1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
32 * 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::
66 A note is printed by specifying its pitch and then its duration,
68 @lilypond[quote,verbatim,raggedright]
69 { cis'4 d'8 e'16 c'16 }
77 @cindex Note specification
79 @cindex entering notes
81 The most common syntax for pitch entry is used for standard notes and
82 @code{\chordmode} modes. In these modes, pitches may be designated by
83 names. The notes are specified by the letters @code{a} through
84 @code{g}. The octave is formed with notes ranging from @code{c}
85 to @code{b}. The pitch @code{c} is an octave below middle C and the
86 letters span the octave above that C
88 @lilypond[quote,fragment,verbatim]
90 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
93 @cindex note names, Dutch
95 A sharp is formed by adding @code{-is} to the end of a pitch name and
96 a flat is formed by adding @code{-es}. Double sharps and double flats
97 are obtained by adding @code{-isis} or @code{-eses}. These
98 names are the Dutch note names. In Dutch, @code{aes} is contracted to
99 @code{as}, but both forms are accepted. Similarly, both
100 @code{es} and @code{ees} are accepted
102 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
110 There are predefined sets of note names for various other languages.
111 To use them, include the language specific init file. For
112 example: @code{\include "english.ly"}. The available language files
113 and the note names they define are
118 Note Names sharp flat
119 nederlands.ly c d e f g a bes b -is -es
120 english.ly c d e f g a bf b -s/-sharp -f/-flat
122 deutsch.ly c d e f g a b h -is -es
123 norsk.ly c d e f g a b h -iss/-is -ess/-es
124 svenska.ly c d e f g a b h -iss -ess
125 italiano.ly do re mi fa sol la sib si -d -b
126 catalan.ly do re mi fa sol la sib si -d/-s -b
127 espanol.ly do re mi fa sol la sib si -s -b
135 The optional octave specification takes the form of a series of
136 single quote (`@code{'}') characters or a series of comma
137 (`@code{,}') characters. Each @code{'} raises the pitch by one
138 octave; each @code{,} lowers the pitch by an octave
140 @lilypond[quote,raggedright,fragment,verbatim]
141 c' c'' es' g' as' gisis' ais'
144 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
146 Notes can be hidden and unhidden with the following commands
148 @cindex @code{\hideNotes}
150 @cindex @code{\unHideNotes}
156 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
160 @node Chromatic alterations
161 @subsection Chromatic alterations
163 Normally accidentals are printed automatically, but you may also
164 print them manually. A reminder accidental
165 @cindex reminder accidental
167 can be forced by adding an exclamation mark @code{!}
168 after the pitch. A cautionary accidental
169 @cindex cautionary accidental
170 @cindex parenthesized accidental
171 (i.e., an accidental within parentheses) can be obtained by adding the
172 question mark `@code{?}' after the pitch.
174 @lilypond[quote,raggedright,fragment,verbatim]
175 cis' cis' cis'! cis'?
181 The automatic production of accidentals can be tuned in many
182 ways. For more information, refer to @ref{Automatic accidentals}.
187 @subsection Micro tones
189 Half-flats and half-sharps are formed by adding @code{-eh} and
190 @code{-ih}; the following is a series of Cs with increasing pitches
192 @cindex quarter tones
193 @cindex semi-flats, semi-sharps
195 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
196 { ceseh ceh cih cisih }
199 Micro tones are also exported to the MIDI file
204 There are no generally accepted standards for denoting three quarter
205 flats, so LilyPond's symbol does not conform to any standard.
210 A chord is formed by a enclosing a set of pitches in @code{<} and
211 @code{>}. A chord may be followed by a duration, and a set of
212 articulations, just like simple notes
214 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
226 Rests are entered like notes, with the note name @code{r}
228 @lilypond[fragment,quote,raggedright,verbatim]
232 Whole bar rests, centered in middle of the bar,
233 must be done with multi-measure rests. They are discussed in
234 @ref{Multi measure rests}.
237 A rest's vertical position may be explicitly specified by entering a
238 note with the @code{\rest} keyword appended, the rest will be placed at
239 the note's place. This makes manual formatting in polyphonic music
240 easier. Automatic rest collision formatting will leave these rests
243 @lilypond[fragment,quote,raggedright,verbatim]
249 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
256 @cindex Invisible rest
261 An invisible rest (also called a `skip') can be entered like a note
262 with note name `@code{s}' or with @code{\skip @var{duration}}
264 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
265 a4 a4 s4 a4 \skip 1 a4
268 The @code{s} syntax is only available in note mode and chord mode. In
269 other situations, for example, when entering lyrics, you should use
270 the @code{\skip} command
272 @lilypond[quote,raggedright,verbatim]
275 \new Lyrics \lyricmode { \skip 2 bla1 }
279 The skip command is merely an empty musical placeholder. It does not
280 produce any output, not even transparent output.
282 The @code{s} skip command does create @internalsref{Staff} and
283 @internalsref{Voice} when necessary, similar to note and rest
284 commands. For example, the following results in an empty staff.
286 @lilypond[quote,raggedright,verbatim]
290 The fragment @code{@{ \skip 4 @} } would produce an empty page.
294 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
299 @subsection Durations
303 @cindex @code{\longa}
304 @cindex @code{\breve}
305 @cindex @code{\maxima}
308 In Note, Chord, and Lyrics mode, durations are designated by numbers and
309 dots: durations are entered as their reciprocal values. For example, a
310 quarter note is entered using a @code{4} (since it is a 1/4 note), while
311 a half note is entered using a @code{2} (since it is a 1/2 note). For
312 notes longer than a whole you must use the variables @code{\longa} and
317 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
319 r1 r2 r4 r8 r16 r32 r64 r64
325 a\breve*1/2 \autoBeamOff
326 a1 a2 a4 a8 a16 a32 a64 a64
329 r\longa*1/4 r\breve *1/2
330 r1 r2 r4 r8 r16 r32 r64 r64
336 \remove "Clef_engraver"
337 \override StaffSymbol #'transparent = ##t
338 \override TimeSignature #'transparent = ##t
339 \override BarLine #'transparent = ##t
340 \consists "Pitch_squash_engraver"
346 If the duration is omitted then it is set to the previously entered
347 duration. The default for the first note is a quarter note.
349 @lilypond[quote,raggedright,verbatim,fragment]
350 { a a a2 a a4 a a1 a }
355 @node Augmentation dots
356 @subsection Augmentation dots
359 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
360 the number. Double-dotted notes are produced in a similar way.
362 @lilypond[quote,raggedright,fragment,verbatim]
363 a'4 b' c''4. b'8 a'4. b'4.. c''8.
368 Dots are normally moved up to avoid staff lines, except in polyphonic
369 situations. The following commands may be used to force a particular
372 @cindex @code{\dotsUp}
374 @cindex @code{\dotsDown}
376 @cindex @code{\dotsNeutral}
381 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
383 @node Scaling durations
384 @subsection Scaling durations
386 You can alter the length of duration by a fraction @var{N/M}
387 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
388 will not affect the appearance of the notes or rests produced.
390 In the following example, the first three notes take up exactly two
391 beats, but no triplet bracket is printed.
392 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
394 a4*2/3 gis4*2/3 a4*2/3
402 This manual: @ref{Tuplets}
405 @c TODO: I'm not certain that Stems belong here in the manual. -gp
409 Whenever a note is found, a @internalsref{Stem} object is created
410 automatically. For whole notes and rests, they are also created but
415 @cindex @code{\stemUp}
417 @cindex @code{\stemDown}
419 @cindex @code{\stemNeutral}
430 A tie connects two adjacent note heads of the same pitch. The tie in
431 effect extends the length of a note. Ties should not be confused with
432 slurs, which indicate articulation, or phrasing slurs, which indicate
433 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
435 @lilypond[quote,raggedright,fragment,verbatim]
436 e' ~ e' <c' e' g'> ~ <c' e' g'>
439 When a tie is applied to a chord, all note heads whose pitches match
440 are connected. When no note heads match, no ties will be created.
442 A tie is just a way of extending a note duration, similar to the
443 augmentation dot. The following example shows two ways of notating
444 exactly the same concept
446 @lilypond[quote,fragment,raggedright]
447 \time 3/4 c'2. c'2 ~ c'4
451 Ties are used either when the note crosses a bar line, or when dots
452 cannot be used to denote the rhythm. When using ties, larger note
453 values should be aligned to subdivisions of the measure, eg.
455 @lilypond[fragment,quote,raggedright]
457 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
461 If you need to tie a lot of notes over bars, it may be easier to use
462 automatic note splitting (see @ref{Automatic note splitting}). This
463 mechanism automatically splits long notes, and ties them across bar
469 @cindex @code{\tieUp}
471 @cindex @code{\tieDown}
473 @cindex @code{\tieNeutral}
475 @cindex @code{\tieDotted}
477 @cindex @code{\tieSolid}
482 In this manual: @ref{Automatic note splitting}.
484 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
489 Switching staves when a tie is active will not produce a slanted tie.
491 Formatting of ties is a difficult subject. The results are often not
499 @cindex @code{\times}
501 Tuplets are made out of a music expression by multiplying all durations
504 @cindex @code{\times}
506 \times @var{fraction} @var{musicexpr}
510 The duration of @var{musicexpr} will be multiplied by the fraction.
511 The fraction's denominator will be printed over the notes, optionally
512 with a bracket. The most common tuplet is the triplet in which 3
513 notes have the length of 2, so the notes are 2/3 of their written
516 @lilypond[quote,raggedright,fragment,verbatim]
517 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
520 The property @code{tupletSpannerDuration} specifies how long each
521 bracket should last. With this, you can make lots of tuplets while
522 typing @code{\times} only once, thus saving lots of typing. In the next
523 example, there are two triplets shown, while @code{\times} was only
526 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
527 \set tupletSpannerDuration = #(ly:make-moment 1 4)
528 \times 2/3 { c'8 c c c c c }
531 The format of the number is determined by the property
532 @code{tupletNumberFormatFunction}. The default prints only the
533 denominator, but if it is set to the Scheme function
534 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
538 @cindex @code{tupletNumberFormatFunction}
539 @cindex tuplet formatting
544 @cindex @code{\tupletUp}
546 @cindex @code{\tupletDown}
548 @cindex @code{\tupletNeutral}
549 @code{\tupletNeutral}.
553 User manual: @ref{Changing context properties on the fly} for the
557 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
559 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
563 Nested tuplets are not formatted automatically. In this case, outer
564 tuplet brackets should be moved manually, which is demonstrated in
565 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
569 @node Easier music entry
570 @section Easier music entry
573 This section deals with tricks and features of the input language that
574 were added solely to help entering music and finding and correcting
575 mistakes. There are also external tools that make debugging easier.
576 See @ref{Point and click} for more information.
578 It is also possible to enter and edit music using other programs, such as
579 GUI interfaces or MIDI sequencers. Refer to the LilyPond
580 website for more information.
587 * Skipping corrected music::
588 * Automatic note splitting::
594 @node Relative octaves
595 @subsection Relative octaves
597 @cindex relative octave specification
599 Octaves are specified by adding @code{'} and @code{,} to pitch names.
600 When you copy existing music, it is easy to accidentally put a pitch
601 in the wrong octave and hard to find such an error. The relative
602 octave mode prevents these errors by making the mistakes much
603 larger: a single error puts the rest of the piece off by one octave
605 @cindex @code{\relative}
607 \relative @var{startpitch} @var{musicexpr}
614 \relative @var{musicexpr}
617 The octave of notes that appear in @var{musicexpr} are calculated as
618 follows: if no octave changing marks are used, the basic interval
619 between this and the last note is always taken to be a fourth or
620 less. This distance is determined without regarding alterations; a
621 @code{fisis} following a @code{ceses} will be put above the
622 @code{ceses}. In other words, a doubly-augmented fourth is considered
623 a smaller interval than a diminshed fifth, even though the fourth is
624 seven semitones while the fifth is only six semitones.
626 The octave changing marks @code{'} and @code{,} can be added to raise
627 or lower the pitch by an extra octave. Upon entering relative mode,
628 an absolute starting pitch can be specified that will act as the
629 predecessor of the first note of @var{musicexpr}. If no starting pitch
630 is specified, then middle C is used as a start.
632 Here is the relative mode shown in action
633 @lilypond[quote,fragment,raggedright,verbatim]
639 Octave changing marks are used for intervals greater than a fourth
640 @lilypond[quote,raggedright,fragment,verbatim]
646 If the preceding item is a chord, the first note of the chord is used
647 to determine the first note of the next chord
649 @lilypond[quote,raggedright,fragment,verbatim]
657 The pitch after the @code{\relative} contains a note name.
660 The relative conversion will not affect @code{\transpose},
661 @code{\chordmode} or @code{\relative} sections in its argument. To use
662 relative within transposed music, an additional @code{\relative} must
663 be placed inside @code{\transpose}.
666 @subsection Octave check
669 Octave checks make octave errors easier to correct: a note may be
670 followed by @code{=}@var{quotes} which indicates what its absolute
671 octave should be. In the following example,
673 \relative c'' @{ c='' b=' d,='' @}
677 @c take care with @code, adds confusing quotes.
678 the @code{d} will generate a warning, because a @code{d''} is expected
679 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
680 found. In the output, the octave is corrected to be a @code{d''} and
681 the next note is calculated relative to @code{d''} instead of @code{d'}.
685 There is also a syntax that is separate from the notes. The syntax
691 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
692 quotes) in \relative mode. If not, a warning is printed, and the
695 In the example below, the first check passes without incident, since
696 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
697 the second check produces a warning, since the @code{e} is not within
698 a fifth of @code{b'}. The warning message is printed, and the octave
699 is adjusted so that the following notes are in the correct octave
711 The octave of a note following an octave check is determined with
712 respect to the note preceding it. In the next fragment, the last note
713 is a @code{a'}, above middle C. That means that the @code{\octave}
714 check passes successfully, so the check could be deleted without changing
715 the output of the piece.
717 @lilypond[quote,raggedright,verbatim,fragment]
726 @subsection Bar check
730 @cindex @code{barCheckSynchronize}
733 Bar checks help detect errors in the durations. A bar check is
734 entered using the bar symbol, `@code{|}'. Whenever it is encountered
735 during interpretation, it should fall on a measure boundary. If it
736 does not, a warning is printed. In the next example, the second bar
737 check will signal an error
739 \time 3/4 c2 e4 | g2 |
742 Bar checks can also be used in lyrics, for example
747 Twin -- kle | Twin -- kle
752 @cindex @code{skipTypesetting}
754 Failed bar checks are caused by entering incorrect
755 durations. Incorrect durations often completely garble up the score,
756 especially if the score is polyphonic, so a good place to start correcting
757 input is by scanning for failed bar checks and incorrect durations. To
758 speed up this process, the @code{skipTypesetting} feature may be
759 used. It is described in the next section.
762 @cindex @code{pipeSymbol}
764 It is also possible to redefine the meaning of @code{|}. This is done
765 by assigning a music expression to @code{pipeSymbol},
767 @lilypond[quote,raggedright,verbatim]
768 pipeSymbol = \bar "||"
774 @node Skipping corrected music
775 @subsection Skipping corrected music
777 The property @code{Score.skipTypesetting} can be used to switch on and
778 off typesetting completely during the interpretation phase. When
779 typesetting is switched off, the music is processed much more
780 quickly. This can be used to skip over the parts of a score that
781 have already been checked for errors
783 @lilypond[quote,fragment,raggedright,verbatim]
786 \set Score.skipTypesetting = ##t
788 \set Score.skipTypesetting = ##f
792 In polyphonic music, @code{Score.skipTypesetting} will affect all
793 voices and staves, saving even more time.
795 @node Automatic note splitting
796 @subsection Automatic note splitting
798 Long notes can be converted automatically to tied notes. This is done
799 by replacing the @internalsref{Note_heads_engraver} by the
800 @internalsref{Completion_heads_engraver}.
801 In the following examples, notes crossing the bar line are split and tied.
804 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
806 \remove "Note_heads_engraver"
807 \consists "Completion_heads_engraver"
809 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
813 This engraver splits all running notes at the bar line, and inserts
814 ties. One of its uses is to debug complex scores: if the measures are
815 not entirely filled, then the ties exactly show how much each measure
820 Not all durations (especially those containing tuplets) can be
821 represented exactly with normal notes and dots, but the engraver will
826 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
830 Program reference: @internalsref{Completion_heads_engraver}.
834 @section Staff notation
836 This section describes music notation that occurs on staff level,
837 such as key signatures, clefs and time signatures.
839 @cindex Staff notation
850 * Time administration::
851 * Controlling formatting of prefatory matter::
855 @subsection Staff symbol
857 @cindex adjusting staff symbol
859 Notes, dynamic signs, etc., are grouped
860 with a set of horizontal lines, into a staff (plural `staves'). In our
861 system, these lines are drawn using a separate layout object called
865 @cindex staff lines, setting number of
866 @cindex staff lines, setting thickness of
867 @cindex thickness of staff lines, setting
868 @cindex number of staff lines, setting
872 Program reference: @internalsref{StaffSymbol}.
874 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
875 @inputfileref{input/@/test,staff@/-size@/.ly}.
879 If a staff is ended halfway a piece, the staff symbol may not end
880 exactly on the bar line.
884 @subsection Key signature
885 @cindex Key signature
889 The key signature indicates the tonality in which a piece is played. It
890 is denoted by a set of alterations (flats or sharps) at the start of the
894 Setting or changing the key signature is done with the @code{\key}
897 @code{\key} @var{pitch} @var{type}
900 @cindex @code{\minor}
901 @cindex @code{\major}
902 @cindex @code{\minor}
903 @cindex @code{\ionian}
904 @cindex @code{\locrian}
905 @cindex @code{\aeolian}
906 @cindex @code{\mixolydian}
907 @cindex @code{\lydian}
908 @cindex @code{\phrygian}
909 @cindex @code{\dorian}
911 Here, @var{type} should be @code{\major} or @code{\minor} to get
912 @var{pitch}-major or @var{pitch}-minor, respectively.
913 The standard mode names @code{\ionian},
914 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
915 @code{\phrygian}, and @code{\dorian} are also defined.
917 This command sets the context property
918 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
919 can be specified by setting this property directly.
921 Accidentals and key signatures often confuse new users, because
922 unaltered notes get natural signs depending on the key signature. For
923 more information, see @ref{More about pitches}.
927 Program reference: @internalsref{KeyChangeEvent},
928 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
930 @cindex @code{keySignature}
937 The clef indicates which lines of the staff correspond to which
941 The clef can be set with the @code{\clef} command
942 @lilypond[quote,raggedright,fragment,verbatim]
943 { c''2 \clef alto g'2 }
946 Supported clef-names include
947 @c Moved standard clefs to the top /MB
951 @item treble, violin, G, G2
964 G clef on 1st line, so-called French violin clef
969 @cindex mezzosoprano clef
972 @cindex baritone clef
975 @cindex varbaritone clef
986 By adding @code{_8} or @code{^8} to the clef name, the clef is
987 transposed one octave down or up, respectively, and @code{_15} and
988 @code{^15} transposes by two octaves. The argument @var{clefname}
989 must be enclosed in quotes when it contains underscores or digits. For
993 @cindex choral tenor clef
994 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
998 This command is equivalent to setting @code{clefGlyph},
999 @code{clefPosition} (which controls the Y position of the clef),
1000 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
1001 when any of these properties are changed. The following example shows
1002 possibilities when setting properties manually.
1004 @lilypond[quote,raggedright,verbatim]
1006 \set Staff.clefGlyph = #"clefs-F"
1007 \set Staff.clefPosition = #2
1009 \set Staff.clefGlyph = #"clefs-G"
1011 \set Staff.clefGlyph = #"clefs-C"
1013 \set Staff.clefOctavation = #7
1015 \set Staff.clefOctavation = #0
1016 \set Staff.clefPosition = #0
1026 Program reference: @internalsref{Clef}.
1030 @node Ottava brackets
1031 @subsection Ottava brackets
1033 `Ottava' brackets introduce an extra transposition of an octave for
1034 the staff. They are created by invoking the function
1035 @code{set-octavation}
1041 @lilypond[quote,raggedright,verbatim,fragment]
1051 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1052 (for 15ma) as arguments. Internally the function sets the properties
1053 @code{ottavation} (e.g., to @code{"8va"}) and
1054 @code{centralCPosition}. For overriding the text of the bracket, set
1055 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1057 @lilypond[quote,raggedright,verbatim]
1060 \set Staff.ottavation = #"8"
1067 Program reference: @internalsref{OttavaBracket}.
1069 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1070 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1074 @code{set-octavation} will get confused when clef changes happen
1075 during an octavation bracket.
1080 @node Time signature
1081 @subsection Time signature
1082 @cindex Time signature
1084 @cindex @code{\time}
1086 Time signature indicates the metrum of a piece: a regular pattern of
1087 strong and weak beats. It is denoted by a fraction at the start of the
1091 The time signature is set or changed by the @code{\time}
1093 @lilypond[quote,raggedright,fragment,verbatim]
1094 \time 2/4 c'2 \time 3/4 c'2.
1097 The symbol that is printed can be customized with the @code{style}
1098 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1101 @lilypond[fragment,quote,raggedright,verbatim]
1104 \override Staff.TimeSignature #'style = #'()
1111 There are many more options for its layout. See @ref{Ancient time
1112 signatures} for more examples.
1115 This command sets the property @code{timeSignatureFraction},
1116 @code{beatLength} and @code{measureLength} in the @code{Timing}
1117 context, which is normally aliased to @internalsref{Score}. The
1118 property @code{measureLength} determines where bar lines should be
1119 inserted, and how automatic beams should be generated. Changing the
1120 value of @code{timeSignatureFraction} also causes the symbol to be
1123 More options are available through the Scheme function
1124 @code{set-time-signature}. In combination with the
1125 @internalsref{Measure_grouping_engraver}, it will create
1126 @internalsref{MeasureGrouping} signs. Such signs ease reading
1127 rhythmically complex modern music. In the following example, the 9/8
1128 measure is subdivided in 2, 2, 2 and 3. This is passed to
1129 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1131 @lilypond[quote,raggedright,verbatim]
1134 #(set-time-signature 9 8 '(2 2 2 3))
1135 g8[ g] d[ d] g[ g] a8[( bes g]) |
1136 #(set-time-signature 5 8 '(3 2))
1142 \consists "Measure_grouping_engraver"
1150 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1155 Automatic beaming does not use the measure grouping specified with
1156 @code{set-time-signature}.
1158 @node Partial measures
1159 @subsection Partial measures
1162 @cindex partial measure
1163 @cindex measure, partial
1164 @cindex shorten measures
1165 @cindex @code{\partial}
1167 Partial measures, for example in upsteps, are entered using the
1168 @code{\partial} command
1169 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1170 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1173 The syntax for this command is
1175 \partial @var{duration}
1177 This is internally translated into
1179 \set Timing.measurePosition = -@var{length of duration}
1182 The property @code{measurePosition} contains a rational number
1183 indicating how much of the measure has passed at this point.
1187 This command does not take into account grace notes at the start of
1188 the music. When a piece starts with graces notes in the pickup, then
1189 the @code{\partial} should follow the grace notes
1191 @lilypond[verbatim,quote,raggedright,relative,fragment]
1201 @node Unmetered music
1202 @subsection Unmetered music
1206 Bar lines and bar numbers are calculated automatically. For unmetered
1207 music (cadenzas, for example), this is not desirable. By setting
1208 @code{Score.timing} to false, this automatic timing can be switched
1209 off. Empty bar lines,
1216 indicate where line breaks can occur.
1220 @cindex @code{\cadenzaOn}
1222 @cindex @code{\cadenzaOff}
1229 @subsection Bar lines
1233 @cindex measure lines
1237 Bar lines delimit measures, but are also used to indicate repeats.
1238 Normally, they are inserted automatically. Line breaks may only
1239 happen on bar lines.
1241 Special types of bar lines can be forced with the @code{\bar} command
1243 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1247 The following bar types are available
1248 @lilypondfile[raggedright,quote]{bar-lines.ly}
1250 For allowing line breaks, there is a special command,
1254 This will insert an invisible bar line, and allow line breaks at this
1257 In scores with many staves, a @code{\bar} command in one staff is
1258 automatically applied to all staves. The resulting bar lines are
1259 connected between different staves of a @internalsref{StaffGroup}
1261 @lilypond[quote,raggedright,fragment,verbatim]
1263 \context StaffGroup <<
1269 \new Staff { \clef bass c4 g e g }
1271 \new Staff { \clef bass c2 c2 }
1276 The command @code{\bar }@var{bartype} is a short cut for doing
1277 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1278 is set to a string, a bar line of that type is created.
1280 A bar line is created whenever the @code{whichBar} property is set.
1281 At the start of a measure it is set to the contents of
1282 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1283 to override default measure bars.
1285 @cindex @code{whichBar}
1286 @cindex @code{repeatCommands}
1287 @cindex @code{defaultBarType}
1289 You are encouraged to use @code{\repeat} for repetitions. See
1296 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1299 Program reference: @internalsref{BarLine} (created at
1300 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1302 @cindex bar lines at start of system
1303 @cindex start of system
1307 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1310 @node Time administration
1311 @subsection Time administration
1313 Time is administered by the @internalsref{Time_signature_engraver},
1314 which usually lives in the @internalsref{Score} context.
1315 The bookkeeping deals with the following variables
1318 @item currentBarNumber
1322 The length of the measures in the current time signature. For a 4/4
1323 time this is@tie{}1, and for 6/8 it is 3/4.
1325 @item measurePosition
1326 The point within the measure where we currently are. This quantity
1327 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1328 happens, @code{currentBarNumber} is incremented.
1331 If set to true, the above variables are updated for every time
1332 step. When set to false, the engraver stays in the current measure
1336 Timing can be changed by setting any of these variables explicitly.
1337 In the next example, the 4/4 time signature is printed, but
1338 @code{measureLength} is set to 5/4. After a while, the measure is
1339 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1340 the measure, so the next bar line will fall at 2/4 + 3/8.
1342 @lilypond[quote,raggedright,verbatim,relative,fragment]
1343 \set Score.measureLength = #(ly:make-moment 5 4)
1347 \set Score.measurePosition = #(ly:make-moment -3 8)
1353 @node Controlling formatting of prefatory matter
1354 @subsection Controlling formatting of prefatory matter
1356 TODO: Somebody needs to explain this example, but I don't know what
1357 they're trying to do, so it won't be me. -gp
1359 @lilypond[quote,verbatim]
1361 \override Staff.Clef
1362 #'break-visibility = #end-of-line-visible
1363 \override Staff.KeySignature
1364 #'break-visibility = #end-of-line-visible
1365 \set Staff.explicitClefVisibility = #end-of-line-visible
1366 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1368 % We want the time sig to take space, otherwise there is not
1369 % enough white at the start of the line.
1371 \override Staff.TimeSignature #'transparent = ##t
1372 \set Score.defaultBarType = #"empty"
1392 Polyphony in music refers to having more than one voice occuring in
1393 a piece of music. Polyphony in LilyPond refers to having more than
1394 one voice on the same staff.
1397 * Writing polyphonic music::
1400 @node Writing polyphonic music
1401 @subsection Writing polyphonic music
1404 The easiest way to enter fragments with more than one voice on a staff
1405 is to split chords using the separator @code{\\}. You can use it for
1406 small, short-lived voices or for single chords
1410 @lilypond[quote,raggedright,verbatim,fragment]
1411 \context Staff \relative c'' {
1412 c4 << { f d e } \\ { b c2 } >>
1413 c4 << g' \\ b, \\ f' \\ d >>
1417 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1418 voices are sometimes called ``layers'' in other notation packages}
1420 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1421 each of these contexts, vertical direction of slurs, stems, etc., is set
1424 @cindex @code{\voiceOne}
1425 @cindex @code{\voiceFour}
1427 This can also be done by instantiating @internalsref{Voice} contexts
1428 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1429 a stem directions and horizontal shift for each part
1432 @lilypond[quote,raggedright,verbatim]
1435 \new Voice { \voiceOne cis2 b }
1436 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1437 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1441 The command @code{\oneVoice} will revert back to the normal setting.
1442 @cindex @code{\oneVoice}
1445 Normally, note heads with a different number of dots are not merged, but
1446 when the object property @code{merge-differently-dotted} is set in
1447 the @internalsref{NoteCollision} object, they are merged
1448 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1451 \override Staff.NoteCollision
1452 #'merge-differently-dotted = ##t
1454 } \\ { g8.[ f16] g8.[ f16] } >>
1457 Similarly, you can merge half note heads with eighth notes, by setting
1458 @code{merge-differently-headed}
1459 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1462 \override Staff.NoteCollision
1463 #'merge-differently-headed = ##t
1464 c8 c4. } \\ { c2 c2 } >>
1467 LilyPond also vertically shifts rests that are opposite of a stem,
1470 @lilypond[quote,raggedright,fragment,verbatim]
1471 \context Voice << c''4 \\ r4 >>
1479 @cindex @code{\oneVoice}
1481 @cindex @code{\voiceOne}
1483 @cindex @code{\voiceTwo}
1485 @cindex @code{\voiceThree}
1487 @cindex @code{\voiceFour}
1492 @cindex @code{\shiftOn}
1494 @cindex @code{\shiftOnn}
1496 @cindex @code{\shiftOnnn}
1498 @cindex @code{\shiftOff}
1499 @code{\shiftOff}: these commands specify in what chords of the current
1500 voice should be shifted. The outer voices (normally: voice one and
1501 two) have @code{\shiftOff}, while the inner voices (three and four)
1502 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1503 further shift levels.
1506 When LilyPond cannot cope, the @code{force-hshift}
1507 property of the @internalsref{NoteColumn} object and pitched rests can
1508 be used to override typesetting decisions.
1510 @lilypond[quote,verbatim,raggedright]
1517 \once \override NoteColumn #'force-hshift = #1.7
1526 Program reference: the objects responsible for resolving collisions are
1527 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1530 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1531 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1532 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1533 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1534 @inputfileref{input/@/regression,collisions@/.ly}.
1540 When using @code{merge-differently-headed} with an upstem eighth or a
1541 shorter note, and a downstem half note, the eighth note gets the wrong
1544 There is no support for clusters where the same note occurs with
1545 different accidentals in the same chord. In this case, it is
1546 recommended to use enharmonic transcription, or to use special cluster
1547 notation (see @ref{Clusters}).
1552 Beams are used to group short notes into chunks that are aligned with
1553 the metrum. LilyPond normally inserts beams automatically, but if you
1554 wish you may control them manually or changed how beams are automatically
1557 @cindex Automatic beams
1561 * Setting automatic beam behavior::
1565 @node Automatic beams
1566 @subsection Automatic beams
1568 LilyPond inserts beams automatically
1570 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1571 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1574 When these automatic decisions are not good enough, beaming can be
1575 entered explicitly. It is also possible to define beaming patterns
1576 that differ from the defaults.
1578 Individual notes may be marked with @code{\noBeam}, to prevent them
1581 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1582 \time 2/4 c8 c\noBeam c c
1588 Program reference: @internalsref{Beam}.
1592 @subsection Manual beams
1593 @cindex beams, manual
1597 In some cases it may be necessary to override the automatic beaming
1598 algorithm. For example, the autobeamer will not put beams over rests
1599 or bar lines. Such beams are specified manually by marking the begin
1600 and end point with @code{[} and @code{]}
1602 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1604 r4 r8[ g' a r8] r8 g[ | a] r8
1608 @cindex @code{stemLeftBeamCount}
1610 Normally, beaming patterns within a beam are determined automatically.
1611 If necessary, the properties @code{stemLeftBeamCount} and
1612 @code{stemRightBeamCount} can be used to override the defaults. If
1613 either property is set, its value will be used only once, and then it
1616 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1621 \set stemLeftBeamCount = #1
1625 @cindex @code{stemRightBeamCount}
1628 The property @code{subdivideBeams} can be set in order to subdivide
1629 all 16th or shorter beams at beat positions, as defined by the
1630 @code{beatLength} property.
1633 @lilypond[fragment,quote,relative=2,verbatim]
1635 \set subdivideBeams = ##t
1637 \set Score.beatLength = #(ly:make-moment 1 8)
1640 @cindex @code{subdivideBeams}
1642 Normally, line breaks are forbidden when beams cross bar lines. This
1643 behavior can be changed by setting @code{allowBeamBreak}.
1645 @cindex @code{allowBeamBreak}
1646 @cindex beams and line breaks
1648 @cindex beams, kneed
1650 @cindex auto-knee-gap
1655 User manual: @ref{Changing context properties on the fly} for the
1661 @cindex Frenched staves
1662 Kneed beams are inserted automatically, when a large gap is detected
1663 between the note heads. This behavior can be tuned through the object.
1666 Automatically kneed cross-staff beams cannot be used together with
1667 hidden staves. See @ref{Hiding staves}.
1669 Beams do not avoid collisions with symbols around the notes, such as
1670 texts and accidentals.
1675 @node Setting automatic beam behavior
1676 @subsection Setting automatic beam behavior
1678 @cindex @code{autoBeamSettings}
1679 @cindex @code{(end * * * *)}
1680 @cindex @code{(begin * * * *)}
1681 @cindex automatic beams, tuning
1682 @cindex tuning automatic beaming
1684 @c [TODO: use \applycontext]
1686 In normal time signatures, automatic beams can start on any note but can
1687 only end in a few positions within the measure: beams can end on a beat,
1688 or at durations specified by the properties in
1689 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1690 are defined in @file{scm/@/auto@/-beam@/.scm}.
1692 The value of @code{autoBeamSettings} is changed with two functions,
1694 #(override-auto-beam-setting
1695 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1697 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1699 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1700 @var{context} is an optional context (default: @code{'Voice}). It
1701 determines whether the rule applies to begin or end-points. The
1702 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1703 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1704 to a time signature (wildcards `@code{* *}' may be entered to
1705 designate all time signatures), @var{a}/@var{b} is a duration. By
1706 default, this command changes settings for the current voice. It is
1707 also possible to adjust settings at higher contexts, by adding a
1708 @var{context} argument.
1710 For example, if automatic beams should end on every quarter note, use
1713 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1715 Since the duration of a quarter note is 1/4 of a whole note, it is
1716 entered as @code{(ly:make-moment 1 4)}.
1718 The same syntax can be used to specify beam starting points. In this
1719 example, automatic beams can only end on a dotted quarter note
1721 #(override-auto-beam-setting '(end * * * *) 3 8)
1723 In 4/4 time signature, this means that automatic beams could end only on
1724 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1725 3/8, has passed within the measure).
1727 Rules can also be restricted to specific time signatures. A rule that
1728 should only be applied in @var{N}/@var{M} time signature is formed by
1729 replacing the second asterisks by @var{N} and @var{M}. For example, a
1730 rule for 6/8 time exclusively looks like
1732 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1735 If a rule should be to applied only to certain types of beams, use the
1736 first pair of asterisks. Beams are classified according to the
1737 shortest note they contain. For a beam ending rule that only applies
1738 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1741 @cindex automatic beam generation
1743 @cindex @code{autoBeaming}
1746 If beams are used to indicate melismata in songs, then automatic
1747 beaming should be switched off. This is done by setting
1748 @code{autoBeaming} to @code{#f}.
1752 @cindex @code{\autoBeamOff}
1753 @code{\autoBeamOff},
1754 @cindex @code{\autoBeamOn}
1760 If a score ends while an automatic beam has not been ended and is
1761 still accepting notes, this last beam will not be typeset at all. The
1762 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1763 >>}. If a polyphonic voice ends while an automatic beam is still
1764 accepting notes, it is not typeset.
1766 The rules for ending a beam depend on the shortest note in a beam.
1767 So, while it is possible to have different ending rules for eight
1768 beams and sixteenth beams, a beam that contains both eight and
1769 sixteenth notes will use the rules for the sixteenth beam.
1771 In the example below, the autobeamer makes eighth beams and sixteenth
1772 end at three eighths. The third beam can only be corrected by
1773 specifying manual beaming.
1775 @lilypond[quote,raggedright,fragment,relative=1]
1776 #(override-auto-beam-setting '(end * * * *) 3 8)
1777 % rather show case where it goes wrong
1778 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1779 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1781 It is not possible to specify beaming parameters that act differently in
1782 different parts of a measure. This means that it is not possible to use
1783 automatic beaming in irregular meters such as @code{5/8}.
1785 @node Beam formatting
1786 @subsection Beam formatting
1789 When a beam falls in the middle of the staff, the beams point normally
1790 down. However, this behaviour can be altered with the
1791 @code{neutral-direction} property.
1794 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1797 \override Beam #'neutral-direction = #-1
1799 \override Beam #'neutral-direction = #1
1806 @section Accidentals
1808 This section describes how to change the way that accidentals are
1809 inserted automatically before notes.
1812 * Automatic accidentals::
1815 @node Automatic accidentals
1816 @subsection Automatic accidentals
1817 @cindex Automatic accidentals
1819 Common rules for typesetting accidents have been placed in a
1820 function. This function is called as follows
1822 @cindex @code{set-accidental-style}
1824 #(set-accidental-style 'STYLE #('CONTEXT#))
1827 The function can take two arguments: the name of the accidental style,
1828 and an optional argument that denotes the context which should be
1829 changed. If no context name is supplied, @code{Staff} is the default,
1830 but you may wish to apply the accidental style to a single @code{Voice}
1833 The following accidental styles are supported
1836 This is the default typesetting behavior. It corresponds
1837 to 18th century common practice: Accidentals are
1838 remembered to the end of the measure in which they occur and
1839 only on their own octave.
1842 The normal behavior is to remember the accidentals on
1843 Staff-level. This variable, however, typesets accidentals
1844 individually for each voice. Apart from that, the rule is similar to
1847 As a result, accidentals from one voice do not get canceled in other
1848 voices, which is often an unwanted result
1850 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1852 #(set-accidental-style 'voice)
1859 The @code{voice} option should be used if the voices
1860 are to be read solely by individual musicians. If the staff is to be
1861 used by one musician (e.g., a conductor) then
1862 @code{modern} or @code{modern-cautionary}
1863 should be used instead.
1866 @cindex @code{modern} style accidentals
1867 This rule corresponds to the common practice in the 20th century. This rule
1868 prints the same accidentals as @code{default}, but temporary
1869 accidentals also are canceled in other octaves. Furthermore,
1870 in the same octave, they also get canceled in the following
1873 @lilypond[quote,raggedright,fragment,verbatim]
1874 #(set-accidental-style 'modern)
1875 cis' c'' cis'2 | c'' c'
1878 @item @code{modern-cautionary}
1879 @cindex @code{modern-cautionary}
1880 This rule is similar to @code{modern}, but the ``extra'' accidentals
1881 (the ones not typeset by @code{default}) are typeset as cautionary
1882 accidentals. They are printed in reduced size or with parentheses
1883 @lilypond[quote,raggedright,fragment,verbatim]
1884 #(set-accidental-style 'modern-cautionary)
1885 cis' c'' cis'2 | c'' c'
1888 @cindex @code{modern-voice}
1890 This rule is used for multivoice accidentals to be read both by musicians
1891 playing one voice and musicians playing all voices. Accidentals are
1892 typeset for each voice, but they @emph{are} canceled across voices in
1893 the same @internalsref{Staff}.
1895 @cindex @code{modern-voice-cautionary}
1896 @item modern-voice-cautionary
1897 This rule is the same as @code{modern-voice}, but with the extra
1898 accidentals (the ones not typeset by @code{voice}) typeset
1899 as cautionaries. Even though all accidentals typeset by
1900 @code{default} @emph{are} typeset by this variable then
1901 some of them are typeset as cautionaries.
1904 @cindex @code{piano} accidentals
1905 This rule reflects 20th century practice for piano notation. Very similar to
1906 @code{modern} but accidentals also get canceled
1907 across the staves in the same @internalsref{GrandStaff} or
1908 @internalsref{PianoStaff}.
1910 @item piano-cautionary
1911 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1912 As @code{#(set-accidental-style 'piano)} but with the extra accidentals
1913 typeset as cautionaries.
1916 @cindex @code{no-reset} accidental style
1917 This is the same as @code{default} but with accidentals lasting
1918 ``forever'' and not only until the next measure
1919 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1920 #(set-accidental-style 'no-reset)
1925 This is sort of the opposite of @code{no-reset}: Accidentals
1926 are not remembered at all---and hence all accidentals are
1927 typeset relative to the key signature, regardless of what was
1930 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1931 #(set-accidental-style 'forget)
1932 \key d\major c4 c cis cis d d dis dis
1939 Program reference: @internalsref{Accidental_engraver},
1940 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1945 Simultaneous notes are considered to be entered in sequential
1946 mode. This means that in a chord the accidentals are typeset as if the
1947 notes in the chord happened once at a time - in the order in which
1948 they appear in the input file.
1950 This is a problem when accidentals in a chord depend on each other,
1951 which does not happen for the default accidental style. The problem
1952 can be solved by manually inserting @code{!} and @code{?} for the
1956 @node Expressive marks
1957 @section Expressive marks
1960 @c todo: should change ordering
1961 @c where to put text spanners, metronome marks,
1964 Expressive marks help musicians to bring more to the music than simple
1974 * Analysis brackets::
1977 * Fingering instructions::
1987 A slur indicates that notes are to be played bound or @emph{legato}.
1989 They are entered using parentheses
1990 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1991 f( g a) a8 b( a4 g2 f4)
1995 The direction of a slur can be set with the
1999 \override Slur #'direction = #UP
2000 \slurUp % shortcut for the previous line
2004 However, there is a convenient shorthand for forcing slur
2005 directions. By adding @code{_} or @code{^} before the opening
2006 parentheses, the direction is also set. For example,
2008 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2012 Some composers write two slurs when they want legato chords. This can
2013 be achieved in LilyPond by setting @code{doubleSlurs},
2015 @lilypond[verbatim,raggedright,relative,fragment,quote]
2016 \set doubleSlurs = ##t
2017 <c e>4 ( <d f> <c e> <d f> )
2024 @cindex @code{\slurUp}
2026 @cindex @code{\slurDown}
2028 @cindex @code{\slurNeutral}
2029 @code{\slurNeutral},
2030 @cindex @code{\slurDotted}
2032 @cindex @code{\slurSolid}
2037 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2040 @node Phrasing slurs
2041 @subsection Phrasing slurs
2043 @cindex phrasing slurs
2044 @cindex phrasing marks
2046 A phrasing slur (or phrasing mark) connects chords and is used to
2047 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2050 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2051 \time 6/4 c'\( d( e) f( e) d\)
2054 Typographically, the phrasing slur behaves almost exactly like a
2055 normal slur. However, they are treated as different objects. A
2056 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2057 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2058 @code{\phrasingSlurNeutral}.
2060 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2061 will only affect normal slurs and not phrasing slurs.
2065 @cindex @code{\phrasingSlurUp}
2066 @code{\phrasingSlurUp},
2067 @cindex @code{\phrasingSlurDown}
2068 @code{\phrasingSlurDown},
2069 @cindex @code{\phrasingSlurNeutral}
2070 @code{\phrasingSlurNeutral}.
2074 Program reference: see also @internalsref{PhrasingSlur}, and
2075 @internalsref{PhrasingSlurEvent}.
2079 Putting phrasing slurs over rests leads to spurious warnings.
2082 @subsection Breath marks
2084 Breath marks are entered using @code{\breathe}
2087 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2091 The glyph of the breath mark can be tuned by overriding the
2092 @code{text} property of the @code{BreathingSign} layout object with
2093 any markup text. For example,
2094 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2096 \override BreathingSign #'text
2097 = #(make-musicglyph-markup "scripts-rvarcomma")
2104 Program reference: @internalsref{BreathingSign},
2105 @internalsref{BreathingSignEvent}.
2107 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2110 @node Metronome marks
2111 @subsection Metronome marks
2114 @cindex beats per minute
2115 @cindex metronome marking
2117 Metronome settings can be entered as follows
2119 \tempo @var{duration} = @var{per-minute}
2122 In the MIDI output, they are interpreted as a tempo change. In the
2123 layout output, a metronome marking is printed
2124 @cindex @code{\tempo}
2125 @lilypond[quote,raggedright,verbatim,fragment]
2131 Program reference: @internalsref{MetronomeChangeEvent}.
2135 @subsection Text scripts
2136 @cindex Text scripts
2138 @cindex text items, non-empty
2139 @cindex non-empty texts
2141 It is possible to place arbitrary strings of text or markup text (see
2142 @ref{Text markup}) above or below notes by using a string
2143 @code{c^"text"}. By default, these indications do not influence the
2144 note spacing, but by using the command @code{\fatText}, the widths
2145 will be taken into account
2147 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2148 c4^"longtext" \fatText c4_"longlongtext" c4
2151 More complex formatting may also be added to a note by using the
2153 @lilypond[fragment,raggedright,verbatim,quote]
2154 c'4^\markup { bla \bold bla }
2157 The @code{\markup} is described in more detail in
2163 @cindex @code{\fatText}
2165 @cindex @code{\emptyText}
2170 In this manual: @ref{Text markup}.
2172 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2176 @subsection Text spanners
2177 @cindex Text spanners
2179 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
2180 are written as text and are extended over many measures with dotted
2181 lines. Such texts are created using text spanners; attach
2182 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2183 notes of the spanner.
2185 The string to be printed, as well as the style, is set through object
2188 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2190 \override TextSpanner #'direction = #-1
2191 \override TextSpanner #'edge-text = #'("rall " . "")
2192 c2\startTextSpan b c\stopTextSpan a
2198 Internals @internalsref{TextSpanEvent},
2199 @internalsref{TextSpanner}.
2201 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
2204 @node Analysis brackets
2205 @subsection Analysis brackets
2207 @cindex phrasing brackets
2208 @cindex musicological analysis
2209 @cindex note grouping bracket
2211 Brackets are used in musical analysis to indicate structure in musical
2212 pieces. LilyPond supports a simple form of nested horizontal
2213 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2214 to @internalsref{Staff} context. A bracket is started with
2215 @code{\startGroup} and closed with @code{\stopGroup}
2217 @lilypond[quote,raggedright,verbatim]
2220 c4\startGroup\startGroup
2223 c4\stopGroup\stopGroup
2227 \Staff \consists "Horizontal_bracket_engraver"
2233 Program reference: @internalsref{HorizontalBracket},
2234 @internalsref{NoteGroupingEvent}.
2236 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2240 @subsection Articulations
2241 @cindex Articulations
2243 @cindex articulations
2247 A variety of symbols can appear above and below notes to indicate
2248 different characteristics of the performance. They are added to a note
2249 by adding a dash and the character signifying the
2250 articulation. They are demonstrated here
2252 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2254 The meanings of these shorthands can be changed. See
2255 @file{ly/@/script@/-init@/.ly} for examples.
2258 The script is automatically placed, but the direction can be forced as
2259 well. Like other pieces of LilyPond code, @code{_} will place them
2260 below the staff, and @code{^} will place them above.
2263 @lilypond[quote,raggedright,fragment,verbatim]
2267 Other symbols can be added using the syntax
2268 @var{note}@code{\}@var{name}. Again, they
2269 can be forced up or down using @code{^} and @code{_},
2272 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2273 c\fermata c^\fermata c_\fermata
2280 @cindex staccatissimo
2289 @cindex organ pedal marks
2298 @cindex prallmordent
2302 @cindex thumb marking
2307 Here is a chart showing all scripts available,
2309 @lilypondfile[raggedright,quote]{script-chart.ly}
2312 The vertical ordering of scripts is controlled with the
2313 @code{script-priority} property. The lower this number, the closer it
2314 will be put to the note. In this example, the
2315 @internalsref{TextScript} (the sharp symbol) first has the lowest
2316 priority, so it is put lowest in the first example. In the second, the
2317 prall trill (the @internalsref{Script}) has the lowest, so it on the
2318 inside. When two objects have the same priority, the order in which
2319 they are entered decides which one comes first.
2322 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2323 \once \override TextScript #'script-priority = #-100
2324 a4^\prall^\markup { \sharp }
2326 \once \override Script #'script-priority = #-100
2327 a4^\prall^\markup { \sharp }
2335 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2339 These signs appear in the printed output but have no effect on the
2340 MIDI rendering of the music.
2344 @node Running trills
2345 @subsection Running trills
2347 Long running trills are made with @code{\startTrillSpan} and
2348 @code{\stopTrillSpan},
2351 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2353 << { c1 \startTrillSpan }
2354 { s2. \grace { d16[\stopTrillSpan e] } } >>
2360 @code{\startTrillSpan},
2361 @cindex @code{\startTrillSpan}
2362 @code{\stopTrillSpan}.
2363 @cindex @code{\stopTrillSpan}
2367 Program reference: @internalsref{TrillSpanner},
2368 @internalsref{TrillSpanEvent}.
2370 @node Fingering instructions
2371 @subsection Fingering instructions
2375 Fingering instructions can be entered using
2377 @var{note}-@var{digit}
2379 For finger changes, use markup texts
2381 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2383 c^\markup { \finger "2-3" }
2386 @cindex finger change
2391 You can use the thumb-script to indicate that a note should be
2392 played with the thumb (e.g., in cello music)
2394 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2395 <a_\thumb a'-3>8 <b_\thumb b'-3>
2398 Fingerings for chords can also be added to individual notes
2399 of the chord by adding them after the pitches
2400 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2401 < c-1 e-2 g-3 b-5 >4
2405 In this case, setting @code{fingeringOrientations} will put fingerings next
2408 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2409 \set fingeringOrientations = #'(left down)
2410 <c-1 es-2 g-4 bes-5 > 4
2411 \set fingeringOrientations = #'(up right down)
2412 <c-1 es-2 g-4 bes-5 > 4
2415 Using this feature, it is also possible to put fingering instructions
2416 very close to note heads in monophonic music,
2418 @lilypond[verbatim,raggedright,quote,fragment]
2419 \set fingeringOrientations = #'(right)
2426 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2428 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2434 @subsection Grace notes
2437 @c should have blurb about accaciatura / appogiatura
2439 @cindex @code{\grace}
2443 Grace notes are ornaments that are written out. The most common ones
2444 are acciaccatura, which should be played as very short. It is denoted
2445 by a slurred small note with a slashed stem. The appoggiatura is a
2446 grace note that takes a fixed fraction of the main note, and is
2447 denoted as a slurred note in small print without a slash. They
2448 are entered with the commands @code{\acciaccatura} and
2449 @code{\appoggiatura}, as demonstrated in the following example
2452 @cindex appoggiatura
2453 @cindex acciaccatura
2455 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2456 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2457 \acciaccatura { g16[ f] } e4
2460 Both are special forms of the @code{\grace} command. By prefixing this
2461 keyword to a music expression, a new one is formed, which will be
2462 printed in a smaller font and takes up no logical time in a measure.
2464 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2466 \grace { c16[ d16] } c2 c4
2470 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2471 @code{\grace} command does not start a slur.
2473 Internally, timing for grace notes is done using a second, `grace'
2474 time. Every point in time consists of two rational numbers: one
2475 denotes the logical time, one denotes the grace timing. The above
2476 example is shown here with timing tuples
2478 @lilypond[quote,raggedright]
2481 c4 \grace c16 c4 \grace {
2484 \new Lyrics \lyricmode {
2485 \override LyricText #'font-family = #'typewriter
2489 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2490 \markup { (\fraction 1 4 , 0 ) } 4
2492 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2493 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2495 \markup { ( \fraction 2 4 , 0 ) }
2501 The placement of grace notes is synchronized between different staves.
2502 In the following example, there are two sixteenth graces notes for
2503 every eighth grace note
2505 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2506 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2507 \new Staff { c4 \grace { g8[ b] } c4 } >>
2512 If you want to end a note with a grace, the standard trick is to put
2513 the grace notes after a ``space note''
2515 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2518 { s2 \grace { c16[ d] } } >>
2524 By adjusting the duration of the skip note (here it is a half-note),
2525 the space between the main-note and the grace is adjusted.
2528 A @code{\grace} section will introduce special typesetting settings,
2529 for example, to produce smaller type, and set directions. Hence, when
2530 introducing layout tweaks, they should be inside the grace section,
2532 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2544 The overrides should also be reverted inside the grace section.
2546 The layout of grace sections can be changed throughout the music using
2547 the function @code{add-grace-property}. The following example
2548 undefines the Stem direction for this grace, so stems do not always
2553 #(add-grace-property 'Voice 'Stem 'direction '())
2559 Another option is to change the variables @code{startGraceMusic},
2560 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2561 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2562 @code{stopAppoggiaturaMusic}. More information is in the file
2563 @file{ly/@/grace@/-init@/.ly}.
2568 Program reference: @internalsref{GraceMusic}.
2572 A score that starts with a @code{\grace} section needs an explicit
2573 @code{\context Voice} declaration, otherwise the main note and grace
2574 note end up on different staves.
2576 Grace note synchronization can also lead to surprises. Staff notation,
2577 such as key signatures, bar lines, etc., are also synchronized. Take
2578 care when you mix staves with grace notes and staves without, for example,
2580 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2581 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2582 \new Staff { c4 \bar "|:" d4 } >>
2586 This can be remedied by inserting grace skips, for the above example
2589 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2592 Grace sections should only be used within sequential music
2593 expressions. Nesting or juxtaposing grace sections is not supported,
2594 and might produce crashes or other errors.
2598 @subsection Glissando
2601 @cindex @code{\glissando}
2603 A glissando is a smooth change in pitch. It is denoted by a line or a
2604 wavy line between two notes. It is requested by attaching
2605 @code{\glissando} to a note
2607 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2613 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2615 Example files: @file{input/@/regression/@/glissando@/.ly}.
2621 Printing text over the line (such as @emph{gliss.}) is not supported.
2625 @subsection Dynamics
2638 @cindex @code{\ffff}
2648 Absolute dynamic marks are specified using a command after a note
2649 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2650 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2651 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2652 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2654 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2655 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2656 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2665 A crescendo mark is started with @code{\<} and terminated with
2666 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2667 with @code{\!}. Because these marks are bound to notes, if you must
2668 use spacer notes if multiple marks are needed during one note
2670 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2672 << f1 { s4 s4\< s4\! \> s4\! } >>
2674 This may give rise to very short hairpins. Use @code{minimum-length}
2675 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2679 \override Staff.Hairpin #'minimum-length = #5
2682 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2683 is an example how to do it
2685 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2695 You can also supply your own texts
2696 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2697 \set crescendoText = \markup { \italic "cresc. poco" }
2698 \set crescendoSpanner = #'dashed-line
2707 @cindex @code{\dynamicUp}
2709 @cindex @code{\dynamicDown}
2710 @code{\dynamicDown},
2711 @cindex @code{\dynamicNeutral}
2712 @code{\dynamicNeutral}.
2714 @cindex direction, of dynamics
2718 Program reference: @internalsref{CrescendoEvent},
2719 @internalsref{DecrescendoEvent}, and
2720 @internalsref{AbsoluteDynamicEvent}.
2722 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2723 objects. Vertical positioning of these symbols is handled by the
2724 @internalsref{DynamicLineSpanner} object.
2730 Repetition is a central concept in music, and multiple notations exist
2736 * Repeats and MIDI::
2737 * Manual repeat commands::
2739 * Tremolo subdivisions::
2744 @subsection Repeat types
2747 @cindex @code{\repeat}
2749 The following types of repetition are supported
2753 Repeated music is fully written (played) out. This is useful when
2754 entering repetitious music. This is the only kind of repeat that
2755 is included in MIDI output.
2758 Repeats are not written out, but alternative endings (volte) are
2759 printed, left to right with brackets. This is the standard notation
2760 for repeats with alternatives. These are not played in MIDI output by default.
2764 Alternative endings are written stacked. This has limited use but may be
2765 used to typeset two lines of lyrics in songs with repeats, see
2766 @inputfileref{input,star-spangled-banner@/.ly}.
2771 Make tremolo beams. These are not played in MIDI output by default.
2774 Make beat or measure repeats. These look like percent signs. These are not played
2775 in MIDI output by default.
2780 @subsection Repeat syntax
2783 LilyPond has one syntactic construct for specifying different types of
2784 repeats. The syntax is
2787 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2790 If you have alternative endings, you may add
2791 @cindex @code{\alternative}
2793 \alternative @{ @var{alternative1}
2795 @var{alternative3} @dots{} @}
2797 where each @var{alternative} is a music expression. If you do not
2798 give enough alternatives for all of the repeats, the first alternative
2799 is assumed to be played more than once.
2801 Standard repeats are used like this
2802 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2804 \repeat volta 2 { c4 d e f }
2805 \repeat volta 2 { f e d c }
2808 With alternative endings
2809 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2811 \repeat volta 2 {c4 d e f}
2812 \alternative { {d2 d} {f f,} }
2816 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2819 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2820 \alternative { { g4 g g } { a | a a a a | b2. } }
2824 It is possible to shorten volta brackets
2825 by setting @code{voltaSpannerDuration}. In the next example, the
2826 bracket only lasts one measure, which is a duration of 3/4.
2830 @lilypond[verbatim,raggedright,quote]
2834 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2835 \repeat "volta" 5 { d d d }
2836 \alternative { { e e e f f f }
2846 Brackets for the repeat are normally only printed over the topmost
2847 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2848 property @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly},
2849 @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}
2854 A nested repeat like
2863 is ambiguous, since it is is not clear to which @code{\repeat} the
2864 @code{\alternative} belongs. This ambiguity is resolved by always
2865 having the @code{\alternative} belong to the inner @code{\repeat}.
2866 For clarity, it is advisable to use braces in such situations.
2871 Timing information is not remembered at the start of an alternative,
2872 so after a repeat timing information must be reset by hand, for
2873 example by setting @code{Score.measurePosition} or entering
2874 @code{\partial}. Similarly, slurs or ties are also not repeated.
2879 @node Repeats and MIDI
2880 @subsection Repeats and MIDI
2882 @cindex expanding repeats
2884 With a little bit of tweaking, all types of repeats can be present
2885 in the MIDI output. This is achieved by applying the
2886 @code{\unfoldrepeats} music function. This functions changes all
2887 repeats to unfold repeats.
2889 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2891 \repeat tremolo 8 {c'32 e' }
2892 \repeat percent 2 { c''8 d'' }
2893 \repeat volta 2 {c'4 d' e' f'}
2902 When creating a score file using @code{\unfoldrepeats} for midi, then
2903 it is necessary to make two @code{\score} blocks. One for MIDI (with
2904 unfolded repeats) and one for notation (with volta, tremolo, and
2905 percent repeats). For example,
2913 \unfoldrepeats @var{..music..}
2918 @node Manual repeat commands
2919 @subsection Manual repeat commands
2921 @cindex @code{repeatCommands}
2923 The property @code{repeatCommands} can be used to control the layout of
2924 repeats. Its value is a Scheme list of repeat commands.
2927 @item @code{start-repeat}
2928 Print a @code{|:} bar line.
2930 @item @code{end-repeat}
2931 Print a @code{:|} bar line.
2933 @item @code{(volta @var{text})}
2934 Print a volta bracket saying @var{text}: The text can be specified as
2935 a text string or as a markup text, see @ref{Text markup}. Do not
2936 forget to change the font, as the default number font does not contain
2937 alphabetic characters;
2939 @item @code{(volta #f)}
2940 Stop a running volta bracket.
2943 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2945 \set Score.repeatCommands = #'((volta "93") end-repeat)
2947 \set Score.repeatCommands = #'((volta #f))
2955 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2956 @internalsref{VoltaRepeatedMusic},
2957 @internalsref{UnfoldedRepeatedMusic}, and
2958 @internalsref{FoldedRepeatedMusic}.
2960 @node Tremolo repeats
2961 @subsection Tremolo repeats
2962 @cindex tremolo beams
2964 To place tremolo marks between notes, use @code{\repeat} with tremolo
2966 @lilypond[quote,verbatim,raggedright]
2967 \new Voice \relative c' {
2968 \repeat "tremolo" 8 { c16 d16 }
2969 \repeat "tremolo" 4 { c16 d16 }
2970 \repeat "tremolo" 2 { c16 d16 }
2974 Tremolo marks can also be put on a single note. In this case, the
2975 note should not be surrounded by braces.
2976 @lilypond[quote,verbatim,raggedright]
2977 \repeat "tremolo" 4 c'16
2980 Similar output is obtained using the tremolo subdivision, described in
2981 @ref{Tremolo subdivisions}.
2985 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2987 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2988 tremolos are @internalsref{StemTremolo} objects. The music expression is
2989 @internalsref{TremoloEvent}.
2991 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
2992 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
2994 @node Tremolo subdivisions
2995 @subsection Tremolo subdivisions
2996 @cindex tremolo marks
2997 @cindex @code{tremoloFlags}
2999 Tremolo marks can be printed on a single note by adding
3000 `@code{:}[@var{number}]' after the note. The number indicates the
3001 duration of the subdivision, and it must be at least 8. A
3002 @var{length} value of 8 gives one line across the note stem. If the
3003 length is omitted, the last value (stored in @code{tremoloFlags}) is
3006 @lilypond[quote,raggedright,verbatim,fragment]
3007 c'2:8 c':32 | c': c': |
3010 @c [TODO: stok is te kort bij 32en]
3011 @c somebody want to translate that into English?
3012 @c `Stem is too short for 32nds' (wl)
3016 Tremolos entered in this way do not carry over into the MIDI output.
3020 In this manual: @ref{Tremolo repeats}.
3022 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3024 @node Measure repeats
3025 @subsection Measure repeats
3027 @cindex percent repeats
3028 @cindex measure repeats
3030 In the @code{percent} style, a note pattern can be repeated. It is
3031 printed once, and then the pattern is replaced with a special sign.
3032 Patterns of one and two measures are replaced by percent-like signs,
3033 patterns that divide the measure length are replaced by slashes
3035 @lilypond[quote,verbatim,raggedright]
3036 \new Voice \relative c' {
3037 \repeat "percent" 4 { c4 }
3038 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3044 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3045 @internalsref{PercentRepeatedMusic}, and
3046 @internalsref{DoublePercentRepeat}.
3050 @node Rhythmic music
3051 @section Rhythmic music
3053 Rhythmic music is primarily used for percussion and drum notation, but it can
3054 also be used to show the rhythms of melodies.
3057 * Showing melody rhythms::
3058 * Entering percussion::
3059 * Percussion staves::
3063 @node Showing melody rhythms
3064 @subsection Showing melody rhythms
3066 Sometimes you might want to show only the rhythm of a melody. This
3067 can be done with the rhythmic staff. All pitches of notes on such a
3068 staff are squashed, and the staff itself has a single line
3070 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3071 \context RhythmicStaff {
3073 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3079 Program reference: @internalsref{RhythmicStaff}.
3081 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
3084 @node Entering percussion
3085 @subsection Entering percussion
3091 Percussion notes may be entered in @code{\drummode} mode, which is
3092 similar to the standard mode for entering notes. Each piece of
3093 percussion has a full name and an abbreviated name, and both can be used
3096 @lilypond[quote,raggedright,verbatim]
3098 hihat hh bassdrum bd
3102 The complete list of drum names is in the init file
3103 @file{ly/@/drumpitch@/-init@/.ly}.
3104 @c TODO: properly document this.
3108 Program reference: @internalsref{DrumNoteEvent}.
3110 @node Percussion staves
3111 @subsection Percussion staves
3115 A percussion part for more than one instrument typically uses a
3116 multi line staff where each position in the staff refers to one piece
3120 To typeset the music, the notes must be interpreted in a
3121 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3124 @lilypond[quote,raggedright,verbatim]
3125 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3126 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3128 \new DrumVoice { \voiceOne \up }
3129 \new DrumVoice { \voiceTwo \down }
3133 The above example shows verbose polyphonic notation. The short
3134 polyphonic notation, described in @ref{Polyphony}, can also be used if
3135 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3137 @lilypond[quote,raggedright,fragment,verbatim]
3139 \context DrumVoice = "1" { s1 *2 }
3140 \context DrumVoice = "2" { s1 *2 }
3144 { \repeat unfold 16 hh16 }
3153 There are also other layout possibilities. To use these, set the
3154 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3155 The following variables have been predefined
3159 This is the default. It typesets a typical drum kit on a five-line staff
3161 @lilypond[quote,linewidth=10.0\cm]
3163 cymc cyms cymr hh hhc hho hhho hhp
3164 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
3166 cymc cyms cymr hh hhc hho hhho hhp \break
3167 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3169 << \new DrumStaff \with {
3170 \remove Bar_engraver
3171 \remove Time_signature_engraver
3172 \override Stem #'transparent = ##t
3173 \override Stem #'Y-extent-callback = ##f
3174 minimumVerticalExtent = #'(-4.0 . 5.0)
3176 \context Lyrics \nam
3181 \override LyricText #'font-family = #'typewriter
3182 \override BarNumber #'transparent =##T
3188 The drum scheme supports six different toms. When there fewer toms, simply
3189 select the toms that produce the desired result, i.e., to get toms on
3190 the three middle lines you use @code{tommh}, @code{tomml} and
3193 @item timbales-style
3194 This typesets timbales on a two line staff
3196 @lilypond[quote,raggedright]
3197 nam = \lyricmode { timh ssh timl ssl cb }
3198 mus = \drummode { timh ssh timl ssl cb s16 }
3201 \context DrumStaff \with {
3202 \remove Bar_engraver
3203 \remove Time_signature_engraver
3204 \override Stem #'transparent = ##t
3205 \override Stem #'Y-extent-callback = ##f
3206 \override StaffSymbol #'line-count = #2
3207 \override StaffSymbol #'staff-space = #2
3208 minimumVerticalExtent = #'(-3.0 . 4.0)
3209 drumStyleTable = #timbales-style
3212 \override LyricText #'font-family = #'typewriter
3219 This typesets congas on a two line staff
3221 @lilypond[quote,raggedright]
3222 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3223 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3226 \context DrumStaff \with {
3227 \remove Bar_engraver
3228 \remove Time_signature_engraver
3229 drumStyleTable = #congas-style
3230 \override StaffSymbol #'line-count = #2
3232 %% this sucks; it will lengthen stems.
3233 \override StaffSymbol #'staff-space = #2
3234 \override Stem #'transparent = ##t
3235 \override Stem #'Y-extent-callback = ##f
3238 \override LyricText #'font-family = #'typewriter
3245 This typesets bongos on a two line staff
3247 @lilypond[quote,raggedright]
3248 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3249 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3252 \context DrumStaff\with {
3253 \remove Bar_engraver
3254 \remove Time_signature_engraver
3255 \override StaffSymbol #'line-count = #2
3256 drumStyleTable = #bongos-style
3258 %% this sucks; it will lengthen stems.
3259 \override StaffSymbol #'staff-space = #2
3260 \override Stem #'transparent = ##t
3261 \override Stem #'Y-extent-callback = ##f
3264 \override LyricText #'font-family = #'typewriter
3270 @item percussion-style
3271 To typeset all kinds of simple percussion on one line staves.
3273 @lilypond[quote,raggedright]
3274 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3275 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3278 \context DrumStaff\with{
3279 \remove Bar_engraver
3280 drumStyleTable = #percussion-style
3281 \override StaffSymbol #'line-count = #1
3282 \remove Time_signature_engraver
3283 \override Stem #'transparent = ##t
3284 \override Stem #'Y-extent-callback = ##f
3287 \override LyricText #'font-family = #'typewriter
3294 If you do not like any of the predefined lists you can define your own
3295 list at the top of your file
3297 @lilypond[quote,raggedright,verbatim]
3299 (bassdrum default #f -1)
3300 (snare default #f 0)
3302 (pedalhihat xcircle "stopped" 2)
3303 (lowtom diamond #f 3)))
3304 up = \drummode { hh8 hh hh hh hhp4 hhp }
3305 down = \drummode { bd4 sn bd toml8 toml }
3308 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
3309 \new DrumVoice { \voiceOne \up }
3310 \new DrumVoice { \voiceTwo \down }
3317 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
3319 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3323 Because general MIDI does not contain rim shots, the sidestick is used
3324 for this purpose instead.
3327 @section Piano music
3329 Piano staves are two normal staves coupled with a brace. The staves
3330 are largely independent, but sometimes voices can cross between the
3331 two staves. The same notation is also used for harps and other key
3332 instruments. The @internalsref{PianoStaff} is especially built to
3333 handle this cross-staffing behavior. In this section we discuss the
3334 @internalsref{PianoStaff} and some other pianistic peculiarities.
3338 * Automatic staff changes::
3339 * Manual staff switches::
3342 * Staff switch lines::
3343 * Cross staff stems::
3348 Dynamics are not centered, but workarounds do exist. See the
3349 ``piano centered dynamics'' template in @ref{Piano templates}.
3351 @cindex cross staff stem
3352 @cindex stem, cross staff
3353 @cindex distance between staves in piano music
3355 The distance between the two staves is the same for all systems in the
3356 score. It is possible to override this per system, but it does require
3357 an arcane command incantation. See
3358 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
3361 @node Automatic staff changes
3362 @subsection Automatic staff changes
3363 @cindex Automatic staff changes
3365 Voices can be made to switch automatically between the top and the bottom
3366 staff. The syntax for this is
3370 \autochange @dots{}@var{music}@dots{}
3375 This will create two staves inside the current PianoStaff, called
3376 @code{up} and @code{down}. The lower staff will be in bass clef by
3379 A @code{\relative} section that is outside of @code{\autochange} has
3380 no effect on the pitches of @var{music}, so, if necessary, put
3381 @code{\relative} inside @code{\autochange} like
3385 \autochange \relative @dots{} @dots{}
3390 The autochanger switches on basis of pitch (middle C is the turning
3391 point), and it looks ahead skipping over rests to switch in
3392 advance. Here is a practical example
3394 @lilypond[quote,verbatim,raggedright]
3396 \autochange \relative c'
3405 In this manual: @ref{Manual staff switches}.
3407 Program reference: @internalsref{AutoChangeMusic}.
3413 The staff switches may not end up in optimal places. For high
3414 quality output, staff switches should be specified manually.
3417 @code{\autochange} cannot be inside @code{\times}.
3419 Internally, the @code{\partcombine} interprets both arguments as
3420 @code{Voice}s named @code{one} and @code{two}, and then decides when
3421 the parts can be combined. Consequently, if the arguments switch to
3422 differently named @internalsref{Voice} contexts, the events in those
3426 @node Manual staff switches
3427 @subsection Manual staff switches
3429 @cindex manual staff switches
3430 @cindex staff switch, manual
3432 Voices can be switched between staves manually, using the command
3434 \change Staff = @var{staffname} @var{music}
3438 The string @var{staffname} is the name of the staff. It switches the
3439 current voice from its current staff to the Staff called
3440 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3441 @code{"down"}. The @context{Staff} referred to must already exist, so
3442 usually the setup for a score will start with a setup of the staves,
3446 \context Staff = up @{
3447 \skip 1 * 10 % @emph{keep staff alive}
3449 \context Staff = down @{
3450 \skip 1 * 10 % @emph{idem}
3456 and the @context{Voice} is inserted afterwards
3459 \context Staff = down
3460 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3468 Pianos have pedals that alter the way sound is produced. Generally, a
3469 piano has three pedals, sustain, una corda, and sostenuto.
3472 Piano pedal instruction can be expressed by attaching
3473 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3474 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3477 @lilypond[quote,raggedright,fragment,verbatim]
3478 c'4\sustainDown c'4\sustainUp
3481 What is printed can be modified by setting @code{pedal@var{X}Strings},
3482 where @var{X} is one of the pedal types: @code{Sustain},
3483 @code{Sostenuto} or @code{UnaCorda}. Refer to
3484 @internalsref{SustainPedal} in the program reference for more
3487 Pedals can also be indicated by a sequence of brackets, by setting the
3488 @code{pedalSustainStyle} property to bracket objects
3490 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3491 \set Staff.pedalSustainStyle = #'bracket
3493 b\sustainUp\sustainDown
3494 b g \sustainUp a \sustainDown \bar "|."
3497 A third style of pedal notation is a mixture of text and brackets,
3498 obtained by setting the @code{pedalSustainStyle} style property to
3501 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3502 \set Staff.pedalSustainStyle = #'mixed
3504 b\sustainUp\sustainDown
3505 b g \sustainUp a \sustainDown \bar "|."
3508 The default `*Ped.' style for sustain and damper pedals corresponds to
3509 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3512 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3513 c\sostenutoDown d e c, f g a\sostenutoUp
3516 For fine-tuning of the appearance of a pedal bracket, the properties
3517 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3518 @code{PianoPedalBracket} objects (see
3519 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3520 bracket may be extended to the right edge of the note head
3522 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3523 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3524 c\sostenutoDown d e c, f g a\sostenutoUp
3528 @subsection Arpeggio
3531 @cindex broken arpeggio
3532 @cindex @code{\arpeggio}
3534 You can specify an arpeggio sign on a chord by attaching an
3535 @code{\arpeggio} to a chord
3538 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3542 When an arpeggio crosses staves, you attach an arpeggio to the chords
3543 in both staves, and set
3544 @internalsref{PianoStaff}.@code{connectArpeggios}
3546 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3547 \context PianoStaff <<
3548 \set PianoStaff.connectArpeggios = ##t
3549 \new Staff { <c' e g c>\arpeggio }
3550 \new Staff { \clef bass <c,, e g>\arpeggio }
3554 The direction of the arpeggio is sometimes denoted by adding an
3555 arrowhead to the wiggly line
3557 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3566 A square bracket on the left indicates that the player should not
3567 arpeggiate the chord
3569 @c todo: ugh, lousy typography. Look for real example. --hwn
3571 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3578 @cindex @code{\arpeggio}
3580 @cindex @code{\arpeggioUp}
3582 @cindex @code{\arpeggioDown}
3583 @code{\arpeggioDown},
3584 @cindex @code{\arpeggioNeutral}
3585 @code{\arpeggioNeutral},
3586 @cindex @code{\arpeggioBracket}
3587 @code{\arpeggioBracket}.
3591 Program reference: @internalsref{ArpeggioEvent},
3592 @internalsref{Arpeggio}.
3596 It is not possible to mix connected arpeggios and unconnected
3597 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3599 @node Staff switch lines
3600 @subsection Staff switch lines
3603 @cindex follow voice
3604 @cindex staff switching
3607 @cindex @code{followVoice}
3609 Whenever a voice switches to another staff a line connecting the notes
3610 can be printed automatically. This is switched on by setting
3611 @code{PianoStaff.followVoice} to true
3613 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3614 \context PianoStaff <<
3615 \set PianoStaff.followVoice = ##t
3616 \context Staff \context Voice {
3621 \context Staff=two { \clef bass \skip 1*2 }
3627 Program reference: @internalsref{VoiceFollower}.
3631 @cindex @code{\showStaffSwitch}
3632 @code{\showStaffSwitch},
3633 @cindex @code{\hideStaffSwitch}
3634 @code{\hideStaffSwitch}.
3637 @node Cross staff stems
3638 @subsection Cross staff stems
3640 The chords which cross staves may be produced by increasing the length
3641 of the stem in the lower stave, so it reaches the stem in the upper
3642 stave, or vice versa.
3644 @lilypond[raggedright,verbatim,quote]
3645 stemExtend = \once \override Stem #'length = #22
3646 noFlag = \once \override Stem #'flag-style = #'no-flag
3647 \context PianoStaff <<
3649 \stemDown \stemExtend
3663 @section Vocal music
3665 There are three different issues when printing vocal music
3669 Song texts must be entered as texts, not notes. For example, the
3670 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
3674 Song texts must be printed as text, not as notes.
3677 Song texts must be aligned with the notes of their melody
3680 The simplest solution to printing music uses the @code{\addlyrics}
3681 function to solve all these problems at once. However, these
3682 three functions can be controlled separately, which is necessary
3683 for complex vocal music.
3687 * Setting simple songs::
3689 * Hyphens and extenders::
3690 * The Lyrics context::
3691 * Flexibility in alignment::
3696 @node Setting simple songs
3697 @subsection Setting simple songs
3699 The easiest way to add lyrics to a melody is to append
3702 \addlyrics @{ @var{the lyrics} @}
3706 to a melody. Here is an example,
3708 @lilypond[raggedright,verbatim,fragment,quote]
3710 \relative { c2 e4 g2. }
3711 \addlyrics { play the game }
3714 More stanzas can be added by adding more
3715 @code{\addlyrics} sections
3717 @lilypond[raggedright,verbatim,fragment,quote]
3719 \relative { c2 e4 g2. }
3720 \addlyrics { play the game }
3721 \addlyrics { speel het spel }
3722 \addlyrics { joue le jeu }
3725 @c TODO - this isn't such a great place for this note, but I can't
3726 @c find a better place without rearranging a lot of lyric stuff.
3727 @c It's yet another thing to look at post-3.0.
3729 The @code{\addlyrics} command is actually just a convienient way
3730 to write a more complicated LilyPond structure that sets up the
3731 lyrics. You should use @code{\addlyrics} unless you need to
3732 fancy things, in which case you should investigate
3733 @code{\lyricsto} or @code{\lyricmode}.
3737 \addlyrics @{ LYRICS @}
3744 \context Voice = blah @{ music @}
3745 \lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
3749 @node Entering lyrics
3750 @subsection Entering lyrics
3754 @cindex @code{\lyricmode}
3757 Lyrics are entered in a special input mode. This mode is is introduced
3758 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3759 @code{lyricsto}. In this mode you can enter lyrics,
3760 with punctuation and accents, and the input @code{d} is not parsed as
3761 a pitch, but rather as a one letter syllable. Syllables are entered
3762 like notes, but with pitches replaced by text. For example,
3764 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3768 A word lyrics mode begins with an alphabetic character, and ends with
3769 any space or digit. The following characters can be any character
3770 that is not a digit or white space. One important consequence of this
3771 is that a word can end with @code{@}}. The following example is
3772 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3773 opening brace is not balanced
3775 \lyricmode @{ twinkle @}
3778 @cindex @code{\property}, in @code{\lyricmode}
3780 Similarly, a period which follows an alphabetic sequence is included in
3781 the resulting string. As a consequence, spaces must be inserted around
3784 \override Score . LyricText #'font-shape = #'italic
3788 @cindex spaces, in lyrics
3789 @cindex quotes, in lyrics
3791 Any @code{_} character which appears in an unquoted word is converted
3792 to a space. This provides a mechanism for introducing spaces into words
3793 without using quotes. Quoted words can also be used in Lyrics mode to
3794 specify words that cannot be written with the above rules. The
3795 following example incorporates double quotes
3798 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3801 This example is slightly academic, since it gives better looking
3802 results to use single quotes, @code{``} and @code{''}
3804 \lyricmode @{ He said: ``Let my peo ple go'' @}
3808 The full definition of a word start in Lyrics mode is somewhat more
3811 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3812 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3813 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3814 any 8-bit character with ASCII code over 127, or a two-character
3815 combination of a backslash followed by one of @code{`}, @code{'},
3816 @code{"}, or @code{^}.
3822 Program reference: events @internalsref{LyricEvent}, and
3823 @internalsref{LyricText}.
3827 The definition of lyrics mode is too complex.
3829 @node Hyphens and extenders
3830 @subsection Hyphens and extenders
3834 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3835 The hyphen will have variable length depending on the space between
3836 the syllables and it will be centered between the syllables.
3841 When a lyric is sung over many notes (this is called a melisma), this is
3842 indicated with a horizontal line centered between a syllable and the
3843 next one. Such a line is called an extender line, and it is entered as
3849 Program reference: @internalsref{HyphenEvent},
3850 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3851 @internalsref{LyricExtender}
3853 Examples: @inputfileref{input/@/test,lyric@/-hyphen@/-retain@/.ly}.
3857 @node The Lyrics context
3858 @subsection The Lyrics context
3861 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3863 \context Lyrics \lyricmode @dots{}
3866 @cindex automatic syllable durations
3867 @cindex @code{\lyricsto}
3868 @cindex lyrics and melodies
3870 This will place the lyrics according to the durations that were
3871 entered. The lyrics can also be aligned under a given melody
3872 automatically. In this case, it is no longer necessary to enter the
3873 correct duration for each syllable. This is achieved by combining the
3874 melody and the lyrics with the @code{\lyricsto} expression
3876 \lyricsto @var{name} \new Lyrics @dots{}
3879 This aligns the lyrics to the
3881 notes of the @internalsref{Voice} context called @var{name}, which has
3882 to exist. Therefore, normally the @code{Voice} is specified first, and
3883 then the lyrics are specified with @code{\lyricsto}. The command
3884 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
3885 @code{\lyricmode} keyword may be omitted.
3887 For different or more complex orderings, the best way is to setup the
3888 hierarchy of staves and lyrics first, e.g.
3890 \context ChoirStaff <<
3891 \context Lyrics = sopranoLyrics @{ s1 @}
3892 \context Voice = soprano @{ @emph{music} @}
3893 \context Lyrics = tenorLyrics @{ s1 @}
3894 \context Voice = tenor @{ @emph{music} @}
3897 and then combine the appropriate melodies and lyric lines
3899 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3904 The final input would resemble
3907 <<\context ChoirStaff << @emph{setup the music} >>
3908 \lyricsto "soprano" @emph{etc}
3909 \lyricsto "alto" @emph{etc}
3915 The @code{\lyricsto} command detects melismata: it only puts one
3916 syllable under a tied or slurred group of notes. If you want to force
3917 an unslurred group of notes to be a melisma, insert @code{\melisma}
3918 after the first note of the group, and @code{\melismaEnd} after the
3921 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3923 \context Voice = "lala" {
3931 \lyricsto "lala" \new Lyrics {
3937 In addition, notes are considered a melisma if they are manually
3938 beamed, and automatic beaming (see @ref{Setting automatic beam
3939 behavior}) is switched off.
3945 The criteria for deciding melismata can
3946 be tuned with the property @code{melismaBusyProperties}. See
3947 @internalsref{Melisma_translator} in the program reference for more
3952 Lyrics can also be entered without @code{\lyricsto}. In this case the
3953 durations of each syllable must be entered explicitly, for example,
3960 The alignment to a melody can be specified with the
3961 @code{associatedVoice} property,
3964 \set associatedVoice = #"lala"
3968 The value of the property (here: @code{"lala"}) should be the name of
3969 a @internalsref{Voice} context. Without this setting, extender lines
3970 will not be formatted properly.
3972 Here is an example demonstrating manual lyric durations,
3974 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
3975 << \context Voice = melody {
3979 \new Lyrics \lyricmode {
3980 \set associatedVoice = #"melody"
3986 @cindex choral score
3988 A complete example of a SATB score setup is in section
3989 @ref{Small ensembles}.
3994 @code{\melisma}, @code{\melismaEnd}
3995 @cindex @code{\melismaEnd}
3996 @cindex @code{\melisma}
4000 Program reference: @internalsref{LyricCombineMusic},
4001 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
4003 Examples: @ref{Small ensembles},
4004 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly},
4005 @c TODO: make separate section for melismata
4006 @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
4007 @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
4011 Melismata are not detected automatically, and extender lines must be
4015 @c TODO: document \new Staff << Voice \lyricsto >> bug
4017 @node Flexibility in alignment
4018 @subsection Flexibility in alignment
4021 Often, different stanzas of one song are put to one melody in slightly
4022 differing ways. Such variations can still be captured with
4025 One possibility is that the text has a melisma in one stanza, but
4026 multiple syllables in another one. One solution is to make the faster
4027 voice ignore the melisma. This is done by setting
4028 @code{ignoreMelismata} in the Lyrics context.
4030 There has one tricky aspect. The setting for @code{ignoreMelismata}
4031 must be set one syllable @emph{before} the non-melismatic syllable
4032 in the text, as shown here,
4034 @lilypond[verbatim,raggedright,quote]
4036 \relative \context Voice = "lahlah" {
4037 \set Staff.autoBeaming = ##f
4043 \new Lyrics \lyricsto "lahlah" {
4046 \new Lyrics \lyricsto "lahlah" {
4047 \set ignoreMelismata = ##t % applies to "fas"
4049 \unset ignoreMelismata
4056 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4057 should be entered before ``go''.
4059 The reverse is also possible: making a lyric line slower than the
4060 standard. This can be achieved by insert @code{\skip}s into the
4061 lyrics. For every @code{\skip}, the text will be delayed another note.
4064 @lilypond[verbatim,raggedright,quote]
4065 \relative { c c g' }
4072 More complex variations in text underlay are possible. It is possible
4073 to switch the melody for a line of lyrics during the text. This is
4074 done by setting the @code{associatedVoice} property. In the example
4076 @lilypond[raggedright,quote]
4078 \relative \context Voice = "lahlah" {
4079 \set Staff.autoBeaming = ##f
4082 \context Voice = alternative {
4085 % show associations clearly.
4086 \override NoteColumn #'force-hshift = #-3
4097 \new Lyrics \lyricsto "lahlah" {
4098 Ju -- ras -- sic Park
4100 \new Lyrics \lyricsto "lahlah" {
4101 % Tricky: need to set associatedVoice
4102 % one syllable too soon!
4103 \set associatedVoice = alternative % applies to "ran"
4107 \set associatedVoice = lahlah % applies to "rus"
4113 the text for the first stanza is set to a melody called ``lahlah'',
4116 \new Lyrics \lyricsto "lahlah" @{
4117 Ju -- ras -- sic Park
4122 The second stanza initially is set to the @code{lahlah} context, but
4123 for the syllable ``ran'', it switches to a different melody.
4124 This is achieved with
4126 \set associatedVoice = alternative
4130 Here, @code{alternative} is the name of the @code{Voice} context
4131 containing the triplet.
4133 Again, the command must be one syllable too early, before ``Ty'' in
4137 \new Lyrics \lyricsto "lahlah" @{
4138 \set associatedVoice = alternative % applies to "ran"
4142 \set associatedVoice = lahlah % applies to "rus"
4148 The underlay is switched back to the starting situation by assigning
4149 @code{lahlah} to @code{associatedVoice}.
4155 @subsection More stanzas
4157 @cindex phrasing, in lyrics
4160 @cindex stanza number
4161 @cindex singer's names
4162 @cindex name of singer
4164 Stanza numbers can be added by setting @code{stanza}, e.g.
4166 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4168 \time 3/4 g2 e4 a2 f4 g2.
4171 Hi, my name is Bert.
4174 Oh, che -- ri, je t'aime
4178 These numbers are put just before the start of first syllable.
4180 Names of singers can also be added. They are printed at the start of
4181 the line, just like instrument names. They are created by setting
4182 @code{vocalName}. A short version may be entered as @code{vocNam}.
4185 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4187 \time 3/4 g2 e4 a2 f4 g2.
4189 \set vocalName = "Bert "
4190 Hi, my name is Bert.
4192 \set vocalName = "Ernie "
4193 Oh, che -- ri, je t'aime
4199 Program reference: Layout objects @internalsref{LyricText} and
4200 @internalsref{VocalName}. Music expressions
4201 @internalsref{LyricEvent}.
4209 The term @emph{ambitus} denotes a range of pitches for a given voice
4210 in a part of music. It also may denote the pitch range that a musical
4211 instrument is capable of playing. Ambits are printed on vocal parts,
4212 so performers can easily determine it meets their capabilities.
4214 It denoted at the beginning of a piece near the initial clef. The
4215 range is graphically specified by two note heads, that represent the
4216 minimum and maximum pitch. To print such ambits, add the
4217 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4224 \consists Ambitus_engraver
4229 This results in the following output
4231 @lilypond[quote,raggedright]
4235 \consists Ambitus_engraver
4239 \relative \new Staff {
4244 If you have multiple voices in a single staff, and you want a single
4245 ambitus per staff rather than per each voice, add the
4246 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4247 rather than to the @internalsref{Voice} context. Here is an example,
4249 @lilypond[verbatim,raggedright,quote]
4252 \consists "Ambitus_engraver"
4254 \override Ambitus #'X-offset-callbacks
4255 = #(list (lambda (grob axis) -1.0))
4260 \consists "Ambitus_engraver"
4269 This example uses one advanced feature,
4272 \override Ambitus #'X-offset-callbacks
4273 = #(list (lambda (grob axis) -1.0))
4277 This code moves the ambitus to the left. The same effect could have
4278 been achieved with @code{extra-offset}, but then the formatting system
4279 would not reserve space for the moved object.
4283 Program reference: @internalsref{Ambitus},
4284 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4285 @internalsref{AmbitusAccidental}.
4287 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
4291 There is no collision handling in the case of multiple per-voice
4294 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4295 @section Other instrument specific notation
4297 This section includes extra information for writing string music, and may
4298 include extra information for other instruments in the future.
4304 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4305 @subsection Harmonic notes
4307 @cindex artificial harmonics
4310 Artificial harmonics are notated with a different notehead style. They
4312 marking the harmonic pitch with @code{\harmonic}.
4314 @lilypond[raggedright,verbatim,quote,fragment]
4319 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4323 @cindex guitar tablature
4325 Tablature notation is used for notating music for plucked string
4326 instruments. Pitches are not denoted with note heads, but by
4327 indicating on which string and fret a note must be played. LilyPond
4328 offers limited support for tablature.
4331 * Tablatures basic::
4332 * Non-guitar tablatures::
4335 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4336 @subsection Tablatures basic
4337 @cindex Tablatures basic
4339 The string number associated to a note is given as a backslash
4340 followed by a number, e.g., @code{c4\3} for a C quarter on the third
4341 string. By default, string 1 is the highest one, and the tuning
4342 defaults to the standard guitar tuning (with 6 strings). The notes
4343 are printed as tablature, by using @internalsref{TabStaff} and
4344 @internalsref{TabVoice} contexts
4346 @lilypond[quote,raggedright,fragment,verbatim]
4353 @cindex @code{minimumFret}
4356 When no string is specified, the first string that does not give a
4357 fret number less than @code{minimumFret} is selected. The default
4358 value for @code{minimumFret} is 0
4363 \set TabStaff.minimumFret = #8
4366 @lilypond[quote,raggedright]
4370 \set TabStaff.minimumFret = #8
4373 \context StaffGroup <<
4374 \context Staff { \clef "G_8" \frag }
4375 \context TabStaff { \frag }
4381 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4382 @internalsref{StringNumberEvent}.
4386 Chords are not handled in a special way, and hence the automatic
4387 string selector may easily select the same string to two notes in a
4391 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4392 @subsection Non-guitar tablatures
4393 @cindex Non-guitar tablatures
4395 You can change the number of strings, by setting the number of lines
4396 in the @internalsref{TabStaff}.
4398 You can change the tuning of the strings. A string tuning is given as
4399 a Scheme list with one integer number for each string, the number
4400 being the pitch (measured in semitones relative to middle C) of an
4401 open string. The numbers specified for @code{stringTuning} are the
4402 numbers of semitones to subtract or add, starting the specified pitch
4403 by default middle C, in string order. In the next example,
4404 @code{stringTunings} is set for the pitches e, a, d, and g
4406 @lilypond[quote,raggedright,fragment,verbatim]
4407 \context TabStaff <<
4408 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4410 a,4 c' a e' e c' a e'
4417 No guitar special effects have been implemented.
4421 Program reference: @internalsref{Tab_note_heads_engraver}.
4424 @node Popular music, Orchestral music, Tablatures, Notation manual
4425 @section Popular music
4427 This section discusses issues that arise when writing popular music.
4432 * Printing chord names::
4437 @node Chord names, Chords mode, Popular music, Popular music
4438 @subsection Chord names
4441 LilyPond has support for printing chord names. Chords may be entered
4442 in musical chord notation, i.e., @code{< .. >}, but they can also be
4443 entered by name. Internally, the chords are represented as a set of
4444 pitches, so they can be transposed
4447 @lilypond[quote,raggedright,verbatim,raggedright]
4448 twoWays = \transpose c c' {
4457 << \context ChordNames \twoWays
4458 \context Voice \twoWays >>
4461 This example also shows that the chord printing routines do not try to
4462 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4465 @c this menu isn't needed.
4469 * Printing chord names::
4474 @subsection Chords mode
4477 In chord mode sets of pitches (chords) are entered with normal note
4478 names. A chord is entered by the root, which is entered like a
4481 @lilypond[quote,raggedright,fragment,verbatim]
4482 \chordmode { es4. d8 c2 }
4486 The mode is introduced by the keyword @code{\chordmode}.
4491 Other chords may be entered by suffixing a colon and introducing a
4492 modifier (which may include a number if desired)
4494 @lilypond[quote,fragment,verbatim]
4495 \chordmode { e1:m e1:7 e1:m7 }
4497 The first number following the root is taken to be the `type' of the
4498 chord, thirds are added to the root until it reaches the specified
4500 @lilypond[quote,fragment,verbatim]
4501 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4504 @cindex root of chord
4505 @cindex additions, in chords
4506 @cindex removals, in chords
4508 More complex chords may also be constructed adding separate steps
4509 to a chord. Additions are added after the number following
4510 the colon, and are separated by dots
4512 @lilypond[quote,verbatim,fragment]
4513 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4515 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4517 @lilypond[quote,verbatim,fragment]
4518 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4520 Removals are specified similarly, and are introduced by a caret. They
4521 must come after the additions
4522 @lilypond[quote,verbatim,fragment]
4523 \chordmode { c^3 c:7^5 c:9^3.5 }
4526 Modifiers can be used to change pitches. The following modifiers are
4531 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4534 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
4538 The augmented chord. This modifier raises the 5th step.
4541 The major 7th chord. This modifier raises the 7th step if present.
4544 The suspended 4th or 2nd. This modifier removes the 3rd
4545 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4549 Modifiers can be mixed with additions
4550 @lilypond[quote,verbatim,fragment]
4551 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4554 @cindex modifiers, in chords.
4561 Since an unaltered 11 does not sound good when combined with an
4562 unaltered 3, the 11 is removed in this case (unless it is added
4565 @lilypond[quote,raggedright,fragment,verbatim]
4566 \chordmode { c:13 c:13.11 c:m13 }
4571 An inversion (putting one pitch of the chord on the bottom), as well
4572 as bass notes, can be specified by appending
4573 @code{/}@var{pitch} to the chord
4574 @lilypond[quote,raggedright,fragment,verbatim]
4575 \chordmode { c1 c/g c/f }
4579 A bass note can be added instead of transposed out of the chord,
4580 by using @code{/+}@var{pitch}.
4582 @lilypond[quote,raggedright,fragment,verbatim]
4583 \chordmode { c1 c/+g c/+f }
4586 Chords is a mode similar to @code{\lyricmode} etc. Most
4587 of the commands continue to work, for example, @code{r} and
4588 @code{\skip} can be used to insert rests and spaces, and property
4589 commands may be used to change various settings.
4595 Each step can only be present in a chord once. The following
4596 simply produces the augmented chord, since @code{5+} is interpreted
4599 @lilypond[quote,raggedright,verbatim,fragment]
4600 \chordmode { c:5.5-.5+ }
4604 @node Printing chord names
4605 @subsection Printing chord names
4607 @cindex printing chord names
4611 For displaying printed chord names, use the @internalsref{ChordNames} context.
4612 The chords may be entered either using the notation
4613 described above, or directly using @code{<} and @code{>}
4615 @lilypond[quote,verbatim,raggedright]
4617 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4620 \context ChordNames \harmonies
4621 \context Staff \harmonies
4625 You can make the chord changes stand out by setting
4626 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4627 display chord names when there is a change in the chords scheme and at
4628 the start of a new line
4630 @lilypond[quote,verbatim,raggedright]
4631 harmonies = \chordmode {
4632 c1:m c:m \break c:m c:m d
4635 \context ChordNames {
4636 \set chordChanges = ##t
4638 \context Staff \transpose c c' \harmonies
4642 The previous examples all show chords over a staff. This is not
4643 necessary. Chords may also be printed separately. It may be necessary
4644 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4645 for showing repeats.
4647 @lilypond[raggedright,verbatim]
4648 \new ChordNames \with {
4649 \override BarLine #'bar-size = #4
4650 voltaOnThisStaff = ##t
4651 \consists Bar_engraver
4652 \consists "Volta_engraver"
4654 \repeat volta 2 \chordmode {
4663 The default chord name layout is a system for Jazz music, proposed by
4664 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4665 following properties
4668 @cindex @code{chordNameExceptions}
4669 @item chordNameExceptions
4670 This is a list that contains the chords that have special formatting.
4672 The exceptions list should be encoded as
4674 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
4677 To get this information into @code{chordNameExceptions} takes a little
4678 manoeuvring. The following code transforms @code{chExceptionMusic}
4679 (which is a sequential music) into a list of exceptions.
4681 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4686 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4689 adds the new exceptions to the default ones, which are defined in
4690 @file{ly/@/chord@/-modifier@/-init@/.ly}.
4692 For an example of tuning this property, see also
4693 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
4694 @cindex exceptions, chord names.
4697 @cindex @code{majorSevenSymbol}
4698 @item majorSevenSymbol
4699 This property contains the markup object used for the 7th step, when
4700 it is major. Predefined options are @code{whiteTriangleMarkup} and
4701 @code{blackTriangleMarkup}. See
4702 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
4704 @cindex @code{chordNameSeparator}
4705 @item chordNameSeparator
4706 Different parts of a chord name are normally separated by a
4707 slash. By setting @code{chordNameSeparator}, you can specify other
4709 @lilypond[quote,raggedright,fragment,verbatim]
4710 \context ChordNames \chordmode {
4712 \set chordNameSeparator
4713 = \markup { \typewriter "|" }
4718 @cindex @code{chordRootNamer}
4719 @item chordRootNamer
4720 The root of a chord is usually printed as a letter with an optional
4721 alteration. The transformation from pitch to letter is done by this
4722 function. Special note names (for example, the German ``H'' for a
4723 B-chord) can be produced by storing a new function in this property.
4725 @cindex @code{chordNoteNamer}
4726 @item chordNoteNamer
4727 The default is to print single pitch, e.g., the bass note, using the
4728 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4729 to a specialized function to change this behavior. For example, the
4730 base can be printed in lower case.
4734 The predefined variables @code{\germanChords},
4735 @code{\semiGermanChords} set these variables. The effect is
4738 @lilypondfile[raggedright]{chord-names-german.ly}
4740 There are also two other chord name schemes implemented: an alternate
4741 Jazz chord notation, and a systematic scheme called Banter chords. The
4742 alternate jazz notation is also shown on the chart in @ref{Chord name
4743 chart}. Turning on these styles is described in the input file
4744 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4748 @cindex chords, jazz
4753 @cindex @code{\germanChords}
4754 @code{\germanChords},
4755 @cindex @code{\semiGermanChords}
4756 @code{\semiGermanChords}.
4763 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
4764 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
4765 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly},
4766 @inputfileref{input/@/test,chords@/-without@/-melody@/.ly}.
4769 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
4770 @file{scm/@/chord@/-entry@/.scm}.
4775 Chord names are determined solely from the list of pitches. Chord
4776 inversions are not identified, and neither are added bass notes. This
4777 may result in strange chord names when chords are entered with the
4778 @code{< .. >} syntax.
4782 @subsection Fret diagrams
4783 @cindex fret diagrams
4784 @cindex chord diagrams
4786 Fret diagrams can be added to music as a markup to the desired note. The
4787 markup contains information about the desired fret diagram, as shown in the
4790 @lilypond[verbatim, raggedright, quote]
4792 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4794 fis' ^\markup \override #'(size . 0.75) {
4795 \override #'(finger-code . below-string) {
4796 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4797 (place-fret 5 4 3) (place-fret 4 4 4)
4798 (place-fret 3 3 2) (place-fret 2 2 1)
4803 c' ^\markup \override #'(dot-radius . 0.35) {
4804 \override #'(finger-code . in-dot) {
4805 \override #'(dot-color . white) {
4806 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
4815 There are three different fret-diagram markup interfaces: standard, terse,
4816 and verbose. The three interfaces produce equivalent markups, but have
4817 varying amounts of information in the markup string. Details about the
4818 markup interfaces are found at @ref{Overview of text markup commands}.
4820 You can set a number of graphical properties according to your preference.
4821 Details about the property interface to fret diagrams are found at
4822 @internalsref{fret-diagram-interface}.
4827 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
4831 @subsection Improvisation
4833 Improvisation is sometimes denoted with slashed note heads. Such note
4834 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4835 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4839 \set squashedPosition = #0
4840 \override NoteHead #'style = #'slash
4844 switches on the slashes.
4846 There are shortcuts @code{\improvisationOn} (and an accompanying
4847 @code{\improvisationOff}) for this command sequence. They are used in
4848 the following example
4850 @lilypond[verbatim,raggedright,quote]
4852 \consists Pitch_squash_engraver
4854 e8 e g a a16(bes)(a8) g \improvisationOn
4857 ~fis2 \improvisationOff a16(bes) a8 g e
4863 @node Orchestral music
4864 @section Orchestral music
4866 @cindex Writing parts
4868 Orchestral music involves some special notation, both in the full
4869 score and the individual parts. This section explains how to tackle
4870 some common problems in orchestral music.
4875 * System start delimiters::
4876 * Aligning to cadenzas::
4879 * Instrument names::
4881 * Instrument transpositions::
4882 * Multi measure rests::
4883 * Automatic part combining::
4885 * Different editions from one source::
4886 * Quoting other voices::
4887 * Formatting cue notes::
4890 @node System start delimiters
4891 @subsection System start delimiters
4893 Polyphonic scores consist of many staves. These staves can be
4894 constructed in three different ways
4896 @item The group is started with a brace at the left, and bar lines are
4897 connected. This is done with the @internalsref{GrandStaff} context.
4899 @lilypond[verbatim,raggedright,quote]
4908 @item The group is started with a bracket, and bar lines are connected. This is done with the
4909 @internalsref{StaffGroup} context
4911 @lilypond[verbatim,raggedright,quote]
4920 @item The group is started with a vertical line. Bar lines are not
4921 connected. This is the default for the score.
4923 @lilypond[verbatim,raggedright,quote]
4932 @cindex Staff, multiple
4933 @cindex bracket, vertical
4934 @cindex brace, vertical
4941 The bar lines at the start of each system are
4942 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
4943 @internalsref{SystemStartBracket}. Only one of these types is created
4944 in every context, and that type is determined by the property
4945 @code{systemStartDelimiter}.
4947 @node Aligning to cadenzas
4948 @subsection Aligning to cadenzas
4951 In an orchestral context, cadenzas present a special problem:
4952 when constructing a score that includes a cadenza, all other
4953 instruments should skip just as many notes as the length of the
4954 cadenza, otherwise they will start too soon or too late.
4956 A solution to this problem are the functions @code{mmrest-of-length}
4957 and @code{skip-of-length}. These Scheme functions take a piece music
4958 as argument, and generate a @code{\skip} or multi rest, exactly as
4959 long as the piece. The use of @code{mmrest-of-length} is demonstrated
4960 in the following example.
4962 @lilypond[verbatim,raggedright,quote]
4963 cadenza = \relative c' {
4964 c4 d8 << { e f g } \\ { d4. } >>
4969 \new Staff { \cadenza c'4 }
4971 #(ly:export (mmrest-of-length cadenza))
4981 @node Rehearsal marks
4982 @subsection Rehearsal marks
4983 @cindex Rehearsal marks
4985 @cindex @code{\mark}
4987 To print a rehearsal mark, use the @code{\mark} command
4989 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
4998 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
4999 @c umm, is the manual the right place for feature requests? :) -gp
5000 @c FIXME - should make that tunable.
5002 The mark is incremented automatically if you use @code{\mark
5003 \default}, but you can also use an integer argument to set the mark
5004 manually. The value to use is stored in the property
5005 @code{rehearsalMark}.
5007 The style is defined by the property @code{markFormatter}. It is a
5008 function taking the current mark (an integer) and the current context
5009 as argument. It should return a markup object. In the following
5010 example, @code{markFormatter} is set to a canned procedure. After a
5011 few measures, it is set to function that produces a boxed number.
5013 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5014 \set Score.markFormatter = #format-mark-numbers
5017 \set Score.markFormatter
5018 = #(lambda (mark context)
5020 (make-box-markup (number->string mark))))
5026 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
5027 of @code{format-mark-numbers} (the default format) and
5028 @code{format-mark-letters}. These can be used as inspiration for other
5029 formatting functions.
5032 @cindex coda on bar line
5033 @cindex segno on bar line
5034 @cindex fermata on bar line
5035 @cindex bar lines, symbols on
5037 The @code{\mark} command can also be used to put signs like coda,
5038 segno and fermatas on a bar line. Use @code{\markup} to
5039 to access the appropriate symbol
5041 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5042 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
5046 In the case of a line break, marks must also be printed at the end of
5047 the line, and not at the beginning. Use the following to force that
5050 \override Score.RehearsalMark
5051 #'break-visibility = #begin-of-line-invisible
5057 @cindex bar lines, putting symbols on
5061 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5063 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
5064 definition of @code{format-mark-numbers} and
5065 @code{format-mark-letters}. They can be used as inspiration for other
5066 formatting functions.
5068 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
5070 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
5074 @subsection Bar numbers
5078 @cindex measure numbers
5079 @cindex @code{currentBarNumber}
5081 Bar numbers are printed by default at the start of the line. The
5082 number itself is stored in the @code{currentBarNumber} property, which
5083 is normally updated automatically for every measure.
5085 Bar numbers can be typeset at regular intervals instead of at the
5086 beginning of each line. This is illustrated in the following example,
5087 whose source is available as
5088 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
5090 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5092 Bar numbers can be manually changed by setting the
5093 @code{Staff.currentBarNumber} property
5095 @lilypond[verbatim,raggedright,quote]
5097 \repeat unfold 4 {c4 c c c} \break
5098 \set Score.currentBarNumber = #50
5099 \repeat unfold 4 {c4 c c c}
5105 Program reference: @internalsref{BarNumber}.
5108 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
5109 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
5113 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5114 there is one at the top. To solve this, the
5115 @code{padding} property of @internalsref{BarNumber} can be
5116 used to position the number correctly.
5118 @node Instrument names
5119 @subsection Instrument names
5121 In an orchestral score, instrument names are printed left side of the
5124 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5125 and @internalsref{Staff}.@code{instr}. This will print a string before
5126 the start of the staff. For the first start, @code{instrument} is
5127 used, for the next ones @code{instr} is used.
5129 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5130 \set Staff.instrument = "Ploink "
5131 \set Staff.instr = "Plk "
5137 You can also use markup texts to construct more complicated instrument
5140 @lilypond[quote,fragment,verbatim,raggedright]
5141 \set Staff.instrument = \markup {
5142 \column < "Clarinetti"
5143 { "in B" \smaller \flat } > }
5147 For longer instrument names, it may be useful to increase the
5148 @code{indent} setting in the @code{\layout} block.
5152 Program reference: @internalsref{InstrumentName}.
5156 When you put a name on a grand staff or piano staff the width of the
5157 brace is not taken into account. You must add extra spaces to the end of
5158 the name to avoid a collision.
5161 @subsection Transpose
5163 @cindex transposition of pitches
5164 @cindex @code{\transpose}
5166 A music expression can be transposed with @code{\transpose}. The
5169 \transpose @var{from} @var{to} @var{musicexpr}
5172 This means that @var{musicexpr} is transposed by the interval between
5173 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5174 is changed to @code{to}.
5177 For example, consider a piece written in the key of D@tie{}major. If
5178 this piece is a little too low for its performer, it can be
5179 transposed up to E major with
5181 \transpose d e @dots{}
5184 Consider a part written for violin (a C instrument). If
5185 this part is to be played on the A clarinet, the following
5186 transposition will produce the appropriate part
5189 \transpose a c @dots{}
5192 @code{\transpose} distinguishes between enharmonic pitches: both
5193 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5194 half a tone. The first version will print sharps and the second
5195 version will print flats
5197 @lilypond[quote,raggedright,verbatim]
5198 mus = { \key d \major cis d fis g }
5202 \transpose c g' \mus
5203 \transpose c f' \mus
5210 Program reference: @internalsref{TransposedMusic}, and
5211 @internalsref{UntransposableMusic}.
5215 If you want to use both @code{\transpose} and @code{\relative},
5216 you must put @code{\transpose} outside of @code{\relative}, since
5217 @code{\relative} will have no effect music that appears inside a
5220 @node Instrument transpositions
5221 @subsection Instrument transpositions
5223 The key of a transposing instrument can also be specified. This
5224 applies to many wind instruments, for example, clarinets (B-flat, A and
5225 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
5227 The transposition is entered after the keyword @code{\transposition}
5230 \transposition bes %% B-flat clarinet
5234 This command sets the property @code{instrumentTransposition}. The value of
5235 this property is used for MIDI output and quotations. It does not
5236 affect how notes are printed in the current staff.
5238 The pitch to use for @code{\transposition} should correspond to the
5239 transposition of the notes. For example, when entering a score in
5240 concert pitch, typically all voices are entered in C, so
5241 they should be entered as
5254 The command @code{\transposition} should be used when the music is
5255 entered from a (transposed) orchestral part. For example, in
5256 classical horn parts, the tuning of the instrument is often changed
5257 during a piece. When copying the notes from the part, use
5258 @code{\transposition}, e.g.
5271 @cindex transposition, MIDI
5272 @cindex transposition, instrument
5275 @node Multi measure rests
5276 @subsection Multi measure rests
5277 @cindex multi measure rests
5278 @cindex Rests, multi measure
5282 Multi measure rests are entered using `@code{R}'. It is specifically
5283 meant for full bar rests and for entering parts: the rest can expand
5284 to fill a score with rests, or it can be printed as a single
5285 multimeasure rest. This expansion is controlled by the property
5286 @code{Score.skipBars}. If this is set to true, empty measures will not
5287 be expanded, and the appropriate number is added automatically
5289 @lilypond[quote,raggedright,fragment,verbatim]
5290 \time 4/4 r1 | R1 | R1*2
5291 \set Score.skipBars = ##t R1*17 R1*4
5294 The @code{1} in @code{R1} is similar to the duration notation used for
5295 notes. Hence, for time signatures other than 4/4, you must enter other
5296 durations. This can be done with augmentation dots or fractions
5298 @lilypond[quote,raggedright,fragment,verbatim]
5299 \set Score.skipBars = ##t
5308 An @code{R} spanning a single measure is printed as either a whole rest
5309 or a breve, centered in the measure regardless of the time signature.
5311 If there are only a few measures of rest, LilyPond prints ``church rests''
5312 (a series of rectangles) in the staff. To replace that with a simple
5313 rest, use @code{MultiMeasureRest.expand-limit}.
5315 @lilypond[quote,raggedright,fragment,verbatim]
5316 \set Score.skipBars = ##t
5318 \override MultiMeasureRest #'expand-limit = 1
5323 @cindex text on multi-measure rest
5324 @cindex script on multi-measure rest
5325 @cindex fermata on multi-measure rest
5327 Texts can be added to multi-measure rests by using the
5328 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5329 A variable (@code{\fermataMarkup}) is provided for
5333 @lilypond[quote,raggedright,verbatim,fragment]
5334 \set Score.skipBars = ##t
5336 R2.*10^\markup { \italic "ad lib." }
5340 If you want to have a text on the left end of a multi-measure rest,
5341 attach the text to a zero-length skip note, i.e.
5349 @cindex whole rests for a full measure
5353 Program reference: @internalsref{MultiMeasureRestEvent},
5354 @internalsref{MultiMeasureTextEvent},
5355 @internalsref{MultiMeasureRestMusicGroup}, and
5356 @internalsref{MultiMeasureRest}.
5358 The layout object @internalsref{MultiMeasureRestNumber} is for the
5359 default number, and @internalsref{MultiMeasureRestText} for user
5364 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
5365 over multi-measure rests.
5367 @cindex condensing rests
5369 There is no way to automatically condense multiple rests into a single
5370 multimeasure rest. Multi measure rests do not take part in rest
5373 Be careful when entering multimeasure rests followed by whole
5374 notes. The following will enter two notes lasting four measures each
5378 When @code{skipBars} is set, the result will look OK, but the bar
5379 numbering will be off.
5381 @node Automatic part combining
5382 @subsection Automatic part combining
5383 @cindex automatic part combining
5384 @cindex part combiner
5387 Automatic part combining is used to merge two parts of music onto a
5388 staff. It is aimed at typesetting orchestral scores. When the two
5389 parts are identical for a period of time, only one is shown. In
5390 places where the two parts differ, they are typeset as separate
5391 voices, and stem directions are set automatically. Also, solo and
5392 @emph{a due} parts are identified and can be marked.
5394 The syntax for part combining is
5397 \partcombine @var{musicexpr1} @var{musicexpr2}
5402 The following example demonstrates the basic functionality of the part
5403 combiner: putting parts on one staff, and setting stem directions and
5406 @lilypond[quote,verbatim,raggedright,fragment]
5407 \new Staff \partcombine
5408 \relative g' { g g a( b) c c r r }
5409 \relative g' { g g r4 r e e g g }
5412 The first @code{g} appears only once, although it was
5413 specified twice (once in each part). Stem, slur and tie directions are
5414 set automatically, depending whether there is a solo or unisono. The
5415 first part (with context called @code{one}) always gets up stems, and
5416 `solo', while the second (called @code{two}) always gets down stems and
5419 If you just want the merging parts, and not the textual markings, you
5420 may set the property @code{printPartCombineTexts} to false
5422 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5424 \set Staff.printPartCombineTexts = ##f
5426 \relative g' { g a( b) r }
5427 \relative g' { g r4 r f }
5432 Both arguments to @code{\partcombine} will be interpreted as
5433 @internalsref{Voice} contexts. If using relative octaves,
5434 @code{\relative} should be specified for both music expressions, i.e.
5438 \relative @dots{} @var{musicexpr1}
5439 \relative @dots{} @var{musicexpr2}
5443 A @code{\relative} section that is outside of @code{\partcombine} has
5444 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5448 Program reference: @internalsref{PartCombineMusic},
5449 @internalsref{SoloOneEvent}, and
5450 @internalsref{SoloTwoEvent}, and
5451 @internalsref{UnisonoEvent}.
5455 When @code{printPartCombineTexts} is set, when the two voices play the
5456 same notes on and off, the part combiner may typeset @code{a2} more
5457 than once in a measure.
5459 @code{\partcombine} cannot be inside @code{\times}.
5461 @code{\partcombine} cannot be inside @code{\relative}.
5463 Internally, the @code{\partcombine} interprets both arguments as
5464 @code{Voice}s named @code{one} and @code{two}, and then decides when
5465 the parts can be combined. Consequently, if the arguments switch to
5466 differently named @internalsref{Voice} contexts, the events in those
5470 @subsection Hiding staves
5472 @cindex Frenched scores
5473 @cindex Hiding staves
5475 In orchestral scores, staff lines that only have rests are usually
5476 removed. This saves some space. This style is called `French Score'.
5477 For @internalsref{Lyrics},
5478 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5479 switched on by default. When these line of these contexts turn out
5480 empty after the line-breaking process, they are removed.
5482 For normal staves, a specialized @internalsref{Staff} context is
5483 available, which does the same: staves containing nothing (or only
5484 multi measure rests) are removed. The context definition is stored in
5485 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5486 in this example disappears in the second line
5489 @lilypond[quote,raggedright,verbatim]
5491 \context { \RemoveEmptyStaffContext }
5496 \new Staff { e4 f g a \break c1 }
5497 \new Staff { c4 d e f \break R1 }
5502 The first system shows all staves in full. If empty staves should be
5503 removed from the first system too, set @code{remove-first} to false in
5504 @internalsref{RemoveEmptyVerticalGroup}.
5506 Another application is making ossia sections, i.e., alternative
5507 melodies on a separate piece of staff, with help of a Frenched
5508 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
5511 @node Different editions from one source
5512 @subsection Different editions from one source
5514 The @code{\tag} command marks music expressions with a name. These
5515 tagged expressions can be filtered out later. With this mechanism it
5516 is possible to make different versions of the same music source.
5518 In the following example, we see two versions of a piece of music, one
5519 for the full score, and one with cue notes for the instrumental part
5535 The same can be applied to articulations, texts, etc.: they are
5538 -\tag #@var{your-tag}
5540 to an articulation, for example,
5545 This defines a note with a conditional fingering indication.
5547 By applying the @code{\keepWithTag} and @code{\removeWithTag}
5548 commands, tagged expressions can be filtered. For example,
5552 \keepWithTag #'score @var{the music}
5553 \keepWithTag #'part @var{the music}
5558 @lilypondfile[raggedright,quote]{tag-filter.ly}
5561 The argument of the @code{\tag} command should be a symbol, or a list
5562 of symbols, for example,
5564 \tag #'(original-part transposed-part) @dots{}
5571 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
5575 Multiple rests are not merged if you create the score with both tagged
5578 @node Quoting other voices
5579 @subsection Quoting other voices
5581 With quotations, fragments of other parts can be inserted into a part
5582 directly. Before a part can be quoted, it must be marked especially as
5583 quotable. This is done with code @code{\addquote} command.
5586 \addquote @var{name} @var{music}
5591 Here, @var{name} is an identifying string. The @var{music} is any kind
5592 of music. This is an example of @code{\addquote}
5595 \addquote clarinet \relative c' @{
5600 This command must be entered at toplevel, i.e. outside any music
5603 After calling @code{\addquote}, the quotation may then be done with
5607 \quote @var{name} @var{duration}
5610 During a part, a piece of music can be quoted with the @code{\quote}
5617 This would cite three quarter notes (@code{2.} is a dotted half note)
5618 of the previously added @code{clarinet} voice.
5620 More precisely, it takes the current time-step of the part being
5621 printed, and extracts the notes at the corresponding point of the
5622 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5623 should be the entire part of the voice to be quoted, including any
5624 rests at the beginning.
5626 Quotations take into account the transposition of both source and target
5627 instruments, if they are specified using the @code{\transposition} command.
5629 @lilypond[quote,raggedright,verbatim]
5630 \addquote clarinet \relative c' {
5636 e'8 f'8 \quote clarinet 2
5640 The type of events that are present in cue notes can be trimmed with
5641 the @code{quotedEventTypes} property. The default value is
5642 @code{(note-event rest-event)}, which means that only notes of and
5643 rests of the cued voice end up in the @code{\quote}.
5647 \set Staff.quotedEventTypes =
5648 #'(note-event articulation-event dynamic-event)
5652 will quote notes (but no rests), together with scripts and dynamics.
5656 Only the contents of the first @internalsref{Voice} occurring in an
5657 @code{\addquote} command will be considered for quotation, so
5658 @var{music} can not contain @code{\new} and @code{\context Voice}
5659 statements that would switch to a different Voice.
5661 Quoting grace notes is broken and can even cause LilyPond to crash.
5665 In this manual: @ref{Instrument transpositions}.
5667 Examples: @inputfileref{input/@/regression,quote@/.ly}
5668 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
5670 Program reference: @internalsref{QuoteMusic}.
5672 @node Formatting cue notes
5673 @subsection Formatting cue notes
5676 The previous section deals with inserting notes from another
5677 voice. When making a part, these notes need to be specially formatted.
5678 Here is an example of formatted cue notes
5680 @c TODO: This should be done with \quote stuff, not manually.
5682 @lilypond[raggedright,verbatim]
5685 \override Stem #'length = #5.5
5686 \override Beam #'thickness = #0.384
5687 \override Beam #'space-function =
5688 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5692 \set Staff.instrument = #"Horn in F"
5693 \set Score.skipBars = ##t
5696 \once \override Staff.MultiMeasureRest #'staff-position = #-6
5703 r8^"Bsn." c'8 f'8[ f'8]
5713 There are a couple of points to take care of:
5717 The multi rest of the original part should be moved up or down during
5720 Cue notes have smaller font sizes.
5722 When cued notes have a clef change relative to the original part, the
5723 clef should be restored after the cue section. This minimizes
5724 confusion for the reader,
5726 When the original part starts, this should be marked with the name of
5727 the instrument, in this case ``Horn.'' Of course, the cue part is
5728 marked with the instrument playing the cue.
5731 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5734 @node Ancient notation
5735 @section Ancient notation
5737 @cindex Vaticana, Editio
5738 @cindex Medicaea, Editio
5743 Support for ancient notation includes features for mensural notation
5744 and Gregorian Chant notation. There is also limited support for
5745 figured bass notation.
5747 Many graphical objects provide a @code{style} property, see
5750 @ref{Ancient note heads},
5752 @ref{Ancient accidentals},
5754 @ref{Ancient rests},
5756 @ref{Ancient clefs},
5758 @ref{Ancient flags},
5760 @ref{Ancient time signatures}.
5763 By manipulating such a grob property, the typographical appearance of
5764 the affected graphical objects can be accommodated for a specific
5765 notation flavor without need for introducing any new notational
5768 In addition to the standard articulation signs described in section
5769 @ref{Articulations}, specific articulation signs for ancient notation
5774 @ref{Ancient articulations}
5777 Other aspects of ancient notation can not that easily be expressed as
5778 in terms of just changing a style property of a graphical object or
5779 adding articulation signs. Some notational concepts are introduced
5780 specifically for ancient notation,
5791 If this all is too much of documentation for you, and you just want to
5792 dive into typesetting without worrying too much about the details on
5793 how to customize a context, you may have a look at the predefined
5794 contexts. Use them to set up predefined style-specific voice and
5795 staff contexts, and directly go ahead with the note entry,
5799 @ref{Gregorian Chant contexts},
5801 @ref{Mensural contexts}.
5804 There is limited support for figured bass notation which came
5805 up during the baroque period.
5812 Here are all suptopics at a glance:
5815 * Ancient note heads::
5816 * Ancient accidentals::
5820 * Ancient time signatures::
5821 * Ancient articulations::
5825 * Gregorian Chant contexts::
5826 * Mensural contexts::
5831 @node Ancient note heads
5832 @subsection Ancient note heads
5837 For ancient notation, a note head style other than the @code{default}
5838 style may be chosen. This is accomplished by setting the @code{style}
5839 property of the NoteHead object to @code{baroque}, @code{neomensural}
5840 or @code{mensural}. The @code{baroque} style differs from the
5841 @code{default} style only in using a square shape for @code{\breve}
5842 note heads. The @code{neomensural} style differs from the
5843 @code{baroque} style in that it uses rhomboidal heads for whole notes
5844 and all smaller durations. Stems are centered on the note heads.
5845 This style is in particular useful when transcribing mensural music,
5846 e.g., for the incipit. The @code{mensural} style finally produces note
5847 heads that mimic the look of note heads in historic printings of the
5850 The following example demonstrates the @code{neomensural} style
5852 @lilypond[quote,fragment,raggedright,verbatim]
5853 \set Score.skipBars = ##t
5854 \override NoteHead #'style = #'neomensural
5855 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5858 When typesetting a piece in Gregorian Chant notation, the
5859 @internalsref{Gregorian_ligature_engraver} will automatically select
5860 the proper note heads, such there is no need to explicitly set the
5861 note head style. Still, the note head style can be set e.g.@: to
5862 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5863 @internalsref{Mensural_ligature_engraver} is used to automatically
5864 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5869 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
5870 overview over all available note head styles.
5873 @node Ancient accidentals
5874 @subsection Ancient accidentals
5879 Use the @code{style} property of grob @internalsref{Accidental} to
5880 select ancient accidentals. Supported styles are
5881 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5883 @lilypond[quote,raggedright,staffsize=26]
5890 { " " \musicglyph #"accidentals-vaticana-1"
5891 " " \musicglyph #"accidentals-vaticana0" }
5895 { " " \musicglyph #"accidentals-medicaea-1" }
5899 { " " \musicglyph #"accidentals-hufnagel-1" }
5903 { " " \musicglyph #"accidentals-mensural-1"
5904 " " \musicglyph #"accidentals-mensural1" }
5910 \context { \Score \remove "Bar_number_engraver" }
5912 \remove "Clef_engraver"
5913 \remove "Key_engraver"
5914 \remove "Time_signature_engraver"
5915 \remove "Staff_symbol_engraver"
5916 minimumVerticalExtent = ##f
5922 As shown, not all accidentals are supported by each style. When
5923 trying to access an unsupported accidental, LilyPond will switch to a
5924 different style, as demonstrated in
5925 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
5927 Similarly to local accidentals, the style of the key signature can be
5928 controlled by the @code{style} property of the
5929 @internalsref{KeySignature} grob.
5933 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5934 @ref{Accidentals} give a general introduction into the use of
5935 accidentals. @ref{Key signature} gives a general introduction into
5936 the use of key signatures.
5938 Program reference: @internalsref{KeySignature}.
5940 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
5943 @subsection Ancient rests
5948 Use the @code{style} property of grob @internalsref{Rest} to select
5949 ancient accidentals. Supported styles are @code{classical},
5950 @code{neomensural} and @code{mensural}. @code{classical} differs
5951 from the @code{default} style only in that the quarter rest looks like
5952 a horizontally mirrored 8th rest. The @code{neomensural} style suits
5953 well for e.g., the incipit of a transcribed mensural piece of music.
5954 The @code{mensural} style finally mimics the appearance of rests as
5955 in historic prints of the 16th century.
5957 The following example demonstrates the @code{neomensural} style
5959 @lilypond[quote,fragment,raggedright,verbatim]
5960 \set Score.skipBars = ##t
5961 \override Rest #'style = #'neomensural
5962 r\longa r\breve r1 r2 r4 r8 r16
5965 There are no 32th and 64th rests specifically for the mensural or
5966 neo-mensural style. Instead, the rests from the default style will be
5967 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
5970 There are no rests in Gregorian Chant notation; instead, it uses
5975 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5979 @subsection Ancient clefs
5984 LilyPond supports a variety of clefs, many of them ancient.
5986 The following table shows all ancient clefs that are supported via the
5987 @code{\clef} command. Some of the clefs use the same glyph, but
5988 differ only with respect to the line they are printed on. In such
5989 cases, a trailing number in the name is used to enumerate these clefs.
5990 Still, you can manually force a clef glyph to be typeset on an
5991 arbitrary line, as described in @ref{Clef}. The note printed to the
5992 right side of each clef in the example column denotes the @code{c'}
5993 with respect to that clef.
5995 @multitable @columnfractions .4 .4 .2
6004 modern style mensural C clef
6006 @code{neomensural-c1}, @code{neomensural-c2},@*
6007 @code{neomensural-c3}, @code{neomensural-c4}
6009 @lilypond[fragment,relative=1,notime]
6010 \clef "neomensural-c2" c
6014 petrucci style mensural C clefs, for use on different staff lines
6015 (the examples shows the 2nd staff line C clef)
6017 @code{petrucci-c1}, @code{petrucci-c2},@*
6018 @code{petrucci-c3}, @code{petrucci-c4},@*
6021 @lilypond[fragment,relative=1,notime]
6022 \clef "petrucci-c2" c
6026 petrucci style mensural F clef
6030 @lilypond[fragment,relative=1,notime]
6031 \clef "petrucci-f" c
6035 petrucci style mensural G clef
6039 @lilypond[fragment,relative=1,notime]
6040 \clef "petrucci-g" c
6044 historic style mensural C clef
6046 @code{mensural-c1}, @code{mensural-c2},@*
6047 @code{mensural-c3}, @code{mensural-c4}
6049 @lilypond[fragment,relative=1,notime]
6050 \clef "mensural-c2" c
6054 historic style mensural F clef
6058 @lilypond[fragment,relative=1,notime]
6059 \clef "mensural-f" c
6063 historic style mensural G clef
6067 @lilypond[fragment,relative=1,notime]
6068 \clef "mensural-g" c
6072 Editio Vaticana style do clef
6074 @code{vaticana-do1}, @code{vaticana-do2},@*
6077 @lilypond[fragment,relative=1,notime]
6078 \override Staff.StaffSymbol #'line-count = #4
6079 \clef "vaticana-do2" c
6083 Editio Vaticana style fa clef
6085 @code{vaticana-fa1}, @code{vaticana-fa2}
6087 @lilypond[fragment,relative=1,notime]
6088 \override Staff.StaffSymbol #'line-count = #4
6089 \clef "vaticana-fa2" c
6093 Editio Medicaea style do clef
6095 @code{medicaea-do1}, @code{medicaea-do2},@*
6098 @lilypond[fragment,relative=1,notime]
6099 \override Staff.StaffSymbol #'line-count = #4
6100 \clef "medicaea-do2" c
6104 Editio Medicaea style fa clef
6106 @code{medicaea-fa1}, @code{medicaea-fa2}
6108 @lilypond[fragment,relative=1,notime]
6109 \override Staff.StaffSymbol #'line-count = #4
6110 \clef "medicaea-fa2" c
6114 historic style hufnagel do clef
6116 @code{hufnagel-do1}, @code{hufnagel-do2},@*
6119 @lilypond[fragment,relative=1,notime]
6120 \override Staff.StaffSymbol #'line-count = #4
6121 \clef "hufnagel-do2" c
6125 historic style hufnagel fa clef
6127 @code{hufnagel-fa1}, @code{hufnagel-fa2}
6129 @lilypond[fragment,relative=1,notime]
6130 \override Staff.StaffSymbol #'line-count = #4
6131 \clef "hufnagel-fa2" c
6135 historic style hufnagel combined do/fa clef
6137 @code{hufnagel-do-fa}
6139 @lilypond[fragment,relative=1,notime]
6140 \clef "hufnagel-do-fa" c
6146 @emph{Modern style} means ``as is typeset in contemporary editions of
6147 transcribed mensural music''.
6149 @emph{Petrucci style} means ``inspired by printings published by the
6150 famous engraver Petrucci (1466-1539)''.
6152 @emph{Historic style} means ``as was typeset or written in historic
6153 editions (other than those of Petrucci)''.
6155 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6157 Petrucci used C clefs with differently balanced left-side vertical
6158 beams, depending on which staff line it is printed.
6162 In this manual: see @ref{Clef}.
6166 The mensural g clef is mapped to the Petrucci g clef.
6171 @subsection Ancient flags
6176 Use the @code{flag-style} property of grob @internalsref{Stem} to
6177 select ancient flags. Besides the @code{default} flag style,
6178 only @code{mensural} style is supported
6180 @lilypond[quote,fragment,raggedright,verbatim]
6181 \override Stem #'flag-style = #'mensural
6182 \override Stem #'thickness = #1.0
6183 \override NoteHead #'style = #'mensural
6185 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
6186 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6189 Note that the innermost flare of each mensural flag always is
6190 vertically aligned with a staff line.
6192 There is no particular flag style for neo-mensural notation. Hence,
6193 when typesetting the incipit of a transcribed piece of mensural
6194 music, the default flag style should be used. There are no flags in
6195 Gregorian Chant notation.
6199 The attachment of ancient flags to stems is slightly off due to a
6200 change in early 2.3.x.
6202 Vertically aligning each flag with a staff line assumes that stems
6203 always end either exactly on or exactly in the middle between two
6204 staff lines. This may not always be true when using advanced layout
6205 features of classical notation (which however are typically out of
6206 scope for mensural notation).
6208 @node Ancient time signatures
6209 @subsection Ancient time signatures
6211 @cindex time signatures
6214 There is limited support for mensural time signatures. The
6215 glyphs are hard-wired to particular time fractions. In other words,
6216 to get a particular mensural signature glyph with the @code{\time n/m}
6217 command, @code{n} and @code{m} have to be chosen according to the
6220 @lilypond[quote,raggedright]
6224 \remove Staff_symbol_engraver
6225 \remove Clef_engraver
6226 \remove Time_signature_engraver
6229 \set Score.timing = ##f
6230 \set Score.barAlways = ##t
6231 s_\markup { "$\\backslash$time 4/4" }
6232 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6234 s_\markup { "$\\backslash$time 2/2" }
6235 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6237 s_\markup { "$\\backslash$time 6/4" }
6238 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6240 s_\markup { "$\\backslash$time 6/8" }
6241 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6243 s_\markup { "$\\backslash$time 3/2" }
6244 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6246 s_\markup { "$\\backslash$time 3/4" }
6247 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6249 s_\markup { "$\\backslash$time 9/4" }
6250 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6252 s_\markup { "$\\backslash$time 9/8" }
6253 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6255 s_\markup { "$\\backslash$time 4/8" }
6256 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6258 s_\markup { "$\\backslash$time 2/4" }
6259 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6263 Use the @code{style} property of grob @internalsref{TimeSignature} to
6264 select ancient time signatures. Supported styles are
6265 @code{neomensural} and @code{mensural}. The above table uses the
6266 @code{neomensural} style. This style is appropriate for the
6267 incipit of transcriptions of mensural pieces. The @code{mensural}
6268 style mimics the look of historical printings of the 16th century.
6270 The following examples shows the differences in style,
6272 @lilypond[raggedright,fragment,relative=1,quote]
6276 c1^\markup { \hspace #-2.0 \typewriter default }
6278 \override Staff.TimeSignature #'style = #'numbered
6280 c1^\markup { \hspace #-2.0 \typewriter numbered }
6282 \override Staff.TimeSignature #'style = #'mensural
6284 c1^\markup { \hspace #-2.0 \typewriter mensural }
6286 \override Staff.TimeSignature #'style = #'neomensural
6288 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6289 \override Staff.TimeSignature #'style = #'single-digit
6291 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6297 This manual: @ref{Time signature} gives a general introduction into
6298 the use of time signatures.
6302 Ratios of note durations do not change with the time signature. For
6303 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6304 be made by hand, by setting
6307 breveTP = #(ly:make-duration -1 0 3 2)
6313 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6315 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6316 addressable with @code{\time}. Use a @code{\markup} instead
6318 @node Ancient articulations
6319 @subsection Ancient articulations
6321 @cindex articulations
6323 In addition to the standard articulation signs described in section
6324 @ref{Articulations}, articulation signs for ancient notation are
6325 provided. These are specifically designed for use with notation in
6326 Editio Vaticana style.
6328 @lilypond[quote,raggedright,verbatim]
6329 \include "gregorian-init.ly"
6331 \context VaticanaVoice {
6332 \override TextScript #'font-family = #'typewriter
6333 \override TextScript #'font-shape = #'upright
6334 \override Script #'padding = #-0.1
6336 a4\circulus_"circulus" s1
6337 a4\semicirculus_"semicirculus" s1 s
6338 a4\accentus_"accentus" s1
6339 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6346 Some articulations are vertically placed too closely to the
6347 correpsonding note heads.
6350 @subsection Custodes
6355 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6356 symbol that appears at the end of a staff. It anticipates the pitch
6357 of the first note(s) of the following line thus helping the performer
6358 to manage line breaks during performance.
6360 Custodes were frequently used in music notation until the 17th
6361 century. Nowadays, they have survived only in a few particular forms
6362 of musical notation such as contemporary editions of Gregorian chant
6363 like the @emph{editio vaticana}. There are different custos glyphs
6364 used in different flavors of notational style.
6366 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6367 @internalsref{Staff} context when declaring the @code{\layout} block,
6368 as shown in the following example
6374 \consists Custos_engraver
6375 Custos \override #'style = #'mensural
6380 The result looks like this
6382 @lilypond[quote,raggedright]
6386 \override Staff.Custos #'style = #'mensural
6391 \context { \Staff \consists Custos_engraver }
6396 The custos glyph is selected by the @code{style} property. The styles
6397 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
6398 @code{mensural}. They are demonstrated in the following fragment
6400 @lilypond[quote,raggedright,fragment]
6401 \new Lyrics \lyricmode {
6403 \typewriter "vaticana"
6404 { " " \musicglyph #"custodes-vaticana-u0" }
6407 \typewriter "medicaea"
6408 { " " \musicglyph #"custodes-medicaea-u0" }
6411 \typewriter "hufnagel"
6412 { " " \musicglyph #"custodes-hufnagel-u0" }
6415 \typewriter "mensural"
6416 { " " \musicglyph #"custodes-mensural-u0" }
6423 Program reference: @internalsref{Custos}.
6425 Examples: @inputfileref{input/@/regression,custos@/.ly}.
6429 @subsection Divisiones
6435 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6436 `division') is a staff context symbol that is used to structure
6437 Gregorian music into phrases and sections. The musical meaning of
6438 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
6439 can be characterized as short, medium and long pause, somewhat like
6440 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6441 only marks the end of a chant, but is also frequently used within a
6442 single antiphonal/responsorial chant to mark the end of each section.
6445 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
6446 contains definitions that you can apply by just inserting
6447 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6448 and @code{\finalis} at proper places in the input. Some editions use
6449 @emph{virgula} or @emph{caesura} instead of divisio minima.
6450 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
6453 @lilypondfile[quote,raggedright]{divisiones.ly}
6457 @cindex @code{\virgula}
6459 @cindex @code{\caesura}
6461 @cindex @code{\divisioMinima}
6462 @code{\divisioMinima},
6463 @cindex @code{\divisioMaior}
6464 @code{\divisioMaior},
6465 @cindex @code{\divisioMaxima}
6466 @code{\divisioMaxima},
6467 @cindex @code{\finalis}
6472 In this manual: @ref{Breath marks}.
6474 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6476 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
6479 @subsection Ligatures
6483 @c TODO: Should double check if I recalled things correctly when I wrote
6484 @c down the following paragraph by heart.
6486 A ligature is a graphical symbol that represents at least two distinct
6487 notes. Ligatures originally appeared in the manuscripts of Gregorian
6488 chant notation to denote ascending or descending sequences of notes.
6490 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6491 Some ligature styles may need additional input syntax specific for
6492 this particular type of ligature. By default, the
6493 @internalsref{LigatureBracket} engraver just puts a square bracket
6496 @lilypond[quote,raggedright,verbatim]
6504 To select a specific style of ligatures, a proper ligature engraver
6505 has to be added to the @internalsref{Voice} context, as explained in
6506 the following subsections. Only white mensural ligatures
6507 are supported with certain limitations.
6513 Ligatures need special spacing that has not yet been implemented. As
6514 a result, there is too much space between ligatures most of the time,
6515 and line breaking often is unsatisfactory. Also, lyrics do not
6516 correctly align with ligatures.
6518 Accidentals must not be printed within a ligature, but instead need to
6519 be collected and printed in front of it.
6521 Augmentum dots within ligatures are not handled correctly.
6525 * White mensural ligatures::
6526 * Gregorian square neumes ligatures::
6529 @node White mensural ligatures
6530 @subsubsection White mensural ligatures
6532 @cindex Mensural ligatures
6533 @cindex White mensural ligatures
6535 There is limited support for white mensural ligatures.
6537 To engrave white mensural ligatures, in the layout block the
6538 @internalsref{Mensural_ligature_engraver} has to be put into the
6539 @internalsref{Voice} context, and remove the
6540 @internalsref{Ligature_bracket_engraver}
6546 \remove Ligature_bracket_engraver
6547 \consists Mensural_ligature_engraver
6552 There is no additional input language to describe the shape of a
6553 white mensural ligature. The shape is rather determined solely from
6554 the pitch and duration of the enclosed notes. While this approach may
6555 take a new user a while to get accustomed, it has the great advantage
6556 that the full musical information of the ligature is known internally.
6557 This is not only required for correct MIDI output, but also allows for
6558 automatic transcription of the ligatures.
6563 \set Score.timing = ##f
6564 \set Score.defaultBarType = "empty"
6565 \override NoteHead #'style = #'neomensural
6566 \override Staff.TimeSignature #'style = #'neomensural
6568 \[ g\longa c\breve a\breve f\breve d'\longa \]
6570 \[ e1 f1 a\breve g\longa \]
6572 @lilypond[quote,raggedright]
6575 \set Score.timing = ##f
6576 \set Score.defaultBarType = "empty"
6577 \override NoteHead #'style = #'neomensural
6578 \override Staff.TimeSignature #'style = #'neomensural
6580 \[ g\longa c\breve a\breve f\breve d'\longa \]
6582 \[ e1 f1 a\breve g\longa \]
6587 \remove Ligature_bracket_engraver
6588 \consists Mensural_ligature_engraver
6594 Without replacing @internalsref{Ligature_bracket_engraver} with
6595 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6598 @lilypond[quote,raggedright]
6600 \set Score.timing = ##f
6601 \set Score.defaultBarType = "empty"
6602 \override NoteHead #'style = #'neomensural
6603 \override Staff.TimeSignature #'style = #'neomensural
6605 \[ g\longa c\breve a\breve f\breve d'\longa \]
6607 \[ e1 f1 a\breve g\longa \]
6613 The implementation is experimental. It may output strange warnings,
6614 incorrect results, and might even crash on more complex ligatures.
6616 @node Gregorian square neumes ligatures
6617 @subsubsection Gregorian square neumes ligatures
6619 @cindex Square neumes ligatures
6620 @cindex Gregorian square neumes ligatures
6622 There is limited support for Gregorian square neumes notation
6623 (following the style of the Editio Vaticana). Core ligatures can
6624 already be typeset, but essential issues for serious typesetting are
6625 still lacking, such as (among others) horizontal alignment of multiple
6626 ligatures, lyrics alignment and proper accidentals handling.
6629 The following table contains the extended neumes table of the 2nd
6630 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6631 1983 by the monks of Solesmes.
6633 @multitable @columnfractions .4 .2 .2 .2
6650 @c TODO: \layout block is identical in all of the below examples.
6651 @c Therefore, it should somehow be included rather than duplicated all
6654 @c why not make identifiers in ly/engraver-init.ly? --hwn
6656 @c Because it's just used to typeset plain notes without
6657 @c a staff for demonstration purposes rather than something
6658 @c special of Gregorian chant notation. --jr
6663 @lilypond[staffsize=26,linewidth=1.5\cm]
6664 \include "gregorian-init.ly"
6669 \noBreak s^\markup {"a"} \noBreak
6671 % Punctum Inclinatum
6673 \noBreak s^\markup {"b"}
6675 \layout { \neumeDemoLayout }}
6678 @lilypond[staffsize=26,linewidth=2.5\cm]
6679 \include "gregorian-init.ly"
6682 % Punctum Auctum Ascendens
6683 \[ \auctum \ascendens b \]
6684 \noBreak s^\markup {"c"} \noBreak
6686 % Punctum Auctum Descendens
6687 \[ \auctum \descendens b \]
6688 \noBreak s^\markup {"d"} \noBreak
6690 % Punctum Inclinatum Auctum
6691 \[ \inclinatum \auctum b \]
6692 \noBreak s^\markup {"e"}
6694 \layout { \neumeDemoLayout }}
6697 @lilypond[staffsize=26,linewidth=1.0\cm]
6698 \include "gregorian-init.ly"
6701 % Punctum Inclinatum Parvum
6702 \[ \inclinatum \deminutum b \]
6703 \noBreak s^\markup {"f"}
6705 \layout { \neumeDemoLayout }}
6711 @lilypond[staffsize=26,linewidth=1.0\cm]
6712 \include "gregorian-init.ly"
6717 \noBreak s^\markup {"g"}
6719 \layout { \neumeDemoLayout }}
6725 @code{3. Apostropha vel Stropha}
6727 @lilypond[staffsize=26,linewidth=1.0\cm]
6728 \include "gregorian-init.ly"
6733 \noBreak s^\markup {"h"}
6735 \layout { \neumeDemoLayout }}
6738 @lilypond[staffsize=26,linewidth=1.0\cm]
6739 \include "gregorian-init.ly"
6743 \[ \stropha \auctum b \]
6744 \noBreak s^\markup {"i"}
6746 \layout { \neumeDemoLayout }}
6753 @lilypond[staffsize=26,linewidth=1.0\cm]
6754 \include "gregorian-init.ly"
6759 \noBreak s^\markup {"j"}
6761 \layout { \neumeDemoLayout }}
6767 @code{5. Clivis vel Flexa}
6769 @lilypond[staffsize=26,linewidth=1.0\cm]
6770 \include "gregorian-init.ly"
6777 \layout { \neumeDemoLayout }}
6780 @lilypond[staffsize=26,linewidth=2.0\cm]
6781 \include "gregorian-init.ly"
6784 % Clivis Aucta Descendens
6785 \[ b \flexa \auctum \descendens g \]
6786 \noBreak s^\markup {"l"} \noBreak
6788 % Clivis Aucta Ascendens
6789 \[ b \flexa \auctum \ascendens g \]
6790 \noBreak s^\markup {"m"}
6792 \layout { \neumeDemoLayout }}
6795 @lilypond[staffsize=26,linewidth=1.0\cm]
6796 \include "gregorian-init.ly"
6800 \[ b \flexa \deminutum g \]
6803 \layout { \neumeDemoLayout }}
6807 @code{6. Podatus vel Pes}
6809 @lilypond[staffsize=26,linewidth=1.0\cm]
6810 \include "gregorian-init.ly"
6817 \layout { \neumeDemoLayout }}
6820 @lilypond[staffsize=26,linewidth=2.0\cm]
6821 \include "gregorian-init.ly"
6824 % Pes Auctus Descendens
6825 \[ g \pes \auctum \descendens b \]
6826 \noBreak s^\markup {"p"} \noBreak
6828 % Pes Auctus Ascendens
6829 \[ g \pes \auctum \ascendens b \]
6830 \noBreak s^\markup {"q"}
6832 \layout { \neumeDemoLayout }}
6835 @lilypond[staffsize=26,linewidth=1.0\cm]
6836 \include "gregorian-init.ly"
6840 \[ g \pes \deminutum b \]
6843 \layout { \neumeDemoLayout }}
6847 @code{7. Pes Quassus}
6849 @lilypond[staffsize=26,linewidth=1.0\cm]
6850 \include "gregorian-init.ly"
6854 \[ \oriscus g \pes \virga b \]
6857 \layout { \neumeDemoLayout }}
6860 @lilypond[staffsize=26,linewidth=1.0\cm]
6861 \include "gregorian-init.ly"
6864 % Pes Quassus Auctus Descendens
6865 \[ \oriscus g \pes \auctum \descendens b \]
6868 \layout { \neumeDemoLayout }}
6873 @code{8. Quilisma Pes}
6875 @lilypond[staffsize=26,linewidth=1.0\cm]
6876 \include "gregorian-init.ly"
6880 \[ \quilisma g \pes b \]
6883 \layout { \neumeDemoLayout }}
6886 @lilypond[staffsize=26,linewidth=1.0\cm]
6887 \include "gregorian-init.ly"
6890 % Quilisma Pes Auctus Descendens
6891 \[ \quilisma g \pes \auctum \descendens b \]
6894 \layout { \neumeDemoLayout }}
6899 @code{9. Podatus Initio Debilis}
6901 @lilypond[staffsize=26,linewidth=1.0\cm]
6902 \include "gregorian-init.ly"
6905 % Pes Initio Debilis
6906 \[ \deminutum g \pes b \]
6909 \layout { \neumeDemoLayout }}
6912 @lilypond[staffsize=26,linewidth=1.0\cm]
6913 \include "gregorian-init.ly"
6916 % Pes Auctus Descendens Initio Debilis
6917 \[ \deminutum g \pes \auctum \descendens b \]
6920 \layout { \neumeDemoLayout }}
6927 @lilypond[staffsize=26,linewidth=1.0\cm]
6928 \include "gregorian-init.ly"
6932 \[ a \pes b \flexa g \]
6935 \layout { \neumeDemoLayout }}
6938 @lilypond[staffsize=26,linewidth=1.0\cm]
6939 \include "gregorian-init.ly"
6942 % Torculus Auctus Descendens
6943 \[ a \pes b \flexa \auctum \descendens g \]
6946 \layout { \neumeDemoLayout }}
6949 @lilypond[staffsize=26,linewidth=1.0\cm]
6950 \include "gregorian-init.ly"
6953 % Torculus Deminutus
6954 \[ a \pes b \flexa \deminutum g \]
6957 \layout { \neumeDemoLayout }}
6961 @code{11. Torculus Initio Debilis}
6963 @lilypond[staffsize=26,linewidth=1.0\cm]
6964 \include "gregorian-init.ly"
6967 % Torculus Initio Debilis
6968 \[ \deminutum a \pes b \flexa g \]
6971 \layout { \neumeDemoLayout }}
6974 @lilypond[staffsize=26,linewidth=1.0\cm]
6975 \include "gregorian-init.ly"
6978 % Torculus Auctus Descendens Initio Debilis
6979 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6982 \layout { \neumeDemoLayout }}
6985 @lilypond[staffsize=26,linewidth=1.0\cm]
6986 \include "gregorian-init.ly"
6989 % Torculus Deminutus Initio Debilis
6990 \[ \deminutum a \pes b \flexa \deminutum g \]
6993 \layout { \neumeDemoLayout }}
6997 @code{12. Porrectus}
6999 @lilypond[staffsize=26,linewidth=1.0\cm]
7000 \include "gregorian-init.ly"
7004 \[ a \flexa g \pes b \]
7007 \layout { \neumeDemoLayout }}
7010 @lilypond[staffsize=26,linewidth=1.0\cm]
7011 \include "gregorian-init.ly"
7014 % Porrectus Auctus Descendens
7015 \[ a \flexa g \pes \auctum \descendens b \]
7018 \layout { \neumeDemoLayout }}
7021 @lilypond[staffsize=26,linewidth=1.0\cm]
7022 \include "gregorian-init.ly"
7025 % Porrectus Deminutus
7026 \[ a \flexa g \pes \deminutum b \]
7029 \layout { \neumeDemoLayout }}
7035 @lilypond[staffsize=26,linewidth=1.0\cm]
7036 \include "gregorian-init.ly"
7040 \[ \virga b \inclinatum a \inclinatum g \]
7043 \layout { \neumeDemoLayout }
7047 @lilypond[staffsize=26,linewidth=1.0\cm]
7048 \include "gregorian-init.ly"
7052 \[ \virga b \inclinatum a \inclinatum \auctum g \]
7055 \layout { \neumeDemoLayout }}
7058 @lilypond[staffsize=26,linewidth=1.0\cm]
7059 \include "gregorian-init.ly"
7062 % Climacus Deminutus
7063 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7066 \layout { \neumeDemoLayout }}
7070 @code{14. Scandicus}
7072 @lilypond[staffsize=26,linewidth=1.0\cm]
7073 \include "gregorian-init.ly"
7077 \[ g \pes a \virga b \]
7080 \layout { \neumeDemoLayout }}
7083 @lilypond[staffsize=26,linewidth=1.0\cm]
7084 \include "gregorian-init.ly"
7087 % Scandicus Auctus Descendens
7088 \[ g \pes a \pes \auctum \descendens b \]
7091 \layout { \neumeDemoLayout }}
7094 @lilypond[staffsize=26,linewidth=1.0\cm]
7095 \include "gregorian-init.ly"
7098 % Scandicus Deminutus
7099 \[ g \pes a \pes \deminutum b \]
7102 \layout { \neumeDemoLayout }}
7108 @lilypond[staffsize=26,linewidth=1.0\cm]
7109 \include "gregorian-init.ly"
7113 \[ g \oriscus a \pes \virga b \]
7116 \layout { \neumeDemoLayout }}
7119 @lilypond[staffsize=26,linewidth=1.0\cm]
7120 \include "gregorian-init.ly"
7123 % Salicus Auctus Descendens
7124 \[ g \oriscus a \pes \auctum \descendens b \]
7127 \layout { \neumeDemoLayout }}
7134 @lilypond[staffsize=26,linewidth=1.0\cm]
7135 \include "gregorian-init.ly"
7139 \[ \stropha b \stropha b \stropha a \]
7142 \layout { \neumeDemoLayout }
7151 Unlike most other neumes notation systems, the input language for
7152 neumes does not reflect the typographical appearance, but is designed
7153 to focus on musical meaning. For example, @code{\[ a \pes b
7154 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7155 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7156 curved flexa shape and only a single Punctum head. There is no
7157 command to explicitly typeset the curved flexa shape; the decision of
7158 when to typeset a curved flexa shape is based on the musical
7159 input. The idea of this approach is to separate the musical aspects
7160 of the input from the notation style of the output. This way, the
7161 same input can be reused to typeset the same music in a different
7162 style of Gregorian chant notation.
7164 The following table shows the code fragments that produce the
7165 ligatures in the above neumes table. The letter in the first column
7166 in each line of the below table indicates to which ligature in the
7167 above table it refers. The second column gives the name of the
7168 ligature. The third column shows the code fragment that produces this
7169 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7171 @multitable @columnfractions .02 .31 .67
7191 @code{\[ \inclinatum b \]}
7199 @code{\[ \auctum \ascendens b \]}
7207 @code{\[ \auctum \descendens b \]}
7212 Punctum Inclinatum@*
7215 @code{\[ \inclinatum \auctum b \]}
7220 Punctum Inclinatum@*
7222 @code{\[ \inclinatum \deminutum b \]}
7229 @code{\[ \virga b \]}
7236 @code{\[ \stropha b \]}
7243 @code{\[ \stropha \auctum b \]}
7250 @code{\[ \oriscus b \]}
7257 @code{\[ b \flexa g \]}
7265 @code{\[ b \flexa \auctum \descendens g \]}
7273 @code{\[ b \flexa \auctum \ascendens g \]}
7280 @code{\[ b \flexa \deminutum g \]}
7287 @code{\[ g \pes b \]}
7295 @code{\[ g \pes \auctum \descendens b \]}
7303 @code{\[ g \pes \auctum \ascendens b \]}
7310 @code{\[ g \pes \deminutum b \]}
7317 @code{\[ \oriscus g \pes \virga b \]}
7323 Auctus Descendens @tab
7324 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7331 @code{\[ \quilisma g \pes b \]}
7339 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7346 @code{\[ \deminutum g \pes b \]}
7351 Pes Auctus Descendens@*
7354 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7361 @code{\[ a \pes b \flexa g \]}
7369 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7376 @code{\[ a \pes b \flexa \deminutum g \]}
7381 Torculus Initio Debilis
7383 @code{\[ \deminutum a \pes b \flexa g \]}
7389 Descendens Initio Debilis
7391 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7396 Torculus Deminutus@*
7399 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7406 @code{\[ a \flexa g \pes b \]}
7414 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7421 @code{\[ a \flexa g \pes \deminutum b \]}
7428 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7435 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7442 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7449 @code{\[ g \pes a \virga b \]}
7457 @code{\[ g \pes a \pes \auctum \descendens b \]}
7464 @code{\[ g \pes a \pes \deminutum b \]}
7471 @code{\[ g \oriscus a \pes \virga b \]}
7476 Salicus Auctus Descendens
7478 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7485 @code{\[ \stropha b \stropha b \stropha a \]}
7490 The following head prefixes are supported
7492 @cindex @code{\virga}
7494 @cindex @code{\stropha}
7496 @cindex @code{\inclinatum}
7498 @cindex @code{\auctum}
7500 @cindex @code{\descendens}
7502 @cindex @code{\ascendens}
7504 @cindex @code{\oriscus}
7506 @cindex @code{\quilisma}
7508 @cindex @code{\deminutum}
7511 Head prefixes can be accumulated, though restrictions apply. For
7512 example, either @code{\descendens} or @code{\ascendens} can be applied
7513 to a head, but not both to the same head.
7516 @cindex @code{\flexa}
7517 Two adjacent heads can be tied together with the @code{\pes} and
7518 @code{\flexa} infix commands for a rising and falling line of melody,
7523 @node Gregorian Chant contexts
7524 @subsection Gregorian Chant contexts
7526 @cindex VaticanaVoiceContext
7527 @cindex VaticanaStaffContext
7529 The predefined @code{VaticanaVoiceContext} and
7530 @code{VaticanaStaffContext} can be used to engrave a piece of
7531 Gregorian Chant in the style of the Editio Vaticana. These contexts
7532 initialize all relevant context properties and grob properties to
7533 proper values, so you can immediately go ahead entering the chant, as
7534 the following excerpt demonstrates
7536 @lilypond[quote,raggedright,verbatim]
7537 \include "gregorian-init.ly"
7540 \context VaticanaVoice = "cantus" {
7541 \override Score.BarNumber #'transparent = ##t {
7542 \[ c'\melisma c' \flexa a \]
7543 \[ a \flexa \deminutum g\melismaEnd \]
7545 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7546 c' \divisioMinima \break
7547 \[ c'\melisma c' \flexa a \]
7548 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7551 \lyricsto "cantus" \new Lyrics {
7552 San- ctus, San- ctus, San- ctus
7559 @node Mensural contexts
7560 @subsection Mensural contexts
7562 @cindex MensuralVoiceContext
7563 @cindex MensuralStaffContext
7565 The predefined @code{MensuralVoiceContext} and
7566 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7567 style. These contexts initialize all relevant context properties and
7568 grob properties to proper values, so you can immediately go ahead
7569 entering the chant, as the following excerpt demonstrates
7571 @lilypond[quote,raggedright,verbatim]
7574 \context MensuralVoice = "discantus" \transpose c c' {
7575 \override Score.BarNumber #'transparent = ##t {
7576 c'1\melisma bes a g\melismaEnd
7578 \[ f1\melisma a c'\breve d'\melismaEnd \]
7580 c'\breve\melisma a1 g1\melismaEnd
7581 fis\longa^\signumcongruentiae
7584 \lyricsto "discantus" \new Lyrics {
7585 San -- ctus, San -- ctus, San -- ctus
7593 @subsection Figured bass
7595 @cindex Basso continuo
7597 @c TODO: musicological blurb about FB
7600 LilyPond has limited support for figured bass
7602 @lilypond[quote,raggedright,verbatim,fragment]
7604 \context Voice { \clef bass dis4 c d ais }
7605 \context FiguredBass \figuremode {
7606 < 6 >4 < 7 >8 < 6+ [_!] >
7612 The support for figured bass consists of two parts: there is an input
7613 mode, introduced by @code{\figuremode}, where you can enter bass figures
7614 as numbers, and there is a context called @internalsref{FiguredBass} that
7615 takes care of making @internalsref{BassFigure} objects.
7617 In figures input mode, a group of bass figures is delimited by
7618 @code{<} and @code{>}. The duration is entered after the @code{>}
7622 @lilypond[quote,raggedright,fragment]
7623 \context FiguredBass
7624 \figuremode { <4 6> }
7627 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7633 @lilypond[quote,raggedright,fragment]
7634 \context FiguredBass
7635 \figuremode { <4- 6+ 7!> }
7638 Spaces or dashes may be inserted by using @code{_}. Brackets are
7639 introduced with @code{[} and @code{]}
7644 @lilypond[quote,raggedright,fragment]
7645 \context FiguredBass
7646 \figuremode { < [4 6] 8 [_! 12] > }
7649 Although the support for figured bass may superficially resemble chord
7650 support, it works much simpler. The @code{\figuremode} mode simply
7651 stores the numbers , and @internalsref{FiguredBass} context prints
7652 them as entered. There is no conversion to pitches, and no
7653 realizations of the bass are played in the MIDI file.
7655 Internally, the code produces markup texts. You can use any of the
7656 markup text properties to override formatting. For example, the
7657 vertical spacing of the figures may be set with @code{baseline-skip}.
7661 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7662 and @internalsref{FiguredBass} context.
7666 Slash notation for alterations is not supported.
7668 @node Contemporary notation
7669 @section Contemporary notation
7671 In the 20th century, composers have greatly expanded the musical
7672 vocabulary. With this expansion, many innovations in musical notation
7673 have been tried. The book ``Music Notation in the 20th century'' by
7674 Kurt Stone gives a comprehensive overview (see @ref{Literature
7675 list}). In general, the use of new, innovative notation makes a piece
7676 harder to understand and perform and its use should therefore be
7677 avoided. For this reason, support for contemporary notation in
7678 LilyPond is limited.
7682 * Polymetric notation::
7684 * Special fermatas::
7688 @node Polymetric notation
7689 @subsection Polymetric notation
7691 Double time signatures are not supported explicitly, but they can be
7692 faked. In the next example, the markup for the time signature is
7693 created with a markup text. This markup text is inserted in the
7694 @internalsref{TimeSignature} grob.
7696 @lilypond[verbatim,raggedright]
7701 \musicglyph #"scripts-stopped"
7702 \bracket \column < "5" "8" >
7707 \override Staff.TimeSignature #'print-function = #Text_interface::print
7708 \override Staff.TimeSignature #'text = #tsMarkup
7710 c'2 \bar ":" c'4 c'4.
7714 Each staff can also have its own time signature. This is done by
7715 moving the @internalsref{Timing_engraver} to @internalsref{Staff}
7720 \context @{ \Score \remove "Timing_engraver" @}
7721 \context @{ \Staff \consists "Timing_engraver" @}
7726 Now, each staff has its own time signature.
7739 c4. c8 c c c4. c8 c c
7744 @lilypond[quote,raggedright]
7746 \context{ \Score \remove "Timing_engraver" }
7747 \context{ \Staff \consists "Timing_engraver" }
7761 c4. c8 c c c4. c8 c c
7767 A different form of polymetric notation is where note lengths have
7768 different values across staves.
7770 This notation can be created by setting a common time signature for
7771 each staff but replacing it manually using
7772 @code{timeSignatureFraction} to the desired fraction. Then the printed
7773 durations in each staff are scaled to the common time signature.
7774 The latter is done with @code{\compressmusic}, which is similar to
7775 @code{\times}, but does not create a tuplet bracket.
7778 In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
7779 used in parallel. In the second staff, shown durations are multiplied by
7780 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7781 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7783 @lilypond[quote,raggedright,verbatim,fragment]
7791 \set Staff.timeSignatureFraction = #'(9 . 8)
7792 \compressmusic #'(2 . 3)
7793 \repeat unfold 6 { c8[ c c] }
7797 \set Staff.timeSignatureFraction = #'(10 . 8)
7798 \compressmusic #'(3 . 5) {
7799 \repeat unfold 2 { c8[ c c] }
7800 \repeat unfold 2 { c8[ c] }
7801 | c4. c4. \times 2/3 { c8 c c } c4
7812 When using different time signatures in parallel, the spacing is
7813 aligned vertically, but bar lines distort the regular spacing.
7818 @subsection Clusters
7822 A cluster indicates a continuous range of pitches to be played. They
7823 can be denoted as the envelope of a set of notes. They are entered by
7824 applying the function @code{makeClusters} to a sequence of
7827 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
7828 \makeClusters { <c e > <b f'> }
7831 The following example (from
7832 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
7835 @lilypondfile[raggedright,quote]{cluster.ly}
7837 Ordinary notes and clusters can be put together in the same staff,
7838 even simultaneously. In such a case no attempt is made to
7839 automatically avoid collisions between ordinary notes and clusters.
7843 Program reference: @internalsref{ClusterSpanner},
7844 @internalsref{ClusterSpannerBeacon},
7845 @internalsref{Cluster_spanner_engraver}, and
7846 @internalsref{ClusterNoteEvent}.
7848 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
7852 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7853 accurately. Use @code{<g a>8 <e a>8} instead.
7857 @node Special fermatas
7858 @subsection Special fermatas
7860 @cindex fermatas, special
7862 In contemporary music notation, special fermata symbols denote breaks
7863 of differing lengths. The following fermatas are supported
7865 @lilypond[quote,raggedright]
7888 \context Lyrics \lyricmode {
7889 \override LyricText #'font-family = #'typewriter
7890 "shortfermata" "fermata" "longfermata" "verylongfermata"
7895 See @ref{Articulations} for general instructions how to apply scripts
7896 such as fermatas to notes.
7898 @node Feathered beams
7899 @subsection Feathered beams
7901 Feathered beams are not supported natively, but they can be faked by
7902 forcing two beams to overlap. Here is an example,
7904 @c don't change relative setting witout changing positions!
7905 @lilypond[raggedright,relative=1,fragment,verbatim]
7910 \once \override Voice.Beam #'positions = #'(0 . 0.5)
7915 \once \override Voice.Beam #'positions = #'(0 . -0.5)
7923 @node Educational use
7924 @section Educational use
7926 With the amount of control that LilyPond offers, one can make great
7927 teaching tools in addition to great musical scores.
7931 * Blank music sheet::
7933 * Easy Notation note heads::
7937 @subsection Balloon help
7939 Elements of notation can be marked and named with the help of a square
7940 balloon. The primary purpose of this feature is to explain notation.
7942 The following example demonstrates its use.
7944 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7947 #(add-balloon-text 'NoteHead "heads, or tails?"
7954 The function @code{add-balloon-text} takes the name of a grob, the
7955 label to print, and the position where to put the label relative to
7956 the object. In the above example, the text ``heads or tails?'' ends
7957 3 spaces below and 1 space to the right of the marked head.
7960 @cindex notation, explaining
7964 Program reference: @internalsref{text-balloon-interface}.
7966 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
7971 @node Blank music sheet
7972 @subsection Blank music sheet
7974 A blank music sheet can be produced also by using invisible notes, and
7975 removing @code{Bar_number_engraver}.
7978 @lilypond[quote,verbatim]
7980 \repeat unfold 2 % Change this for more lines.
7985 \override TimeSignature #'transparent = ##t
7986 defaultBarType = #""
7987 \remove Bar_number_engraver
7989 \context Staff \emptymusic
7990 \context TabStaff \emptymusic
7996 @subsection Hidden notes
7998 @cindex Hidden notes
7999 @cindex Invisible notes
8000 @cindex Transparent notes
8002 Hidden (or invisible or transparent) notes can be useful in preparing theory
8003 or composition exercises.
8005 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
8013 Hidden notes are also great for performing weird tricks. For example,
8014 slurs cannot be attached to rests or spacer rests, but you may with
8015 to include that in your score -- string instruments use this notation
8016 when doing pizzicato to indicate that the note should ring for as long
8019 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
8022 c4^"pizz"( \hideNotes c)
8023 \unHideNotes c( \hideNotes c)
8030 @node Easy Notation note heads
8031 @subsection Easy Notation note heads
8033 @cindex easy notation
8036 The `easy play' note head includes a note name inside the head. It is
8037 used in music for beginners
8039 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
8044 The command @code{\setEasyHeads} overrides settings for the
8045 @internalsref{NoteHead} object. To make the letters readable, it has
8046 to be printed in a large font size. To print with a larger font, see
8047 @ref{Setting global staff size}.
8051 @cindex @code{\setEasyHeads}
8052 @code{\setEasyHeads}