two}, and then decides when
4476 the parts can be combined. Consequently, if the arguments switch to
4477 differently named @internalsref{Voice} contexts, the events in those
4481 @subsection Hiding staves
4483 @cindex Frenched scores
4484 @cindex Hiding staves
4486 In orchestral scores, staff lines that only have rests are usually
4487 removed. This saves some space. This style is called `French Score'.
4488 For @internalsref{Lyrics},
4489 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4490 switched on by default. When these line of these contexts turn out
4491 empty after the line-breaking process, they are removed.
4493 For normal staves, a specialized @internalsref{Staff} context is
4494 available, which does the same: staves containing nothing (or only
4495 multi measure rests) are removed. The context definition is stored in
4496 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4497 in this example disappears in the second line
4500 @lilypond[quote,verbatim]
4502 \notes \relative c' <<
4503 \new Staff { e4 f g a \break c1 }
4504 \new Staff { c4 d e f \break R1 }
4508 \context { \RemoveEmptyStaffContext }
4513 The first page shows all staves in full. If empty staves should be
4514 removed from the first page too, set @code{remove-first} to false in
4515 @internalsref{RemoveEmptyVerticalGroup}.
4517 Another application is making ossia sections, i.e. alternative
4518 melodies on a separate piece of staff, with help of a Frenched
4519 staff. See @inputfileref{input/test,ossia.ly} for an example.
4522 @node Different editions from one source
4523 @subsection Different editions from one source
4525 The @code{\tag} command marks music expressions with a name. These
4526 tagged expressions can be filtered out later. With this mechanism it
4527 is possible to make different versions of the same music source.
4529 In the following example, we see two versions of a piece of music, one
4530 for the full score, and one with cue notes for the instrumental part
4546 The same can be applied to articulations, texts, etc.: they are
4549 -\tag #@var{your-tag}
4551 to an articulation, for example,
4556 This defines a note with a conditional fingering indication.
4558 By applying the @code{remove-tag} function, tagged expressions can be
4559 filtered. For example,
4563 \apply #(remove-tag 'score) @var{the music}
4564 \apply #(remove-tag 'part) @var{the music}
4569 @lilypondfile[quote]{tag-filter.ly}
4571 The argument of the @code{\tag} command should be a symbol, or a list
4572 of symbols, for example,
4574 \tag #'(original-part transposed-part) @dots{}
4579 Examples: @inputfileref{input/regression,tag-filter.ly}.
4582 @node Quoting other voices
4583 @subsection Quoting other voices
4585 With quotations, fragments of other parts can be inserted into a part
4586 directly. Before a part can be quoted, it must be marked especially as
4587 quotable. This is done with code @code{\addquote} command. The
4588 quotation may then be done with @code{\quote}
4591 \addquote @var{name} @var{music}
4592 \quote @var{name} @var{duration}
4597 Here, @var{name} is an identifying string. The @var{music} is any kind
4598 of music. This is an example of @code{\addquote}
4601 \addquote clarinet \notes\relative c' {
4606 During a part, a piece of music can be quoted with the @code{\quote}
4613 This would cite 3 quarter notes (a dotted half note) of the previously
4614 added clarinet voice.
4616 Quotations take into account the transposition both source and target
4617 instruments, if they are specified using the @code{\transposition} command.
4619 @lilypond[quote,raggedright,verbatim]
4620 \addquote clarinet \notes\relative c' {
4626 e'8 f'8 \quote clarinet 2
4632 Only the contents of the first @internalsref{Voice} occurring in an
4633 @code{\addquote} command will be considered for quotation, so
4634 @var{music} can not contain @code{\new} and @code{\context Voice}
4635 statements that would switch to a different Voice.
4640 In this manual: @ref{Instrument transpositions}.
4642 Examples: @inputfileref{input/regression,quote.ly}
4643 @inputfileref{input/regression,quote-transposition.ly}
4645 Program reference: @internalsref{QuoteMusic}.
4647 @node Ancient notation
4648 @section Ancient notation
4650 @cindex Vaticana, Editio
4651 @cindex Medicaea, Editio
4656 Support for ancient notation includes features for mensural notation
4657 and Gregorian Chant notation. There is also limited support for
4658 figured bass notation.
4660 Many graphical objects provide a @code{style} property, see
4661 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4662 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4663 signatures}. By manipulating such a grob property, the typographical
4664 appearance of the affected graphical objects can be accommodated for a
4665 specific notation flavor without need for introducing any new
4668 Other aspects of ancient notation can not that easily be expressed as
4669 in terms of just changing a style property of a graphical object.
4670 Therefore, some notational concepts are introduced specifically for
4671 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4672 @ref{Ligatures}, and @ref{Figured bass}.
4676 * Ancient note heads::
4677 * Ancient accidentals::
4681 * Ancient time signatures::
4686 * Vaticana style contexts::
4689 If this all is way too much of documentation for you, and you just
4690 want to dive into typesetting without worrying too much about the
4691 details on how to customize a context, you may have a look at the
4692 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4693 set up predefined style-specific voice and staff contexts, and
4694 directly go ahead with the note entry.
4698 Ligatures need special spacing that has not yet been implemented. As
4699 a result, there is too much space between ligatures most of the time,
4700 and line breaking often is unsatisfactory. Also, lyrics do not
4701 correctly align with ligatures.
4703 Accidentals must not be printed within a ligature, but instead need to
4704 be collected and printed in front of it.
4706 Augmentum dots within ligatures are not handled correctly.
4709 @node Ancient note heads
4710 @subsection Ancient note heads
4715 For ancient notation, a note head style other than the @code{default}
4716 style may be chosen. This is accomplished by setting the @code{style}
4717 property of the NoteHead object to the desired value (@code{baroque},
4718 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4719 differs from the @code{default} style only in using a square shape for
4720 @code{\breve} note heads. The @code{neo_mensural} style differs from
4721 the @code{baroque} style in that it uses rhomboidal heads for whole
4722 notes and all smaller durations. Stems are centered on the note
4723 heads. This style is in particular useful when transcribing mensural
4724 music, e.g. for the incipit. The @code{mensural} style finally
4725 produces note heads that mimic the look of note heads in historic
4726 printings of the 16th century.
4728 The following example demonstrates the @code{neo_mensural} style
4730 @lilypond[quote,fragment,raggedright,verbatim]
4731 \override NoteHead #'style = #'neo_mensural
4732 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4735 When typesetting a piece in Gregorian Chant notation, a Gregorian
4736 ligature engraver will automatically select the proper note heads,
4737 such there is no need to explicitly set the note head style. Still,
4738 the note head style can be set e.g. to @code{vaticana_punctum} to
4739 produce punctum neumes. Similarly, a mensural ligature engraver is
4740 used to automatically assemble mensural ligatures. See
4741 @ref{Ligatures} for how ligature engravers work.
4746 @ref{Percussion staves} use note head styles of their own that are
4747 frequently used in contemporary music notation.
4749 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4750 overview over all available note head styles.
4753 @node Ancient accidentals
4754 @subsection Ancient accidentals
4759 Use the @code{style} property of grob @internalsref{Accidental} to
4760 select ancient accidentals. Supported styles are
4761 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4763 @lilypond[quote,raggedright,staffsize=26]
4771 { " " \musicglyph #"accidentals-vaticana-1"
4772 " " \musicglyph #"accidentals-vaticana0" }
4776 { " " \musicglyph #"accidentals-medicaea-1" }
4780 { " " \musicglyph #"accidentals-hufnagel-1" }
4784 { " " \musicglyph #"accidentals-mensural-1"
4785 " " \musicglyph #"accidentals-mensural1" }
4794 \remove "Bar_number_engraver"
4798 \remove "Clef_engraver"
4799 \remove "Key_engraver"
4800 \remove "Time_signature_engraver"
4801 \remove "Staff_symbol_engraver"
4802 minimumVerticalExtent = ##f
4808 As shown, not all accidentals are supported by each style. When
4809 trying to access an unsupported accidental, LilyPond will switch to a
4810 different style, as demonstrated in
4811 @inputfileref{input/test,ancient-accidentals.ly}.
4813 Similarly to local accidentals, the style of the key signature can be
4814 controlled by the @code{style} property of the
4815 @internalsref{KeySignature} grob.
4819 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4820 @ref{Accidentals} give a general introduction into the use of
4821 accidentals. @ref{Key signature} gives a general introduction into
4822 the use of key signatures.
4824 Program reference: @internalsref{KeySignature}.
4826 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4829 @subsection Ancient rests
4834 Use the @code{style} property of grob @internalsref{Rest} to select
4835 ancient accidentals. Supported styles are @code{classical},
4836 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4837 from the @code{default} style only in that the quarter rest looks like
4838 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4839 well for e.g. the incipit of a transcribed mensural piece of music.
4840 The @code{mensural} style finally mimics the appearance of rests as
4841 in historic prints of the 16th century.
4843 The following example demonstrates the @code{neo_mensural} style
4845 @lilypond[quote,fragment,raggedright,verbatim]
4846 \override Rest #'style = #'neo_mensural
4847 r\longa r\breve r1 r2 r4 r8 r16
4850 There are no 32th and 64th rests specifically for the mensural or
4851 neo-mensural style. Instead, the rests from the default style will be
4852 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4855 There are no rests in Gregorian Chant notation; instead, it uses
4860 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4864 @subsection Ancient clefs
4869 LilyPond supports a variety of clefs, many of them ancient.
4871 The following table shows all ancient clefs that are supported via the
4872 @code{\clef} command. Some of the clefs use the same glyph, but
4873 differ only with respect to the line they are printed on. In such
4874 cases, a trailing number in the name is used to enumerate these clefs.
4875 Still, you can manually force a clef glyph to be typeset on an
4876 arbitrary line, as described in @ref{Clef}. The note printed to the
4877 right side of each clef in the example column denotes the @code{c'}
4878 with respect to that clef.
4880 @multitable @columnfractions .3 .3 .3 .1
4884 @b{Description} @tab
4885 @b{Supported Clefs} @tab
4889 @code{clefs-neo_mensural_c} @tab
4890 modern style mensural C clef @tab
4891 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4892 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4893 @lilypond[quote,relative=1,notime]
4894 \override Staff.TimeSignature #'transparent = ##t
4895 \clef "neo_mensural_c2" c
4899 @code{clefs-petrucci_c1}
4900 @code{clefs-petrucci_c2}
4901 @code{clefs-petrucci_c3}
4902 @code{clefs-petrucci_c4}
4903 @code{clefs-petrucci_c5}
4906 petrucci style mensural C clefs, for use on different staff lines
4907 (the examples shows the 2nd staff line C clef).
4917 @lilypond[quote,relative=1,notime]
4918 \override Staff.TimeSignature #'transparent = ##t
4919 \clef "petrucci_c2" c
4923 @code{clefs-petrucci_f} @tab
4924 petrucci style mensural F clef @tab
4925 @code{petrucci_f} @tab
4926 @lilypond[quote,relative=1,notime]
4927 \override Staff.TimeSignature #'transparent = ##t
4928 \clef "petrucci_f" c
4932 @code{clefs-petrucci_g} @tab
4933 petrucci style mensural G clef @tab
4934 @code{petrucci_g} @tab
4935 @lilypond[quote,relative=1,notime]
4936 \override Staff.TimeSignature #'transparent = ##t
4937 \clef "petrucci_g" c
4941 @code{clefs-mensural_c} @tab
4942 historic style mensural C clef @tab
4943 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4944 @code{mensural_c4} @tab
4945 @lilypond[quote,relative=1,notime]
4946 \override Staff.TimeSignature #'transparent = ##t
4947 \clef "mensural_c2" c
4951 @code{clefs-mensural_f} @tab
4952 historic style mensural F clef @tab
4953 @code{mensural_f} @tab
4954 @lilypond[quote,relative=1,notime]
4955 \override Staff.TimeSignature #'transparent = ##t
4956 \clef "mensural_f" c
4960 @code{clefs-mensural_g} @tab
4961 historic style mensural G clef @tab
4962 @code{mensural_g} @tab
4963 @lilypond[quote,relative=1,notime]
4964 \override Staff.TimeSignature #'transparent = ##t
4965 \clef "mensural_g" c
4969 @code{clefs-vaticana_do} @tab
4970 Editio Vaticana style do clef @tab
4971 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4972 @lilypond[quote,relative=1,notime]
4973 \override Staff.StaffSymbol #'line-count = #4
4974 \override Staff.TimeSignature #'transparent = ##t
4975 \clef "vaticana_do2" c
4979 @code{clefs-vaticana_fa} @tab
4980 Editio Vaticana style fa clef @tab
4981 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4982 @lilypond[quote,relative=1,notime]
4983 \override Staff.StaffSymbol #'line-count = #4
4984 \override Staff.TimeSignature #'transparent = ##t
4985 \clef "vaticana_fa2" c
4989 @code{clefs-medicaea_do} @tab
4990 Editio Medicaea style do clef @tab
4991 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4992 @lilypond[quote,relative=1,notime]
4993 \override Staff.StaffSymbol #'line-count = #4
4994 \override Staff.TimeSignature #'transparent = ##t
4995 \clef "medicaea_do2" c
4999 @code{clefs-medicaea_fa} @tab
5000 Editio Medicaea style fa clef @tab
5001 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5002 @lilypond[quote,relative=1,notime]
5003 \override Staff.StaffSymbol #'line-count = #4
5004 \override Staff.TimeSignature #'transparent = ##t
5005 \clef "medicaea_fa2" c
5009 @code{clefs-hufnagel_do} @tab
5010 historic style hufnagel do clef @tab
5011 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5012 @lilypond[quote,relative=1,notime]
5013 \override Staff.StaffSymbol #'line-count = #4
5014 \override Staff.TimeSignature #'transparent = ##t
5015 \clef "hufnagel_do2" c
5019 @code{clefs-hufnagel_fa} @tab
5020 historic style hufnagel fa clef @tab
5021 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5022 @lilypond[quote,relative=1,notime]
5023 \override Staff.StaffSymbol #'line-count = #4
5024 \override Staff.TimeSignature #'transparent = ##t
5025 \clef "hufnagel_fa2" c
5029 @code{clefs-hufnagel_do_fa} @tab
5030 historic style hufnagel combined do/fa clef @tab
5031 @code{hufnagel_do_fa} @tab
5032 @lilypond[quote,relative=1,notime]
5033 \override Staff.TimeSignature #'transparent = ##t
5034 \clef "hufnagel_do_fa" c
5041 @emph{Modern style} means ``as is typeset in contemporary editions of
5042 transcribed mensural music''.
5044 @emph{Petrucci style} means ``inspired by printings published by the
5045 famous engraver Petrucci (1466-1539)''.
5047 @emph{Historic style} means ``as was typeset or written in historic
5048 editions (other than those of Petrucci)''.
5050 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5052 Petrucci used C clefs with differently balanced left-side vertical
5053 beams, depending on which staff line it is printed.
5057 In this manual: see @ref{Clef}.
5061 The mensural g clef is mapped to the Petrucci g clef, until a new
5062 mensural g clef is implemented.
5067 @subsection Ancient flags
5072 Use the @code{flag-style} property of grob @internalsref{Stem} to
5073 select ancient flags. Besides the @code{default} flag style,
5074 only @code{mensural} style is supported
5076 @lilypond[quote,fragment,raggedright,verbatim]
5077 \override Stem #'flag-style = #'mensural
5078 \override Stem #'thickness = #1.0
5079 \override NoteHead #'style = #'mensural
5081 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
5082 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5085 Note that the innermost flare of each mensural flag always is
5086 vertically aligned with a staff line. If you do not like this
5087 behavior, you can set the @code{adjust-if-on-staffline} property of
5088 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5089 of the end of each flare is different between notes on staff lines and
5090 notes between staff lines
5092 @lilypond[quote,fragment,raggedright]
5093 \override Stem #'flag-style = #'mensural
5094 \override Stem #'thickness = #1.0
5095 \override Stem #'adjust-if-on-staffline = ##f
5096 \override NoteHead #'style = #'mensural
5098 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
5099 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5102 There is no particular flag style for neo-mensural notation. Hence,
5103 when typesetting e.g. the incipit of a transcribed piece of mensural
5104 music, the default flag style should be used. There are no flags in
5105 Gregorian Chant notation.
5108 @node Ancient time signatures
5109 @subsection Ancient time signatures
5111 @cindex time signatures
5114 There is limited support for mensural time signatures. The
5115 glyphs are hard-wired to particular time fractions. In other words,
5116 to get a particular mensural signature glyph with the @code{\time n/m}
5117 command, @code{n} and @code{m} have to be chosen according to the
5123 \set Score.timing = ##f
5124 \set Score.barAlways = ##t
5125 s_\markup { "$\\backslash$time 4/4" }
5126 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5128 s_\markup { "$\\backslash$time 2/2" }
5129 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5131 s_\markup { "$\\backslash$time 6/4" }
5132 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5134 s_\markup { "$\\backslash$time 6/8" }
5135 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5137 s_\markup { "$\\backslash$time 3/2" }
5138 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5140 s_\markup { "$\\backslash$time 3/4" }
5141 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5143 s_\markup { "$\\backslash$time 9/4" }
5144 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5146 s_\markup { "$\\backslash$time 9/8" }
5147 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5149 s_\markup { "$\\backslash$time 4/8" }
5150 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5152 s_\markup { "$\\backslash$time 2/4" }
5153 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5161 \remove Staff_symbol_engraver
5162 \remove Clef_engraver
5163 \remove Time_signature_engraver
5169 Use the @code{style} property of grob @internalsref{TimeSignature} to
5170 select ancient time signatures. Supported styles are
5171 @code{neo_mensural} and @code{mensural}. The above table uses the
5172 @code{neo_mensural} style. This style is appropriate e.g. for the
5173 incipit of transcriptions of mensural pieces. The @code{mensural}
5174 style mimics the look of historical printings of the 16th century.
5176 @inputfileref{input/test,time.ly} gives an overview over all available
5177 ancient and modern styles.
5181 Program reference: @ref{Time signature} gives a general introduction into the use of time
5186 Mensural signature glyphs are mapped to time fractions in a hard-wired
5187 way. This mapping is sensible, but still arbitrary: given a mensural
5188 time signature, the time fraction represents a modern meter that
5189 usually will be a good choice when transcribing a mensural piece of
5190 music. For a particular piece of mensural music, however, the mapping
5191 may be unsatisfactory. In particular, the mapping assumes a fixed
5192 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5193 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5194 accessible through the @code{\time} command.
5196 Mensural time signatures are supported typographically, but not yet
5197 musically. The internal representation of durations is
5198 based on a purely binary system; a ternary division such as 1 brevis =
5199 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5200 prolatione maiori) is not correctly handled: event times in ternary
5201 modes will be badly computed, resulting e.g. in horizontally
5202 misaligned note heads, and bar checks are likely to erroneously fail.
5204 The syntax and semantics of the @code{\time} command for mensural
5205 music is subject to change.
5208 @subsection Custodes
5213 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5214 symbol that appears at the end of a staff. It anticipates the pitch
5215 of the first note(s) of the following line and thus helps the player
5216 or singer to manage line breaks during performance, thus enhancing
5217 readability of a score.
5219 Custodes were frequently used in music notation until the 17th
5220 century. Nowadays, they have survived only in a few particular forms
5221 of musical notation such as contemporary editions of Gregorian chant
5222 like the @emph{editio vaticana}. There are different custos glyphs
5223 used in different flavors of notational style.
5225 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5226 @internalsref{Staff} context when declaring the @code{\paper} block,
5227 as shown in the following example
5233 \consists Custos_engraver
5234 Custos \override #'style = #'mensural
5239 The result looks like this
5241 @lilypond[quote,raggedright]
5245 \override Staff.Custos #'style = #'mensural
5252 \consists Custos_engraver
5258 The custos glyph is selected by the @code{style} property. The styles
5259 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5260 @code{mensural}. They are demonstrated in the following fragment
5264 \new Lyrics \lyrics {
5268 { " " \musicglyph #"custodes-vaticana-u0" }
5272 { " " \musicglyph #"custodes-medicaea-u0" }
5277 { " " \musicglyph #"custodes-hufnagel-u0" }
5282 { " " \musicglyph #"custodes-mensural-u0" }
5294 Program reference: @internalsref{Custos}.
5296 Examples: @inputfileref{input/regression,custos.ly}.
5300 @subsection Divisiones
5306 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5307 `division') is a staff context symbol that is used to structure
5308 Gregorian music into phrases and sections. The musical meaning of
5309 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5310 can be characterized as short, medium and long pause, somewhat like
5311 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5312 a chant, but is also frequently used within a single
5313 antiphonal/responsorial chant to mark the end of each section.
5316 To use divisiones, include the file @code{gregorian-init.ly}. It
5317 contains definitions that you can apply by just inserting
5318 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5319 and @code{\finalis} at proper places in the input. Some editions use
5320 @emph{virgula} or @emph{caesura} instead of divisio minima.
5321 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5324 @lilypondfile[quote,raggedright]{divisiones.ly}
5328 @cindex @code{\virgula}
5330 @cindex @code{\caesura}
5332 @cindex @code{\divisioMinima}
5333 @code{\divisioMinima},
5334 @cindex @code{\divisioMaior}
5335 @code{\divisioMaior},
5336 @cindex @code{\divisioMaxima}
5337 @code{\divisioMaxima},
5338 @cindex @code{\finalis}
5343 In this manual: @ref{Breath marks}.
5345 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5347 Examples: @inputfileref{input/test,divisiones.ly}.
5350 @subsection Ligatures
5354 @c TODO: Should double check if I recalled things correctly when I wrote
5355 @c down the following paragraph by heart.
5357 A ligature is a coherent graphical symbol that represents at least two
5358 distinct notes. Ligatures originally appeared in the manuscripts of
5359 Gregorian chant notation roughly since the 9th century to denote
5360 ascending or descending sequences of notes.
5362 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5363 Some ligature styles may need additional input syntax specific for
5364 this particular type of ligature. By default, the
5365 @internalsref{LigatureBracket} engraver just puts a square bracket
5368 @lilypond[quote,raggedright,verbatim]
5370 \notes \transpose c c' {
5378 To select a specific style of ligatures, a proper ligature engraver
5379 has to be added to the @internalsref{Voice} context, as explained in
5380 the following subsections. Only white mensural ligatures
5381 are supported with certain limitations.
5384 * White mensural ligatures::
5385 * Gregorian square neumes ligatures::
5388 @node White mensural ligatures
5389 @subsubsection White mensural ligatures
5391 @cindex Mensural ligatures
5392 @cindex White mensural ligatures
5394 There is limited support for white mensural ligatures.
5396 To engrave white mensural ligatures, in the paper block the
5397 @internalsref{Mensural_ligature_engraver} has to be put into the
5398 @internalsref{Voice} context, and remove the
5399 @internalsref{Ligature_bracket_engraver}
5405 \remove Ligature_bracket_engraver
5406 \consists Mensural_ligature_engraver
5411 There is no additional input language to describe the shape of a
5412 white mensural ligature. The shape is rather determined solely from
5413 the pitch and duration of the enclosed notes. While this approach may
5414 take a new user a while to get accustomed, it has the great advantage
5415 that the full musical information of the ligature is known internally.
5416 This is not only required for correct MIDI output, but also allows for
5417 automatic transcription of the ligatures.
5422 \set Score.timing = ##f
5423 \set Score.defaultBarType = "empty"
5424 \override NoteHead #'style = #'neo_mensural
5425 \override Staff.TimeSignature #'style = #'neo_mensural
5427 \[ g\longa c\breve a\breve f\breve d'\longa \]
5429 \[ e1 f1 a\breve g\longa \]
5431 @lilypond[quote,raggedright]
5433 \notes \transpose c c' {
5434 \set Score.timing = ##f
5435 \set Score.defaultBarType = "empty"
5436 \override NoteHead #'style = #'neo_mensural
5437 \override Staff.TimeSignature #'style = #'neo_mensural
5439 \[ g\longa c\breve a\breve f\breve d'\longa \]
5441 \[ e1 f1 a\breve g\longa \]
5446 \remove Ligature_bracket_engraver
5447 \consists Mensural_ligature_engraver
5453 Without replacing @internalsref{Ligature_bracket_engraver} with
5454 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5457 @lilypond[quote,raggedright]
5459 \notes \transpose c c' {
5460 \set Score.timing = ##f
5461 \set Score.defaultBarType = "empty"
5462 \override NoteHead #'style = #'neo_mensural
5463 \override Staff.TimeSignature #'style = #'neo_mensural
5465 \[ g\longa c\breve a\breve f\breve d'\longa \]
5467 \[ e1 f1 a\breve g\longa \]
5474 The implementation is experimental; it may output strange warnings or
5475 even crash in some cases or produce weird results on more complex
5478 @node Gregorian square neumes ligatures
5479 @subsubsection Gregorian square neumes ligatures
5481 @cindex Square neumes ligatures
5482 @cindex Gregorian square neumes ligatures
5484 Gregorian square neumes notation (following the style of the Editio
5485 Vaticana) is under heavy development, but not yet really usable for
5486 production purposes. Core ligatures can already be typeset, but
5487 essential issues for serious typesetting are still under development,
5488 such as (among others) horizontal alignment of multiple ligatures,
5489 lyrics alignment and proper accidentals handling. Still, this section
5490 gives a sneak preview of what Gregorian chant may look like once it
5493 The following table contains the extended neumes table of the 2nd
5494 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5495 1983 by the monks of Solesmes.
5497 @multitable @columnfractions .4 .2 .2 .2
5500 @b{Neuma aut@*Neumarum Elementa} @tab
5501 @b{Figurae@*Rectae} @tab
5502 @b{Figurae@*Liquescentes Auctae} @tab
5503 @b{Figurae@*Liquescentes Deminutae}
5505 @c TODO: \paper block is identical in all of the below examples.
5506 @c Therefore, it should somehow be included rather than duplicated all
5509 @c why not make identifiers in ly/engraver-init.ly? --hwn
5511 @c Because it's just used to typeset plain notes without
5512 @c a staff for demonstration purposes rather than something
5513 @c special of Gregorian chant notation. --jr
5518 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5519 \include "gregorian-init.ly"
5521 \notes \transpose c c' {
5524 \noBreak s^\markup {"a"} \noBreak
5526 % Punctum Inclinatum
5528 \noBreak s^\markup {"b"}
5534 \remove "Bar_number_engraver"
5538 \remove "Clef_engraver"
5539 \remove "Key_engraver"
5540 \override StaffSymbol #'transparent = ##t
5541 \remove "Time_signature_engraver"
5542 \remove "Bar_engraver"
5543 minimumVerticalExtent = ##f
5547 \remove Ligature_bracket_engraver
5548 \consists Vaticana_ligature_engraver
5549 \override NoteHead #'style = #'vaticana_punctum
5550 \override Stem #'transparent = ##t
5556 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5557 \include "gregorian-init.ly"
5559 \notes \transpose c c' {
5560 % Punctum Auctum Ascendens
5561 \[ \auctum \ascendens b \]
5562 \noBreak s^\markup {"c"} \noBreak
5564 % Punctum Auctum Descendens
5565 \[ \auctum \descendens b \]
5566 \noBreak s^\markup {"d"} \noBreak
5568 % Punctum Inclinatum Auctum
5569 \[ \inclinatum \auctum b \]
5570 \noBreak s^\markup {"e"}
5576 \remove "Bar_number_engraver"
5580 \remove "Clef_engraver"
5581 \remove "Key_engraver"
5582 \override StaffSymbol #'transparent = ##t
5583 \remove "Time_signature_engraver"
5584 \remove "Bar_engraver"
5585 minimumVerticalExtent = ##f
5589 \remove Ligature_bracket_engraver
5590 \consists Vaticana_ligature_engraver
5591 \override NoteHead #'style = #'vaticana_punctum
5592 \override Stem #'transparent = ##t
5598 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5599 \include "gregorian-init.ly"
5601 \notes \transpose c c' {
5602 % Punctum Inclinatum Parvum
5603 \[ \inclinatum \deminutum b \]
5604 \noBreak s^\markup {"f"}
5610 \remove "Bar_number_engraver"
5614 \remove "Clef_engraver"
5615 \remove "Key_engraver"
5616 \override StaffSymbol #'transparent = ##t
5617 \remove "Time_signature_engraver"
5618 \remove "Bar_engraver"
5619 minimumVerticalExtent = ##f
5623 \remove Ligature_bracket_engraver
5624 \consists Vaticana_ligature_engraver
5625 \override NoteHead #'style = #'vaticana_punctum
5626 \override Stem #'transparent = ##t
5635 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5636 \include "gregorian-init.ly"
5638 \notes \transpose c c' {
5641 \noBreak s^\markup {"g"}
5647 \remove "Bar_number_engraver"
5651 \remove "Clef_engraver"
5652 \remove "Key_engraver"
5653 \override StaffSymbol #'transparent = ##t
5654 \remove "Time_signature_engraver"
5655 \remove "Bar_engraver"
5656 minimumVerticalExtent = ##f
5660 \remove Ligature_bracket_engraver
5661 \consists Vaticana_ligature_engraver
5662 \override NoteHead #'style = #'vaticana_punctum
5663 \override Stem #'transparent = ##t
5672 @code{3. Apostropha vel Stropha}
5674 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5675 \include "gregorian-init.ly"
5677 \notes \transpose c c' {
5680 \noBreak s^\markup {"h"}
5686 \remove "Bar_number_engraver"
5690 \remove "Clef_engraver"
5691 \remove "Key_engraver"
5692 \override StaffSymbol #'transparent = ##t
5693 \remove "Time_signature_engraver"
5694 \remove "Bar_engraver"
5695 minimumVerticalExtent = ##f
5699 \remove Ligature_bracket_engraver
5700 \consists Vaticana_ligature_engraver
5701 \override NoteHead #'style = #'vaticana_punctum
5702 \override Stem #'transparent = ##t
5708 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5709 \include "gregorian-init.ly"
5711 \notes \transpose c c' {
5713 \[ \stropha \auctum b \]
5714 \noBreak s^\markup {"i"}
5720 \remove "Bar_number_engraver"
5724 \remove "Clef_engraver"
5725 \remove "Key_engraver"
5726 \override StaffSymbol #'transparent = ##t
5727 \remove "Time_signature_engraver"
5728 \remove "Bar_engraver"
5729 minimumVerticalExtent = ##f
5733 \remove Ligature_bracket_engraver
5734 \consists Vaticana_ligature_engraver
5735 \override NoteHead #'style = #'vaticana_punctum
5736 \override Stem #'transparent = ##t
5746 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5747 \include "gregorian-init.ly"
5749 \notes \transpose c c' {
5752 \noBreak s^\markup {"j"}
5758 \remove "Bar_number_engraver"
5762 \remove "Clef_engraver"
5763 \remove "Key_engraver"
5764 \override StaffSymbol #'transparent = ##t
5765 \remove "Time_signature_engraver"
5766 \remove "Bar_engraver"
5767 minimumVerticalExtent = ##f
5771 \remove Ligature_bracket_engraver
5772 \consists Vaticana_ligature_engraver
5773 \override NoteHead #'style = #'vaticana_punctum
5774 \override Stem #'transparent = ##t
5783 @code{5. Clivis vel Flexa}
5785 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5786 \include "gregorian-init.ly"
5788 \notes \transpose c c' {
5797 \remove "Bar_number_engraver"
5801 \remove "Clef_engraver"
5802 \remove "Key_engraver"
5803 \override StaffSymbol #'transparent = ##t
5804 \remove "Time_signature_engraver"
5805 \remove "Bar_engraver"
5806 minimumVerticalExtent = ##f
5810 \remove Ligature_bracket_engraver
5811 \consists Vaticana_ligature_engraver
5812 \override NoteHead #'style = #'vaticana_punctum
5813 \override Stem #'transparent = ##t
5819 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5820 \include "gregorian-init.ly"
5822 \notes \transpose c c' {
5823 % Clivis Aucta Descendens
5824 \[ b \flexa \auctum \descendens g \]
5825 \noBreak s^\markup {"l"} \noBreak
5827 % Clivis Aucta Ascendens
5828 \[ b \flexa \auctum \ascendens g \]
5829 \noBreak s^\markup {"m"}
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
5857 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5858 \include "gregorian-init.ly"
5860 \notes \transpose c c' {
5862 \[ b \flexa \deminutum g \]
5869 \remove "Bar_number_engraver"
5873 \remove "Clef_engraver"
5874 \remove "Key_engraver"
5875 \override StaffSymbol #'transparent = ##t
5876 \remove "Time_signature_engraver"
5877 \remove "Bar_engraver"
5878 minimumVerticalExtent = ##f
5882 \remove Ligature_bracket_engraver
5883 \consists Vaticana_ligature_engraver
5884 \override NoteHead #'style = #'vaticana_punctum
5885 \override Stem #'transparent = ##t
5892 @code{6. Podatus vel Pes}
5894 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5895 \include "gregorian-init.ly"
5897 \notes \transpose c c' {
5906 \remove "Bar_number_engraver"
5910 \remove "Clef_engraver"
5911 \remove "Key_engraver"
5912 \override StaffSymbol #'transparent = ##t
5913 \remove "Time_signature_engraver"
5914 \remove "Bar_engraver"
5915 minimumVerticalExtent = ##f
5919 \remove Ligature_bracket_engraver
5920 \consists Vaticana_ligature_engraver
5921 \override NoteHead #'style = #'vaticana_punctum
5922 \override Stem #'transparent = ##t
5928 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5929 \include "gregorian-init.ly"
5931 \notes \transpose c c' {
5932 % Pes Auctus Descendens
5933 \[ g \pes \auctum \descendens b \]
5934 \noBreak s^\markup {"p"} \noBreak
5936 % Pes Auctus Ascendens
5937 \[ g \pes \auctum \ascendens b \]
5938 \noBreak s^\markup {"q"}
5944 \remove "Bar_number_engraver"
5948 \remove "Clef_engraver"
5949 \remove "Key_engraver"
5950 \override StaffSymbol #'transparent = ##t
5951 \remove "Time_signature_engraver"
5952 \remove "Bar_engraver"
5953 minimumVerticalExtent = ##f
5957 \remove Ligature_bracket_engraver
5958 \consists Vaticana_ligature_engraver
5959 \override NoteHead #'style = #'vaticana_punctum
5960 \override Stem #'transparent = ##t
5966 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5967 \include "gregorian-init.ly"
5969 \notes \transpose c c' {
5971 \[ g \pes \deminutum b \]
5978 \remove "Bar_number_engraver"
5982 \remove "Clef_engraver"
5983 \remove "Key_engraver"
5984 \override StaffSymbol #'transparent = ##t
5985 \remove "Time_signature_engraver"
5986 \remove "Bar_engraver"
5987 minimumVerticalExtent = ##f
5991 \remove Ligature_bracket_engraver
5992 \consists Vaticana_ligature_engraver
5993 \override NoteHead #'style = #'vaticana_punctum
5994 \override Stem #'transparent = ##t
6001 @code{7. Pes Quassus}
6003 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6004 \include "gregorian-init.ly"
6006 \notes \transpose c c' {
6008 \[ \oriscus g \pes \virga b \]
6015 \remove "Bar_number_engraver"
6019 \remove "Clef_engraver"
6020 \remove "Key_engraver"
6021 \override StaffSymbol #'transparent = ##t
6022 \remove "Time_signature_engraver"
6023 \remove "Bar_engraver"
6024 minimumVerticalExtent = ##f
6028 \remove Ligature_bracket_engraver
6029 \consists Vaticana_ligature_engraver
6030 \override NoteHead #'style = #'vaticana_punctum
6031 \override Stem #'transparent = ##t
6037 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6038 \include "gregorian-init.ly"
6040 \notes \transpose c c' {
6041 % Pes Quassus Auctus Descendens
6042 \[ \oriscus g \pes \auctum \descendens b \]
6049 \remove "Bar_number_engraver"
6053 \remove "Clef_engraver"
6054 \remove "Key_engraver"
6055 \override StaffSymbol #'transparent = ##t
6056 \remove "Time_signature_engraver"
6057 \remove "Bar_engraver"
6058 minimumVerticalExtent = ##f
6062 \remove Ligature_bracket_engraver
6063 \consists Vaticana_ligature_engraver
6064 \override NoteHead #'style = #'vaticana_punctum
6065 \override Stem #'transparent = ##t
6073 @code{8. Quilisma Pes}
6075 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6076 \include "gregorian-init.ly"
6078 \notes \transpose c c' {
6080 \[ \quilisma g \pes b \]
6087 \remove "Bar_number_engraver"
6091 \remove "Clef_engraver"
6092 \remove "Key_engraver"
6093 \override StaffSymbol #'transparent = ##t
6094 \remove "Time_signature_engraver"
6095 \remove "Bar_engraver"
6096 minimumVerticalExtent = ##f
6100 \remove Ligature_bracket_engraver
6101 \consists Vaticana_ligature_engraver
6102 \override NoteHead #'style = #'vaticana_punctum
6103 \override Stem #'transparent = ##t
6109 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6110 \include "gregorian-init.ly"
6112 \notes \transpose c c' {
6113 % Quilisma Pes Auctus Descendens
6114 \[ \quilisma g \pes \auctum \descendens b \]
6121 \remove "Bar_number_engraver"
6125 \remove "Clef_engraver"
6126 \remove "Key_engraver"
6127 \override StaffSymbol #'transparent = ##t
6128 \remove "Time_signature_engraver"
6129 \remove "Bar_engraver"
6130 minimumVerticalExtent = ##f
6134 \remove Ligature_bracket_engraver
6135 \consists Vaticana_ligature_engraver
6136 \override NoteHead #'style = #'vaticana_punctum
6137 \override Stem #'transparent = ##t
6145 @code{9. Podatus Initio Debilis}
6147 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6148 \include "gregorian-init.ly"
6150 \notes \transpose c c' {
6151 % Pes Initio Debilis
6152 \[ \deminutum g \pes b \]
6159 \remove "Bar_number_engraver"
6163 \remove "Clef_engraver"
6164 \remove "Key_engraver"
6165 \override StaffSymbol #'transparent = ##t
6166 \remove "Time_signature_engraver"
6167 \remove "Bar_engraver"
6168 minimumVerticalExtent = ##f
6172 \remove Ligature_bracket_engraver
6173 \consists Vaticana_ligature_engraver
6174 \override NoteHead #'style = #'vaticana_punctum
6175 \override Stem #'transparent = ##t
6181 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6182 \include "gregorian-init.ly"
6184 \notes \transpose c c' {
6185 % Pes Auctus Descendens Initio Debilis
6186 \[ \deminutum g \pes \auctum \descendens b \]
6193 \remove "Bar_number_engraver"
6197 \remove "Clef_engraver"
6198 \remove "Key_engraver"
6199 \override StaffSymbol #'transparent = ##t
6200 \remove "Time_signature_engraver"
6201 \remove "Bar_engraver"
6202 minimumVerticalExtent = ##f
6206 \remove Ligature_bracket_engraver
6207 \consists Vaticana_ligature_engraver
6208 \override NoteHead #'style = #'vaticana_punctum
6209 \override Stem #'transparent = ##t
6219 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6220 \include "gregorian-init.ly"
6222 \notes \transpose c c' {
6224 \[ a \pes b \flexa g \]
6231 \remove "Bar_number_engraver"
6235 \remove "Clef_engraver"
6236 \remove "Key_engraver"
6237 \override StaffSymbol #'transparent = ##t
6238 \remove "Time_signature_engraver"
6239 \remove "Bar_engraver"
6240 minimumVerticalExtent = ##f
6244 \remove Ligature_bracket_engraver
6245 \consists Vaticana_ligature_engraver
6246 \override NoteHead #'style = #'vaticana_punctum
6247 \override Stem #'transparent = ##t
6253 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6254 \include "gregorian-init.ly"
6256 \notes \transpose c c' {
6257 % Torculus Auctus Descendens
6258 \[ a \pes b \flexa \auctum \descendens g \]
6265 \remove "Bar_number_engraver"
6269 \remove "Clef_engraver"
6270 \remove "Key_engraver"
6271 \override StaffSymbol #'transparent = ##t
6272 \remove "Time_signature_engraver"
6273 \remove "Bar_engraver"
6274 minimumVerticalExtent = ##f
6278 \remove Ligature_bracket_engraver
6279 \consists Vaticana_ligature_engraver
6280 \override NoteHead #'style = #'vaticana_punctum
6281 \override Stem #'transparent = ##t
6287 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6288 \include "gregorian-init.ly"
6290 \notes \transpose c c' {
6291 % Torculus Deminutus
6292 \[ a \pes b \flexa \deminutum g \]
6299 \remove "Bar_number_engraver"
6303 \remove "Clef_engraver"
6304 \remove "Key_engraver"
6305 \override StaffSymbol #'transparent = ##t
6306 \remove "Time_signature_engraver"
6307 \remove "Bar_engraver"
6308 minimumVerticalExtent = ##f
6312 \remove Ligature_bracket_engraver
6313 \consists Vaticana_ligature_engraver
6314 \override NoteHead #'style = #'vaticana_punctum
6315 \override Stem #'transparent = ##t
6322 @code{11. Torculus Initio Debilis}
6324 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6325 \include "gregorian-init.ly"
6327 \notes \transpose c c' {
6328 % Torculus Initio Debilis
6329 \[ \deminutum a \pes b \flexa g \]
6336 \remove "Bar_number_engraver"
6340 \remove "Clef_engraver"
6341 \remove "Key_engraver"
6342 \override StaffSymbol #'transparent = ##t
6343 \remove "Time_signature_engraver"
6344 \remove "Bar_engraver"
6345 minimumVerticalExtent = ##f
6349 \remove Ligature_bracket_engraver
6350 \consists Vaticana_ligature_engraver
6351 \override NoteHead #'style = #'vaticana_punctum
6352 \override Stem #'transparent = ##t
6358 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6359 \include "gregorian-init.ly"
6361 \notes \transpose c c' {
6362 % Torculus Auctus Descendens Initio Debilis
6363 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6370 \remove "Bar_number_engraver"
6374 \remove "Clef_engraver"
6375 \remove "Key_engraver"
6376 \override StaffSymbol #'transparent = ##t
6377 \remove "Time_signature_engraver"
6378 \remove "Bar_engraver"
6379 minimumVerticalExtent = ##f
6383 \remove Ligature_bracket_engraver
6384 \consists Vaticana_ligature_engraver
6385 \override NoteHead #'style = #'vaticana_punctum
6386 \override Stem #'transparent = ##t
6392 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6393 \include "gregorian-init.ly"
6395 \notes \transpose c c' {
6396 % Torculus Deminutus Initio Debilis
6397 \[ \deminutum a \pes b \flexa \deminutum g \]
6404 \remove "Bar_number_engraver"
6408 \remove "Clef_engraver"
6409 \remove "Key_engraver"
6410 \override StaffSymbol #'transparent = ##t
6411 \remove "Time_signature_engraver"
6412 \remove "Bar_engraver"
6413 minimumVerticalExtent = ##f
6417 \remove Ligature_bracket_engraver
6418 \consists Vaticana_ligature_engraver
6419 \override NoteHead #'style = #'vaticana_punctum
6420 \override Stem #'transparent = ##t
6427 @code{12. Porrectus}
6429 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6430 \include "gregorian-init.ly"
6432 \notes \transpose c c' {
6434 \[ a \flexa g \pes b \]
6441 \remove "Bar_number_engraver"
6445 \remove "Clef_engraver"
6446 \remove "Key_engraver"
6447 \override StaffSymbol #'transparent = ##t
6448 \remove "Time_signature_engraver"
6449 \remove "Bar_engraver"
6450 minimumVerticalExtent = ##f
6454 \remove Ligature_bracket_engraver
6455 \consists Vaticana_ligature_engraver
6456 \override NoteHead #'style = #'vaticana_punctum
6457 \override Stem #'transparent = ##t
6463 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6464 \include "gregorian-init.ly"
6466 \notes \transpose c c' {
6467 % Porrectus Auctus Descendens
6468 \[ a \flexa g \pes \auctum \descendens b \]
6475 \remove "Bar_number_engraver"
6479 \remove "Clef_engraver"
6480 \remove "Key_engraver"
6481 \override StaffSymbol #'transparent = ##t
6482 \remove "Time_signature_engraver"
6483 \remove "Bar_engraver"
6484 minimumVerticalExtent = ##f
6488 \remove Ligature_bracket_engraver
6489 \consists Vaticana_ligature_engraver
6490 \override NoteHead #'style = #'vaticana_punctum
6491 \override Stem #'transparent = ##t
6497 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6498 \include "gregorian-init.ly"
6500 \notes \transpose c c' {
6501 % Porrectus Deminutus
6502 \[ a \flexa g \pes \deminutum b \]
6509 \remove "Bar_number_engraver"
6513 \remove "Clef_engraver"
6514 \remove "Key_engraver"
6515 \override StaffSymbol #'transparent = ##t
6516 \remove "Time_signature_engraver"
6517 \remove "Bar_engraver"
6518 minimumVerticalExtent = ##f
6522 \remove Ligature_bracket_engraver
6523 \consists Vaticana_ligature_engraver
6524 \override NoteHead #'style = #'vaticana_punctum
6525 \override Stem #'transparent = ##t
6534 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6535 \include "gregorian-init.ly"
6537 \notes \transpose c c' {
6539 \[ \virga b \inclinatum a \inclinatum g \]
6546 \remove "Bar_number_engraver"
6550 \remove "Clef_engraver"
6551 \remove "Key_engraver"
6552 \override StaffSymbol #'transparent = ##t
6553 \remove "Time_signature_engraver"
6554 \remove "Bar_engraver"
6555 minimumVerticalExtent = ##f
6559 \remove Ligature_bracket_engraver
6560 \consists Vaticana_ligature_engraver
6561 \override NoteHead #'style = #'vaticana_punctum
6562 \override Stem #'transparent = ##t
6568 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6569 \include "gregorian-init.ly"
6571 \notes \transpose c c' {
6573 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6580 \remove "Bar_number_engraver"
6584 \remove "Clef_engraver"
6585 \remove "Key_engraver"
6586 \override StaffSymbol #'transparent = ##t
6587 \remove "Time_signature_engraver"
6588 \remove "Bar_engraver"
6589 minimumVerticalExtent = ##f
6593 \remove Ligature_bracket_engraver
6594 \consists Vaticana_ligature_engraver
6595 \override NoteHead #'style = #'vaticana_punctum
6596 \override Stem #'transparent = ##t
6602 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6603 \include "gregorian-init.ly"
6605 \notes \transpose c c' {
6606 % Climacus Deminutus
6607 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6614 \remove "Bar_number_engraver"
6618 \remove "Clef_engraver"
6619 \remove "Key_engraver"
6620 \override StaffSymbol #'transparent = ##t
6621 \remove "Time_signature_engraver"
6622 \remove "Bar_engraver"
6623 minimumVerticalExtent = ##f
6627 \remove Ligature_bracket_engraver
6628 \consists Vaticana_ligature_engraver
6629 \override NoteHead #'style = #'vaticana_punctum
6630 \override Stem #'transparent = ##t
6637 @code{14. Scandicus}
6639 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6640 \include "gregorian-init.ly"
6642 \notes \transpose c c' {
6644 \[ g \pes a \virga b \]
6651 \remove "Bar_number_engraver"
6655 \remove "Clef_engraver"
6656 \remove "Key_engraver"
6657 \override StaffSymbol #'transparent = ##t
6658 \remove "Time_signature_engraver"
6659 \remove "Bar_engraver"
6660 minimumVerticalExtent = ##f
6664 \remove Ligature_bracket_engraver
6665 \consists Vaticana_ligature_engraver
6666 \override NoteHead #'style = #'vaticana_punctum
6667 \override Stem #'transparent = ##t
6673 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6674 \include "gregorian-init.ly"
6676 \notes \transpose c c' {
6677 % Scandicus Auctus Descendens
6678 \[ g \pes a \pes \auctum \descendens b \]
6685 \remove "Bar_number_engraver"
6689 \remove "Clef_engraver"
6690 \remove "Key_engraver"
6691 \override StaffSymbol #'transparent = ##t
6692 \remove "Time_signature_engraver"
6693 \remove "Bar_engraver"
6694 minimumVerticalExtent = ##f
6698 \remove Ligature_bracket_engraver
6699 \consists Vaticana_ligature_engraver
6700 \override NoteHead #'style = #'vaticana_punctum
6701 \override Stem #'transparent = ##t
6707 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6708 \include "gregorian-init.ly"
6710 \notes \transpose c c' {
6711 % Scandicus Deminutus
6712 \[ g \pes a \pes \deminutum b \]
6719 \remove "Bar_number_engraver"
6723 \remove "Clef_engraver"
6724 \remove "Key_engraver"
6725 \override StaffSymbol #'transparent = ##t
6726 \remove "Time_signature_engraver"
6727 \remove "Bar_engraver"
6728 minimumVerticalExtent = ##f
6732 \remove Ligature_bracket_engraver
6733 \consists Vaticana_ligature_engraver
6734 \override NoteHead #'style = #'vaticana_punctum
6735 \override Stem #'transparent = ##t
6744 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6745 \include "gregorian-init.ly"
6747 \notes \transpose c c' {
6749 \[ g \oriscus a \pes \virga b \]
6756 \remove "Bar_number_engraver"
6760 \remove "Clef_engraver"
6761 \remove "Key_engraver"
6762 \override StaffSymbol #'transparent = ##t
6763 \remove "Time_signature_engraver"
6764 \remove "Bar_engraver"
6765 minimumVerticalExtent = ##f
6769 \remove Ligature_bracket_engraver
6770 \consists Vaticana_ligature_engraver
6771 \override NoteHead #'style = #'vaticana_punctum
6772 \override Stem #'transparent = ##t
6778 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6779 \include "gregorian-init.ly"
6781 \notes \transpose c c' {
6782 % Salicus Auctus Descendens
6783 \[ g \oriscus a \pes \auctum \descendens b \]
6790 \remove "Bar_number_engraver"
6794 \remove "Clef_engraver"
6795 \remove "Key_engraver"
6796 \override StaffSymbol #'transparent = ##t
6797 \remove "Time_signature_engraver"
6798 \remove "Bar_engraver"
6799 minimumVerticalExtent = ##f
6803 \remove Ligature_bracket_engraver
6804 \consists Vaticana_ligature_engraver
6805 \override NoteHead #'style = #'vaticana_punctum
6806 \override Stem #'transparent = ##t
6816 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6817 \include "gregorian-init.ly"
6819 \notes \transpose c c' {
6821 \[ \stropha b \stropha b \stropha a \]
6828 \remove "Bar_number_engraver"
6832 \remove "Clef_engraver"
6833 \remove "Key_engraver"
6834 \override StaffSymbol #'transparent = ##t
6835 \remove "Time_signature_engraver"
6836 \remove "Bar_engraver"
6837 minimumVerticalExtent = ##f
6841 \remove Ligature_bracket_engraver
6842 \consists Vaticana_ligature_engraver
6843 \override NoteHead #'style = #'vaticana_punctum
6844 \override Stem #'transparent = ##t
6855 Unlike most other neumes notation systems, the input language for
6856 neumes does not necessarily reflect directly the typographical
6857 appearance, but is designed to solely focuse on musical meaning. For
6858 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6859 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6860 a Porrectus with a curved flexa shape and only a single Punctum head.
6861 There is no command to explicitly typeset the curved flexa shape; the
6862 decision of when to typeset a curved flexa shape is purely taken from
6863 the musical input. The idea of this approach is to separate the
6864 musical aspects of the input from the notation style of the output.
6865 This way, the same input can be reused to typeset the same music in a
6866 different style of Gregorian chant notation.
6868 The following table shows the code fragments that produce the
6869 ligatures in the above neumes table. The letter in the first column
6870 in each line of the below table indicates to which ligature in the
6871 above table it refers. The second column gives the name of the
6872 ligature. The third column shows the code fragment that produces this
6873 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6875 @multitable @columnfractions .1 .4 .5
6889 Punctum Inclinatum @tab
6890 @code{\[ \inclinatum b \]}
6894 Punctum Auctum Ascendens @tab
6895 @code{\[ \auctum \ascendens b \]}
6899 Punctum Auctum Descendens @tab
6900 @code{\[ \auctum \descendens b \]}
6904 Punctum Inclinatum Auctum @tab
6905 @code{\[ \inclinatum \auctum b \]}
6909 Punctum Inclinatum Parvum @tab
6910 @code{\[ \inclinatum \deminutum b \]}
6915 @code{\[ \virga b \]}
6920 @code{\[ \stropha b \]}
6925 @code{\[ \stropha \auctum b \]}
6930 @code{\[ \oriscus b \]}
6934 Clivis vel Flexa @tab
6935 @code{\[ b \flexa g \]}
6939 Clivis Aucta Descendens @tab
6940 @code{\[ b \flexa \auctum \descendens g \]}
6944 Clivis Aucta Ascendens @tab
6945 @code{\[ b \flexa \auctum \ascendens g \]}
6950 @code{\[ b \flexa \deminutum g \]}
6954 Podatus vel Pes @tab
6955 @code{\[ g \pes b \]}
6959 Pes Auctus Descendens @tab
6960 @code{\[ g \pes \auctum \descendens b \]}
6964 Pes Auctus Ascendens @tab
6965 @code{\[ g \pes \auctum \ascendens b \]}
6970 @code{\[ g \pes \deminutum b \]}
6975 @code{\[ \oriscus g \pes \virga b \]}
6979 Pes Quassus Auctus Descendens @tab
6980 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6985 @code{\[ \quilisma g \pes b \]}
6989 Quilisma Pes Auctus Descendens @tab
6990 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6994 Pes Initio Debilis @tab
6995 @code{\[ \deminutum g \pes b \]}
6999 Pes Auctus Descendens Initio Debilis @tab
7000 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7005 @code{\[ a \pes b \flexa g \]}
7009 Torculus Auctus Descendens @tab
7010 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7014 Torculus Deminutus @tab
7015 @code{\[ a \pes b \flexa \deminutum g \]}
7019 Torculus Initio Debilis @tab
7020 @code{\[ \deminutum a \pes b \flexa g \]}
7024 Torculus Auctus Descendens Initio Debilis @tab
7025 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7029 Torculus Deminutus Initio Debilis @tab
7030 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7035 @code{\[ a \flexa g \pes b \]}
7039 Porrectus Auctus Descendens @tab
7040 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7044 Porrectus Deminutus @tab
7045 @code{\[ a \flexa g \pes \deminutum b \]}
7050 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7054 Climacus Auctus @tab
7055 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7059 Climacus Deminutus @tab
7060 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7065 @code{\[ g \pes a \virga b \]}
7069 Scandicus Auctus Descendens @tab
7070 @code{\[ g \pes a \pes \auctum \descendens b \]}
7074 Scandicus Deminutus @tab
7075 @code{\[ g \pes a \pes \deminutum b \]}
7080 @code{\[ g \oriscus a \pes \virga b \]}
7084 Salicus Auctus Descendens @tab
7085 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7090 @code{\[ \stropha b \stropha b \stropha a \]}
7096 The following head prefixes are supported
7098 @cindex @code{\virga}
7100 @cindex @code{\stropha}
7102 @cindex @code{\inclinatum}
7104 @cindex @code{\auctum}
7106 @cindex @code{\descendens}
7108 @cindex @code{\ascendens}
7110 @cindex @code{\oriscus}
7112 @cindex @code{\quilisma}
7114 @cindex @code{\deminutum}
7117 Head prefixes can be accumulated, though restrictions apply. For
7118 example, either @code{\descendens} or @code{\ascendens} can be applied
7119 to a head, but not both to the same head.
7122 @cindex @code{\flexa}
7123 Two adjacent heads can be tied together with the @code{\pes} and
7124 @code{\flexa} infix commands for a rising and falling line of melody,
7129 @node Vaticana style contexts
7130 @subsection Vaticana style contexts
7132 @cindex VaticanaVoiceContext
7133 @cindex VaticanaStaffContext
7135 The predefined @code{VaticanaVoiceContext} and
7136 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7137 Gregorian Chant in the style of the Editio Vaticana. These contexts
7138 initialize all relevant context properties and grob properties to
7139 proper values. With these contexts, you can immediately go ahead
7140 entering the chant, as the following short excerpt demonstrates
7142 @lilypond[quote,raggedright,verbatim,noindent]
7143 \include "gregorian-init.ly"
7146 \context VaticanaVoice = "cantus" {
7147 \override Score.BarNumber #'transparent = ##t
7149 \[ c'\melisma c' \flexa a \]
7150 \[ a \flexa \deminutum g\melismaEnd \]
7152 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7153 c' \divisioMinima \break
7154 \[ c'\melisma c' \flexa a \]
7155 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7158 \lyricsto "cantus" \new Lyrics \lyrics {
7159 San- ctus, San- ctus, San- ctus
7166 @subsection Figured bass
7168 @cindex Basso continuo
7170 @c TODO: musicological blurb about FB
7173 LilyPond has limited support for figured bass
7175 @lilypond[quote,verbatim,fragment]
7177 \context Voice \notes { \clef bass dis4 c d ais }
7178 \context FiguredBass \figures {
7179 < 6 >4 < 7 >8 < 6+ [_!] >
7185 The support for figured bass consists of two parts: there is an input
7186 mode, introduced by @code{\figures}, where you can enter bass figures
7187 as numbers, and there is a context called @internalsref{FiguredBass} that
7188 takes care of making @internalsref{BassFigure} objects.
7190 In figures input mode, a group of bass figures is delimited by
7191 @code{<} and @code{>}. The duration is entered after the @code{>>}
7195 @lilypond[quote,fragment]
7196 \context FiguredBass
7200 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7206 @lilypond[quote,fragment]
7207 \context FiguredBass
7208 \figures { <4- 6+ 7!> }
7211 Spaces or dashes may be inserted by using @code{_}. Brackets are
7212 introduced with @code{[} and @code{]}
7217 @lilypond[quote,fragment]
7218 \context FiguredBass
7219 \figures { < [4 6] 8 [_! 12]> }
7222 Although the support for figured bass may superficially resemble chord
7223 support, it works much simpler. The @code{\figures} mode simply
7224 stores the numbers , and @internalsref{FiguredBass} context prints
7225 them as entered. There is no conversion to pitches, and no
7226 realizations of the bass are played in the MIDI file.
7228 Internally, the code produces markup texts. You can use any of the
7229 markup text properties to override formatting. For example, the
7230 vertical spacing of the figures may be set with @code{baseline-skip}.
7234 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7235 and @internalsref{FiguredBass} context.
7239 Slash notation for alterations is not supported.
7241 @node Contemporary notation
7242 @section Contemporary notation
7244 In the 20th century, composers have greatly expanded the musical
7245 vocabulary. With this expansion, many innovations in musical notation
7246 have been tried. The book by Stone (1980) gives a comprehensive
7247 overview (see @ref{Literature list}). In general, the use of new,
7248 innovative notation makes a piece harder to understand and perform and
7249 its use should therefore be avoided if possible. For this reason,
7250 support for contemporary notation in LilyPond is limited.
7259 @subsection Clusters
7263 A cluster indicates a continuous range of pitches to be played. They
7264 can be denoted as the envelope of a set of notes. They are entered by
7265 applying the function @code{notes-to-clusters} to a sequence of
7268 @lilypond[quote,relative=2,verbatim]
7269 \apply #notes-to-clusters { <c e > <b f'> }
7272 The following example (from
7273 @inputfileref{input/regression,cluster.ly}) shows what the result
7276 @lilypondfile[quote]{cluster.ly}
7278 Ordinary notes and clusters can be put together in the same staff,
7279 even simultaneously. In such a case no attempt is made to
7280 automatically avoid collisions between ordinary notes and clusters.
7284 Program reference: @internalsref{ClusterSpanner},
7285 @internalsref{ClusterSpannerBeacon},
7286 @internalsref{Cluster_spanner_engraver}, and
7287 @internalsref{ClusterNoteEvent}.
7289 Examples: @inputfileref{input/regression,cluster.ly}.
7293 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7294 accurately. Use @code{<g a>8 <e a>8} instead.
7299 @subsection Fermatas
7305 Contemporary music notation frequently uses special fermata symbols to
7306 indicate fermatas of differing lengths. The following fermatas are
7309 @lilypond[quote,raggedright]
7332 \context Lyrics \lyrics {
7333 \override LyricText #'font-family = #'typewriter
7334 "shortfermata" "fermata" "longfermata" "verylongfermata"
7340 See @ref{Articulations} for general instructions how to apply scripts
7341 such as fermatas to a @code{\notes@{@}} block.
7344 @node Special notation
7345 @section Special notation
7349 * Easy Notation note heads::
7353 @subsection Balloon help
7355 Elements of notation can be marked and named with the help of a square
7356 balloon. The primary purpose of this feature is to explain notation.
7358 The following example demonstrates its use.
7360 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7363 #(add-balloon-text 'NoteHead "heads, or tails?"
7369 The function @code{add-balloon-text} takes the name of a grob, the
7370 label to print and where to put the label relative to the object. In
7371 the above example, the text ``heads or tails?'' ends 3 spaces below
7375 @cindex notation, explaining
7379 Program reference: @internalsref{text-balloon-interface}.
7381 Examples: @inputfileref{input/regression,balloon.ly}.
7383 @node Easy Notation note heads
7384 @subsection Easy Notation note heads
7386 @cindex easy notation
7389 The `easy play' note head includes a name inside the head. It is
7390 used in music for beginners
7392 @lilypond[quote,raggedright,verbatim,staffsize=26]
7397 The command @code{\setEasyHeads} overrides settings for the
7398 @internalsref{NoteHead} object. To make the letters readable, it has
7399 to be printed in a large font size. To print with a larger font, see
7400 @ref{Setting global staff size}.
7405 If you view the result with Xdvi, staff lines may show through the
7406 letters. Printing the PostScript file obtained does produce the
7411 @cindex \setEasyHeads
7412 @code{\setEasyHeads}
7418 Entered music can also be converted to MIDI output. The performance
7419 is intended for proof-hearing the music for errors.
7421 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7422 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7423 marks translate to a fixed fraction of the available MIDI volume
7424 range, crescendi and decrescendi make the volume vary linearly between
7425 their two extremities. The fractions can be adjusted by
7426 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7427 For each type of MIDI instrument, a volume range can be defined. This
7428 gives a basic equalizer control, which can enhance the quality of
7429 the MIDI output remarkably. The equalizer can be controlled by
7430 setting @code{instrumentEqualizer}.
7434 Many musically interesting effects, such as swing, articulation,
7435 slurring, etc., are not translated to MIDI.
7437 The MIDI output allocates a channel for each Staff, and one for global
7438 settings. Hence, the MIDI file should not have more than 15 staves
7439 (or 14 if you do not use drums). Other staves will remain silent.
7444 * MIDI instrument names::
7449 @subsection MIDI block
7453 The MIDI block is analogous to the paper block, but it is somewhat
7454 simpler. The @code{\midi} block can contain
7458 @item a @code{\tempo} definition, and
7459 @item context definitions.
7462 A number followed by a period is interpreted as a real number, so
7463 for setting the tempo for dotted notes, an extra space should be
7464 inserted, for example
7467 \midi @{ \tempo 4 . = 120 @}
7471 @cindex context definition
7473 Context definitions follow precisely the same syntax as within the
7474 \paper block. Translation modules for sound are called performers.
7475 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7478 @node MIDI instrument names
7479 @subsection MIDI instrument names
7481 @cindex instrument names
7482 @cindex @code{Staff.midiInstrument}
7484 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7485 property. The instrument name should be chosen from the list in
7486 @ref{MIDI instruments}.
7490 If the selected string does not exactly match, the default is used,
7491 which is the Grand Piano.