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
8 @c FIXME: singular vs. plural: Beams/Beam
12 @chapter Notation manual
14 This chapter describes all the different types of notation supported
15 by LilyPond. It is intended as a reference for users that are already
16 somewhat familiar with using LilyPond.
20 * Easier music entry::
34 * Contemporary notation::
38 @c FIXME: Note entry vs Music entry at top level menu is confusing.
44 The basic elements of any piece of music are the notes. This section
45 is about basic notation elements notes, rests and related constructs,
46 such as stems, tuplets and ties.
51 * Chromatic alterations::
66 A note is printed by specifying its pitch and then its duration:
67 @footnote{Notes constitute the most basic elements of LilyPond input,
68 but they do not form valid input on their own without a @code{\score}
69 block. However, for the sake of brevity and simplicity we will
70 generally omit @code{\score} blocks and @code{\paper} declarations in
73 @lilypond[fragment,verbatim]
82 @cindex Note specification
84 @cindex entering notes
86 The most common syntax for pitch entry is used in @code{\chords} and
87 @code{\notes} mode. In Note and Chord mode, pitches may be designated
88 by names. The notes are specified by the letters @code{a} through
89 @code{g}, while the octave is formed with notes ranging from @code{c}
90 to @code{b}. The pitch @code{c} is an octave below middle C and the
91 letters span the octave above that C:
93 @lilypond[fragment,verbatim]
95 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
98 @cindex note names, Dutch
100 A sharp is formed by adding @code{-is} to the end of a pitch name and
101 a flat is formed by adding @code{-es}. Double sharps and double flats
102 are obtained by adding @code{-isis} or @code{-eses}. These
103 names are the Dutch note names. In Dutch, @code{aes} is contracted to
104 @code{as}, but both forms are accepted. Similarly, both
105 @code{es} and @code{ees} are accepted.
107 Half-flats and half-sharps are formed by adding @code{-eh} and
108 @code{-ih}; the following is a series of Cs with increasing pitches:
110 @cindex quarter tones
111 @cindex semi-flats, semi-sharps
113 @lilypond[verbatim,relative=2]
125 There are predefined sets of note names for various other languages.
126 To use them, include the language specific init file. For
127 example: @code{\include "english.ly"}. The available language files
128 and the note names they define are:
133 Note Names sharp flat
134 nederlands.ly c d e f g a bes b -is -es
135 english.ly c d e f g a bf b -s/-sharp -f/-flat
137 deutsch.ly c d e f g a b h -is -es
138 norsk.ly c d e f g a b h -iss/-is -ess/-es
139 svenska.ly c d e f g a b h -iss -ess
140 italiano.ly do re mi fa sol la sib si -d -b
141 catalan.ly do re mi fa sol la sib si -d/-s -b
142 espanol.ly do re mi fa sol la sib si -s -b
151 The optional octave specification takes the form of a series of
152 single quote (`@code{'}') characters or a series of comma
153 (`@code{,}') characters. Each @code{'} raises the pitch by one
154 octave; each @code{,} lowers the pitch by an octave:
156 @lilypond[fragment,verbatim]
157 c' c'' es' g' as' gisis' ais'
163 Notes can be hidden and unhidden with the following commands:
165 @cindex @code{\hideNotes}
167 @cindex @code{\unHideNotes}
173 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
175 @node Chromatic alterations
176 @subsection Chromatic alterations
178 Normally accidentals are printed automatically, but you may also
179 print them manually. A reminder accidental
180 @cindex reminder accidental
182 can be forced by adding an exclamation mark @code{!}
183 after the pitch. A cautionary accidental
184 @cindex cautionary accidental
185 @cindex parenthesized accidental
186 (i.e. an accidental within parentheses) can be obtained by adding the
187 question mark `@code{?}' after the pitch:
189 @lilypond[fragment,verbatim]
190 cis' cis' cis'! cis'?
194 The automatic production of accidentals can be tuned in many
195 ways. For more information, refer to @ref{Accidentals}.
200 A chord is formed by a enclosing a set of pitches in @code{<} and
201 @code{>}. A chord may be followed by a duration, and a set of
202 articulations, just like simple notes.
212 Rests are entered like notes, with the note name @code{r}:
214 @lilypond[raggedright,verbatim]
218 Whole bar rests, centered in middle of the bar,
219 must be done with multi measure rests. They are discussed in
220 @ref{Multi measure rests}.
223 A rest's vertical position may be explicitly specified by entering a
224 note with the @code{\rest} keyword appended. This makes manual
225 formatting in polyphonic music easier. Rest collision testing will
226 leave these rests alone:
228 @lilypond[raggedright,verbatim]
234 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
241 @cindex Invisible rest
244 An invisible rest (also called a `skip') can be entered like a note
245 with note name `@code{s}' or with @code{\skip @var{duration}}:
247 @lilypond[raggedright,verbatim]
251 The @code{s} syntax is only available in note mode and chord mode. In
252 other situations, you should use the @code{\skip} command:
254 @lilypond[raggedright,verbatim]
257 { \time 4/8 \skip 2 \time 4/4 }
258 \notes\relative c'' { a2 a1 }
263 The skip command is merely an empty musical placeholder. It does not
264 produce any output, not even transparent output.
266 The @code{s} skip command does create @internalsref{Staff} and
267 @internalsref{Voice} when necessary, similar to note and rest
268 commands. For example, the following results in an empty staff.
270 @lilypond[raggedright,verbatim]
271 \score { \notes { s4 } }
274 The same fragment using @code{\skip} results in an empty page.
278 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
283 @subsection Durations
289 In Note, Chord, and Lyrics mode, durations are designated by numbers
290 and dots: durations are entered as their reciprocal values. For example,
291 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
292 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
293 longer than a whole you must use variables:
297 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
299 r1 r2 r4 r8 r16 r32 r64 r64
304 \notes \relative c'' {
306 a1 a2 a4 a8 a16 a32 a64 a64
308 r1 r2 r4 r8 r16 r32 r64 r64
313 \remove "Clef_engraver"
314 \override StaffSymbol #'transparent = ##t
315 \override TimeSignature #'transparent = ##t
316 \consists "Pitch_squash_engraver"
323 If the duration is omitted then it is set to the previously entered
324 duration. The default for the first note is a quarter note. The duration
325 can be followed by dots (`@code{.}') in order to obtain dotted note
329 @lilypond[fragment,verbatim]
330 a' b' c''8 b' a'4 a'4. b'4.. c'8.
335 You can alter the length of duration by a fraction @var{N/M}
336 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
337 will not affect the appearance of the notes or rests produced.
338 In the following example, the first three notes take up exactly two
340 @lilypond[fragment,relative=2,verbatim]
342 a4*2/3 gis4*2/3 a4*2/3
349 Dots are normally moved up to avoid staff lines, except in polyphonic
350 situations. The following commands may be used to force a particular
353 @cindex @code{\dotsUp}
355 @cindex @code{\dotsDown}
357 @cindex @code{\dotsBoth}
362 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
367 Whenever a note is found, a @internalsref{Stem} object is created
368 automatically. For whole notes and rests, they are also created but
373 @cindex @code{\stemUp}
375 @cindex @code{\stemDown}
377 @cindex @code{\stemBoth}
388 A tie connects two adjacent note heads of the same pitch. The tie in
389 effect extends the length of a note. Ties should not be confused with
390 slurs, which indicate articulation, or phrasing slurs, which indicate
391 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
393 @lilypond[fragment,verbatim]
394 e' ~ e' <c' e' g'> ~ <c' e' g'>
397 When a tie is applied to a chord, all note heads whose pitches match
398 are connected. When no note heads match, no ties will be created.
400 In its meaning a tie is just a way of extending a note duration, similar
401 to the augmentation dot; in the following example there are two ways of
402 notating exactly the same concept:
404 @lilypond[fragment,raggedright]
405 \time 3/4 c'2. c'2 ~ c'4
407 If you need to tie a lot of notes over bars, it may be easier to use automatic
408 note splitting (see @ref{Automatic note splitting}).
413 @cindex @code{\tieUp}
415 @cindex @code{\tieDown}
417 @cindex @code{\tieBoth}
419 @cindex @code{\tieDotted}
421 @cindex @code{\tieSolid}
426 In this manual: @ref{Automatic note splitting}.
428 Internals: @internalsref{TieEvent}, @internalsref{Tie}.
430 For tying only a subset of the note heads of a pair of chords, see
431 @inputfileref{input/regression,tie-chord-partial.ly}.
436 Switching staves when a tie is active will not produce a slanted tie.
438 Formatting of ties is a difficult subject. The results are often not
448 @cindex @code{\times}
450 Tuplets are made out of a music expression by multiplying all durations
453 @cindex @code{\times}
455 \times @var{fraction} @var{musicexpr}
459 The duration of @var{musicexpr} will be multiplied by the fraction.
460 The fraction's denominator will be printed over the notes, optionally
461 with a bracket. The most common tuplet is the triplet in which 3
462 notes have the length of 2, so the notes are 2/3 of their written
465 @lilypond[fragment,verbatim]
466 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
469 The property @code{tupletSpannerDuration} specifies how long each
470 bracket should last. With this, you can make lots of tuplets while
471 typing @code{\times} only once, saving lots of typing. In the next
472 example, there are two triplets shown, while @code{\times} was only
475 @lilypond[fragment,relative,raggedright,verbatim]
476 \set tupletSpannerDuration = #(ly:make-moment 1 4)
477 \times 2/3 { c'8 c c c c c }
480 The format of the number is determined by the property
481 @code{tupletNumberFormatFunction}. The default prints only the
482 denominator, but if it is set to the Scheme function
483 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
487 @cindex @code{tupletNumberFormatFunction}
488 @cindex tuplet formatting
493 @cindex @code{\tupletUp}
495 @cindex @code{\tupletDown}
497 @cindex @code{\tupletBoth}
502 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
504 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
508 Nested tuplets are not formatted automatically. In this case, outer
509 tuplet brackets should be moved manually, which is demonstrated in
510 @inputfileref{input/regression,tuplet-nest.ly}.
514 @node Easier music entry
515 @section Easier music entry
518 When entering music it is easy to introduce errors. This section deals
519 with tricks and features of the input language that were added solely
520 to help entering music, and find and correct mistakes.
522 It is also possible to use external programs, for example GUI
523 interfaces, or MIDI transcription programs, to enter or edit
524 music. Refer to the website for more information. Finally, there are
525 tools make debugging easier, by linking the input file and the output
526 shown on screen. See @ref{Point and click} for more information.
533 * Skipping corrected music::
534 * Automatic note splitting::
540 @node Relative octaves
541 @subsection Relative octaves
543 @cindex relative octave specification
545 Octaves are specified by adding @code{'} and @code{,} to pitch names.
546 When you copy existing music, it is easy to accidentally put a pitch
547 in the wrong octave and hard to find such an error. The relative
548 octave mode prevents these errors: a single error puts the rest of the
549 piece off by one octave:
551 @cindex @code{\relative}
553 \relative @var{startpitch} @var{musicexpr}
556 The octave of notes that appear in @var{musicexpr} are calculated as
557 follows: If no octave changing marks are used, the basic interval
558 between this and the last note is always taken to be a fourth or less
559 (; this distance is determined without regarding alterations: a
560 @code{fisis} following a @code{ceses} will be put above the
563 The octave changing marks @code{'} and @code{,} can be added to raise
564 or lower the pitch by an extra octave. Upon entering relative mode,
565 an absolute starting pitch must be specified that will act as the
566 predecessor of the first note of @var{musicexpr}.
568 Here is the relative mode shown in action:
569 @lilypond[fragment,raggedright,verbatim]
575 Octave changing marks are used for intervals greater than a fourth:
576 @lilypond[fragment,verbatim]
581 If the preceding item is a chord, the first note of the chord is used
582 to determine the first note of the next chord:
584 @lilypond[fragment,verbatim]
591 @cindex @code{\notes}
593 The pitch after the @code{\relative} contains a note name. To parse
594 the pitch as a note name, you have to be in note mode, so there must
595 be a surrounding @code{\notes} keyword (which is not
598 The relative conversion will not affect @code{\transpose},
599 @code{\chords} or @code{\relative} sections in its argument. If you
600 want to use relative within transposed music, you must place an
601 additional @code{\relative} inside the @code{\transpose}.
604 @subsection Octave check
607 Octave checks make octave errors easier to correct: a note may be
608 followed by @code{=}@var{quotes} which indicates what its absolute
609 octave should be. In the following example,
611 \relative c'' @{ c='' b=' d,='' @}
615 @c take care with @code, adds confusing quotes.
616 the d will generate a warning, because a d'' is expected, but a d' is
617 found. In the output, the octave is corrected this and the following
622 There is also a syntax that is separate from the notes.
627 This checks that @var{pitch} (without octave) yields @var{pitch} (with
628 octave) in \relative mode. If not, a warning is printed, and the
629 octave is corrected, for example, the first check is passed
630 successfully. The second check fails with an error message. The
631 octave is adjusted so the following notes are in the correct octave
642 The octave of a note following an octave check is determined with
643 respect to the note preceding it. In the next fragment, the last note
644 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
645 be deleted without changing the meaning of the piece.
647 @lilypond[verbatim,fragment]
656 @subsection Bar check
660 @cindex @code{barCheckSynchronize}
663 Bar checks help detect errors in the durations. A bar check is
664 entered using the bar symbol, `@code{|}'. Whenever it is encountered
665 during interpretation, it should fall on a measure boundary. If it
666 does not, a warning is printed. Depending on the value of
667 @code{barCheckSynchronize}, the beginning of the measure will be
670 In the next example, the second bar check will signal an error:
672 \time 3/4 c2 e4 | g2 |
675 Bar checks can also be used in lyrics, for example
680 Twin -- kle | Twin -- kle
685 @cindex skipTypesetting
687 Failed bar checks are caused by entering incorrect
688 durations. Incorrect durations often completely garble up the score,
689 especially if it is polyphonic, so you should start correcting the
690 score by scanning for failed bar checks and incorrect durations. To
691 speed up this process, you can use @code{skipTypesetting}, described
694 @node Skipping corrected music
695 @subsection Skipping corrected music
697 The property @code{Score.skipTypesetting} can be used to switch on and
698 off typesetting completely during the interpretation phase. When
699 typesetting is switched off, the music is processed much more quickly.
700 This can be used to skip over the parts of a score that have already
701 been checked for errors:
703 @lilypond[fragment,raggedright,verbatim]
705 \set Score.skipTypesetting = ##t
707 \set Score.skipTypesetting = ##f
711 @node Automatic note splitting
712 @subsection Automatic note splitting
714 Long notes can be converted automatically to tied notes. This is done
715 by replacing the @internalsref{Note_heads_engraver} by the
716 @internalsref{Completion_heads_engraver}.
717 In the following examples, notes crossing the bar line are split and tied.
720 @lilypond[noindent,verbatim,relative=1]
722 \remove "Note_heads_engraver"
723 \consists "Completion_heads_engraver"
725 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
729 This engraver splits all running notes at the bar line, and inserts
730 ties. One of its uses is to debug complex scores: if the measures are
731 not entirely filled, then the ties exactly show how much each measure
736 Not all durations (especially those containing tuplets) can be
737 represented exactly; the engraver will not insert tuplets.
741 Examples: @inputfileref{input/regression,completion-heads.ly}.
743 Internals: @internalsref{Completion_heads_engraver}.
747 @section Staff notation
749 This section describes music notation that occurs on staff level,
750 such as keys, clefs and time signatures.
752 @cindex Staff notation
766 @subsection Staff symbol
768 @cindex adjusting staff symbol
770 Notes, dynamic signs, etc. are grouped
771 with a set of horizontal lines, into a staff (plural `staves'). In our
772 system, these lines are drawn using a separate layout object called
776 @cindex staff lines, setting number of
777 @cindex staff lines, setting thickness of
778 @cindex thickness of staff lines, setting
779 @cindex number of staff lines, setting
783 Internals: @internalsref{StaffSymbol}.
785 Examples: @inputfileref{input/test,staff-lines.ly},
786 @inputfileref{input/test,staff-size.ly}.
790 If a staff is ended halfway a piece, the staff symbol may not end
791 exactly on the bar line.
795 @subsection Key signature
796 @cindex Key signature
800 The key signature indicates the scale in which a piece is played. It
801 is denoted by a set of alterations (flats or sharps) at the start of
806 Setting or changing the key signature is done with the @code{\key}
809 @code{\key} @var{pitch} @var{type}
812 @cindex @code{\minor}
813 @cindex @code{\major}
814 @cindex @code{\minor}
815 @cindex @code{\ionian}
816 @cindex @code{\locrian}
817 @cindex @code{\aeolian}
818 @cindex @code{\mixolydian}
819 @cindex @code{\lydian}
820 @cindex @code{\phrygian}
821 @cindex @code{\dorian}
823 Here, @var{type} should be @code{\major} or @code{\minor} to get
824 @var{pitch}-major or @var{pitch}-minor, respectively.
825 The standard mode names @code{\ionian},
826 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
827 @code{\phrygian}, and @code{\dorian} are also defined.
829 This command sets the context property
830 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
831 can be specified by setting this property directly.
833 Accidentals and key signatures often confuse new users, because
834 unaltered notes get natural signs depending on the key signature. The
835 tutorial explains why this is so in @ref{More about pitches}.
839 The ordering of a key cancellation is wrong when it is combined with
840 repeat bar lines. The cancellation is also printed after a line break.
844 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
846 @cindex @code{keySignature}
853 The clef indicates which lines of the staff correspond to which
858 The clef can be set or changed with the @code{\clef} command:
859 @lilypond[fragment,verbatim]
860 \key f\major c''2 \clef alto g'2
863 Supported clef-names include:
864 @c Moved standard clefs to the top /MB
868 @item treble, violin, G, G2
881 G clef on 1st line, so-called French violin clef
886 @cindex mezzosoprano clef
889 @cindex baritone clef
892 @cindex varbaritone clef
901 By adding @code{_8} or @code{^8} to the clef name, the clef is
902 transposed one octave down or up, respectively, and @code{_15} and
903 @code{^15} transposes by two octaves. The argument @var{clefname}
904 must be enclosed in quotes when it contains underscores or digits. For
908 @cindex choral tenor clef
909 @lilypond[verbatim,fragment,relative]
913 This command is equivalent to setting @code{clefGlyph},
914 @code{clefPosition} (which controls the Y position of the clef),
915 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
916 when any of these properties are changed.
920 Internals: the object for this symbol is @internalsref{Clef}.
924 @node Ottava brackets
925 @subsection Ottava brackets
927 ``Ottava'' brackets introduce an extra transposition of an octave for
928 the staff. They are created by invoking the function
929 @code{set-octavation}:
935 @lilypond[verbatim,fragment]
944 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
945 (for 15ma) as arguments. Internally the function sets the properties
946 @code{ottavation} (e.g. to @code{"8va"}) and
947 @code{centralCPosition}. For overriding the text of the bracket, set
948 @code{ottavation} after invoking @code{set-octavation}, i.e.,
952 \set Staff.ottavation = #"8"
957 Internals: @internalsref{OttavaBracket}.
959 Examples: @inputfileref{input/regression,ottava.ly},
960 @inputfileref{input/regression,ottava-broken.ly}.
964 @code{set-octavation} will get confused when clef changes happen
965 during an octavation bracket.
968 @subsection Time signature
969 @cindex Time signature
973 Time signature indicates the metrum of a piece: a regular pattern of
974 strong and weak beats. It is denoted by a fraction at the start of the
979 The time signature is set or changed by the @code{\time}
981 @lilypond[fragment,verbatim]
982 \time 2/4 c'2 \time 3/4 c'2.
985 The symbol that is printed can be customized with the @code{style}
986 property. Setting it to @code{#'()} uses fraction style for 4/4 and
987 2/2 time. There are many more options for its layout. See
988 @inputfileref{input/test,time.ly} for more examples.
991 This command sets the property @code{timeSignatureFraction},
992 @code{beatLength} and @code{measureLength} in the @code{Timing}
993 context, which is normally aliased to @internalsref{Score}. The
994 property @code{measureLength} determines where bar lines should be
995 inserted, and how automatic beams should be generated. Changing the
996 value of @code{timeSignatureFraction} also causes the symbol to be
999 More options are available through the Scheme function
1000 @code{set-time-signature}. In combination with the
1001 @internalsref{Measure_grouping_engraver}, it will create
1002 @internalsref{MeasureGrouping} signs. Such signs ease reading
1003 rhythmically complex modern music. In the following example, the 9/8
1004 measure is subdivided in 2, 2, 2 and 3. This is passed to
1005 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1008 \score { \notes \relative c'' {
1009 #(set-time-signature 9 8 '(2 2 2 3))
1010 g8[ g] d[ d] g[ g] a8[( bes g]) |
1011 #(set-time-signature 5 8 '(3 2))
1016 \translator { \StaffContext
1017 \consists "Measure_grouping_engraver"
1023 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1028 Automatic beaming does not use measure grouping specified with
1029 @code{set-time-signature}.
1031 @node Partial measures
1032 @subsection Partial measures
1035 @cindex partial measure
1036 @cindex measure, partial
1037 @cindex shorten measures
1038 @cindex @code{\partial}
1040 Partial measures, for example in upsteps, are entered using the
1041 @code{\partial} command:
1042 @lilypond[fragment,verbatim,relative=1]
1043 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1046 The syntax for this command is
1048 \partial @var{duration}
1050 This is internally translated into
1052 \set Timing.measurePosition = -@var{length of duration}
1055 The property @code{measurePosition} contains a rational number
1056 indicating how much of the measure has passed at this point.
1058 @node Unmetered music
1059 @subsection Unmetered music
1061 Bar lines and bar numbers are calculated automatically. For unmetered
1062 music (e.g. cadenzas), this is not desirable. By setting
1063 @code{Score.timing} to false, this automatic timing can be switched
1069 @cindex @code{\cadenzaOn}
1071 @cindex @code{\cadenzaOff}
1075 @subsection Bar lines
1079 @cindex measure lines
1083 Bar lines delimit measures, but are also used to indicate repeats.
1084 Normally, they are inserted automatically. Line breaks may only
1085 happen on bar lines.
1090 of bar lines can be forced with the @code{\bar} command:
1092 @lilypond[relative=1,fragment,verbatim]
1096 The following bar types are available:
1097 @lilypond[fragment,relative,raggedright,verbatim]
1110 For allowing line breaks, there is a special command,
1114 This will insert an invisible bar line, and allow line breaks at this
1117 In scores with many staves, a @code{\bar} command in one staff is
1118 automatically applied to all staves. The resulting bar lines are
1119 connected between different staves of a @internalsref{StaffGroup}:
1121 @lilypond[fragment,verbatim]
1122 << \context StaffGroup <<
1126 \new Staff { \clef bass c4 g e g } >>
1127 \new Staff { \clef bass c2 c2 } >>
1131 The command @code{\bar @var{bartype}} is a short cut for doing
1132 @code{\set Score.whichBar = @var{bartype}} Whenever
1133 @code{whichBar} is set to a string, a bar line of that type is
1134 created. At the start of a measure it is set to
1135 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1136 to override default measure bars.
1138 Property @code{whichBar} can also be set directly, using @code{\set}
1139 or @code{\bar}. These settings take precedence over the automatic
1140 @code{whichBar} settings.
1143 @cindex repeatCommands
1144 @cindex defaultBarType
1146 You are encouraged to use @code{\repeat} for repetitions. See
1153 In this manual: @ref{Repeats}.
1156 Internals: the bar line objects that are created at
1157 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1158 lines that span staves are @internalsref{SpanBar}s.
1160 @cindex bar lines at start of system
1161 @cindex start of system
1163 The bar lines at the start of each system are
1164 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1165 @internalsref{SystemStartBracket}. Only one of these types is created
1166 in every context, and that type is determined by the property
1167 @code{systemStartDelimiter}.
1169 Examples: @inputfileref{input/test,bar-lines.ly},
1175 The easiest way to enter fragments with more than one voice on a staff
1176 is to split chords using the separator @code{\\}. You can use it for
1177 small, short-lived voices or for single chords:
1179 @lilypond[verbatim,fragment]
1180 \context Staff \relative c'' {
1181 c4 << { f d e } \\ { b c2 } >>
1182 c4 << g' \\ b, \\ f' \\ d >>
1186 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1187 voices are sometimes called "layers" other notation packages}
1189 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1190 each of these contexts, vertical direction of slurs, stems, etc. is set
1193 @cindex @code{\voiceOne}
1194 @cindex @code{\voiceFour}
1196 This can also be done by instantiating @internalsref{Voice} contexts
1197 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1198 a stem directions and horizontal shift for each part:
1201 @lilypond[raggedright,verbatim]
1203 \context Staff << \new Voice { \voiceOne cis2 b }
1204 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1205 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1209 The command @code{\oneVoice} will revert back to the normal setting.
1210 @cindex @code{\oneVoice}
1213 Normally, note heads with a different number of dots are not merged, but
1214 when the object property @code{merge-differently-dotted} is set in
1215 the @internalsref{NoteCollision} object, they are merged:
1216 @lilypond[verbatim,fragment,raggedright]
1217 \relative c'' \context Voice << {
1219 \override Staff.NoteCollision
1220 #'merge-differently-dotted = ##t
1222 } \\ { g8.[ f16] g8.[ f16] }
1226 Similarly, you can merge half note heads with eighth notes, by setting
1227 @code{merge-differently-headed}:
1228 @lilypond[fragment,relative=2,verbatim]
1231 \override Staff.NoteCollision
1232 #'merge-differently-headed = ##t
1233 c8 c4. } \\ { c2 c2 } >>
1236 LilyPond also vertically shifts rests that are opposite of a stem:
1239 @lilypond[raggedright,fragment,verbatim]
1240 \context Voice << c''4 \\ r4 >>
1248 @cindex @code{\oneVoice}
1250 @cindex @code{\voiceOne}
1252 @cindex @code{\voiceTwo}
1254 @cindex @code{\voiceThree}
1256 @cindex @code{\voiceFour}
1260 The following commands specify in what chords of the current voice
1261 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1262 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1265 @cindex @code{\shiftOn}
1267 @cindex @code{\shiftOnn}
1269 @cindex @code{\shiftOnnn}
1271 @cindex @code{\shiftOff}
1278 Internals: the objects responsible for resolving collisions are
1279 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1281 Examples: See also example files
1282 @inputfileref{input/regression,collision-dots.ly},
1283 @inputfileref{input/regression,collision-head-chords.ly},
1284 @inputfileref{input/regression,collision-heads.ly},
1285 @inputfileref{input/regression,collision-mesh.ly}, and
1286 @inputfileref{input/regression,collisions.ly}.
1291 Resolving collisions is a intricate subject, and only a few situations
1292 are handled. When LilyPond cannot cope, the @code{force-hshift}
1293 property of the @internalsref{NoteColumn} object and pitched rests can
1294 be used to override typesetting decisions.
1296 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1297 note, and a downstem half note, the 8th note gets the wrong offset.
1299 There is no support for clusters where the same note occurs with
1300 different accidentals in the same chord. In this case, it is
1301 recommended to use enharmonic transcription, or to use special cluster
1302 notation (see @ref{Clusters}).
1307 Beams are used to group short notes into chunks that are aligned with
1308 the metrum. They are inserted automatically in most cases:
1310 @lilypond[fragment,verbatim,relative=2]
1311 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1314 When these automatic decisions are not good enough, beaming can be
1315 entered explicitly. It is also possible to define beaming patterns
1316 that differ from the defaults.
1318 Individual notes may be marked with @code{\noBeam}, to prevent them
1321 @lilypond[fragment,verbatim,relative=2]
1322 \time 2/4 c8 c\noBeam c c
1328 Internals: @internalsref{Beam}.
1331 @cindex Automatic beams
1334 * Setting automatic beam behavior::
1338 @subsection Manual beams
1339 @cindex beams, manual
1343 In some cases it may be necessary to override the automatic beaming
1344 algorithm. For example, the autobeamer will not put beams over rests
1345 or bar lines. Such beams are specified by manually: the begin and end
1346 point are marked with @code{[} and @code{]}:
1348 @lilypond[fragment,relative,verbatim]
1350 r4 r8[ g' a r8] r8 g[ | a] r8
1354 @cindex @code{stemLeftBeamCount}
1356 Normally, beaming patterns within a beam are determined automatically.
1357 When this mechanism fouls up, the properties
1358 @code{stemLeftBeamCount} and @code{stemRightBeamCount} can
1359 be used to control the beam subdivision on a stem. If either property
1360 is set, its value will be used only once, and then it is erased:
1362 @lilypond[fragment,relative,verbatim]
1365 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1368 @cindex @code{stemRightBeamCount}
1371 The property @code{subdivideBeams} can be set in order to subdivide
1372 all 16th or shorter beams at beat positions, as defined by the
1373 @code{beatLength} property. This accomplishes the same effect as
1374 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1375 but it take less typing:
1378 @lilypond[relative=1,verbatim,noindent]
1380 \set subdivideBeams = ##t
1382 \set Score.beatLength = #(ly:make-moment 1 8)
1385 @cindex subdivideBeams
1387 Kneed beams are inserted automatically, when a large gap is detected
1388 between the note heads. This behavior can be tuned through the object
1389 property @code{auto-knee-gap}.
1391 Normally, line breaks are forbidden when beams cross bar lines. This
1392 behavior can be changed by setting @code{allowBeamBreak}.
1394 @cindex @code{allowBeamBreak}
1395 @cindex beams and line breaks
1397 @cindex beams, kneed
1399 @cindex auto-knee-gap
1405 @cindex Frenched staves
1407 Automatically kneed beams cannot be used together with hidden staves.
1412 @node Setting automatic beam behavior
1413 @subsection Setting automatic beam behavior
1415 @cindex @code{autoBeamSettings}
1416 @cindex @code{(end * * * *)}
1417 @cindex @code{(begin * * * *)}
1418 @cindex automatic beams, tuning
1419 @cindex tuning automatic beaming
1421 @c [TODO: use \applycontext]
1423 In normal time signatures, automatic beams can start on any note but can
1424 only end in a few positions within the measure: beams can end on a beat,
1425 or at durations specified by the properties in
1426 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1427 are defined in @file{scm/auto-beam.scm}.
1429 The value of @code{autoBeamSettings} is changed with two functions:
1431 #(override-auto-beam-setting
1432 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1434 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1436 Here, @var{be} is the symbol @code{begin} or @code{end}. It determines
1437 whether the rule applies to begin or end-points. The quantity
1438 @var{p}/@var{q} refers to the length of the beamed notes (and `@code{*
1439 *}' designates notes of any length), @var{n}/@var{M} refers to a time
1440 signature (wildcards `@code{* *}' may be entered to designate all time
1441 signatures), @var{a}/@var{b} is a duration. By default, this command
1442 changes settings for the current voice. It is also possible to adjust
1443 settings at higher contexts, by adding a @var{context} argument.
1445 For example, if automatic beams should end on every quarter note, use
1448 #(override-auto-beam-setting '(end * * * *) 1 4)
1450 Since the duration of a quarter note is 1/4 of a whole note, it is
1451 entered as @code{(ly:make-moment 1 4)}.
1453 The same syntax can be used to specify beam starting points. In this
1454 example, automatic beams can only end on a dotted quarter note:
1456 #(override-auto-beam-setting '(end * * * *) 3 8)
1458 In 4/4 time signature, this means that automatic beams could end only on
1459 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1460 3/8, has passed within the measure).
1462 Rules can also be restricted to specific time signatures. A rule that
1463 should only be applied in @var{N}/@var{M} time signature is formed by
1464 replacing the second asterisks by @var{N} and @var{M}. For example, a
1465 rule for 6/8 time exclusively looks like
1467 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1470 If a rule should be to applied only to certain types of beams, use the
1471 first pair of asterisks. Beams are classified according to the
1472 shortest note they contain. For a beam ending rule that only applies
1473 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1476 If a score ends while an automatic beam has not been ended and is still
1477 accepting notes, this last beam will not be typeset at all.
1479 @cindex automatic beam generation
1481 @cindex @code{autoBeaming}
1484 For melodies that have lyrics, you may want to switch off
1485 automatic beaming. This is done by setting @code{autoBeaming} to
1490 @cindex @code{\autoBeamOff}
1491 @code{\autoBeamOff},
1492 @cindex @code{\autoBeamOn}
1498 The rules for ending a beam depend on the shortest note in a beam.
1499 So, while it is possible to have different ending rules for eight
1500 beams and sixteenth beams, a beam that contains both eight and
1501 sixteenth notes will use the rules for the sixteenth beam.
1503 In the example below, the autobeamer makes eight beams and sixteenth
1504 end at 3 eights; the third beam can only be corrected by specifying
1507 @lilypond[raggedright,fragment,relative,noverbatim]
1508 #(override-auto-beam-setting '(end * * * *) 3 8)
1509 % rather show case where it goes wrong
1510 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1511 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1513 It is not possible to specify beaming parameters that act differently in
1514 different parts of a measure. This means that it is not possible to use
1515 automatic beaming in irregular meters such as @code{5/8}.
1518 @section Accidentals
1521 This section describes how to change the way that accidentals are
1522 inserted automatically before the running notes.
1526 * Using the predefined accidental variables::
1527 * Customized accidental rules::
1530 @node Using the predefined accidental variables
1531 @subsection Using the predefined accidental variables
1534 Common rules for typesetting macros have been canned in a
1535 function. This function is called as follows:
1537 @cindex @code{set-accidental-style}
1539 #(set-accidental-style 'modern 'Voice)
1542 The function takes two arguments: a symbol that denotes the style (in
1543 the example, @code{modern}), and another symbol that denotes the
1544 context name (in this example, @code{Staff}). If no context name is
1545 supplied, @code{Staff} is the default.
1547 The following styles are supported:
1550 This is the default typesetting behavior. It should correspond
1551 to 18th century common practice: Accidentals are
1552 remembered to the end of the measure in which they occur and
1553 only on their own octave.
1557 The normal behavior is to remember the accidentals on
1558 Staff-level. This variable, however, typesets accidentals
1559 individually for each voice. Apart from that, the rule is similar to
1562 This leads to some weird and often unwanted results
1563 because accidentals from one voice do not get canceled in other
1565 @lilypond[raggedright,relative,fragment,verbatim]
1567 #(set-accidental-style 'voice)
1573 Hence you should only use @code{voice} if the voices
1574 are to be read solely by individual musicians. If the staff is to be
1575 used by one musician (e.g. a conductor) then you use
1576 @code{modern} or @code{modern-cautionary}
1580 @cindex @code{modern} style accidentals
1581 This rule corresponds to the common practice in the 20th
1583 This rule prints the same accidentals as @code{default}, but temporary
1584 accidentals also are canceled in other octaves. Furthermore,
1585 in the same octave, they also get canceled in the following
1588 @lilypond[raggedright,fragment,verbatim]
1589 #(set-accidental-style 'modern)
1590 cis' c'' cis'2 | c'' c'
1593 @item @code{modern-cautionary}
1594 @cindex @code{modern-cautionary}
1595 This rule is similar to @code{modern}, but the
1596 ``extra'' accidentals (the ones not typeset by
1597 @code{default}) are typeset as cautionary accidentals.
1598 They are printed in reduced size or with parentheses:
1599 @lilypond[raggedright,fragment,verbatim]
1600 #(set-accidental-style 'modern-cautionary)
1601 cis' c'' cis'2 | c'' c'
1604 @cindex @code{modern-voice}
1606 is used for multivoice accidentals to be read both by musicians
1607 playing one voice and musicians playing all voices. Accidentals are
1608 typeset for each voice, but they @emph{are} canceled across voices in
1609 the same @internalsref{Staff}.
1611 @cindex @code{modern-voice-cautionary}
1612 @item modern-voice-cautionary
1613 is the same as @code{modern-voice}, but with the extra
1614 accidentals (the ones not typeset by @code{voice}) typeset
1615 as cautionaries. Even though all accidentals typeset by
1616 @code{default} @emph{are} typeset by this variable then
1617 some of them are typeset as cautionaries.
1620 @cindex @code{piano} accidentals
1621 20th century practice for piano notation. Very similar to
1622 @code{modern} but accidentals also get canceled
1623 across the staves in the same @internalsref{GrandStaff} or
1624 @internalsref{PianoStaff}.
1626 @item piano-cautionary
1627 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1628 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1629 typeset as cautionaries.
1632 @cindex @code{no-reset} accidental style
1633 Same as @code{default} but with accidentals lasting
1634 ``forever'' and not only until the next measure:
1635 @lilypond[raggedright,fragment,verbatim,relative]
1636 #(set-accidental-style 'no-reset)
1641 This is sort of the opposite of @code{no-reset}: Accidentals
1642 are not remembered at all---and hence all accidentals are
1643 typeset relative to the key signature, regardless of what was
1644 before in the music:
1646 @lilypond[raggedright,fragment,verbatim,relative]
1647 #(set-accidental-style 'forget)
1648 \key d\major c4 c cis cis d d dis dis
1652 @node Customized accidental rules
1653 @subsection Customized accidental rules
1655 For determining when to print an accidental, several different rules
1656 are tried. The rule that gives the highest number of accidentals is
1657 used. Each rule consists of
1660 In which context is the rule applied. For example, if
1661 @var{context} is @internalsref{Score} then all staves share
1662 accidentals, and if @var{context} is @internalsref{Staff} then all
1663 voices in the same staff share accidentals, but staves do not.
1666 Whether the accidental changes all octaves or only the current
1667 octave. Valid choices are
1671 This is the default algorithm. Accidentals are typeset if the note changes
1672 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1673 and then as many measures as specified in the value. I.e. 1 means to the end
1674 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1676 Accidentals are typeset if the note is different from
1677 the previous note on the same pitch in any octave. The value has same meaning as in
1683 Over how many bar lines the accidental lasts.
1684 If @var{laziness} is @code{-1} then the accidental is forget
1685 immediately, and if @var{laziness} is @code{#t} then the accidental
1692 Internals: @internalsref{Accidental_engraver},
1693 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1698 Currently the simultaneous notes are considered to be entered in
1699 sequential mode. This means that in a chord the accidentals are
1700 typeset as if the notes in the chord happened once at a time - in the
1701 order in which they appear in the input file.
1703 This is only a problem when there are simultaneous notes whose
1704 accidentals depend on each other. The problem only occurs when using
1705 non-default accidentals. In the default scheme, accidentals only
1706 depend on other accidentals with the same pitch on the same staff, so
1707 no conflicts possible.
1709 This example shows two examples of the same music giving different
1710 accidentals depending on the order in which the notes occur in the
1713 @lilypond[raggedright,fragment,verbatim]
1714 \set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1715 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1716 | <cis' c''> r | <c'' cis'> r |
1719 This problem can be solved by manually inserting @code{!} and @code{?}
1720 for the problematic notes.
1722 @node Expressive marks
1723 @section Expressive marks
1726 @c todo: should change ordering
1727 @c where to put text spanners, metronome marks,
1736 * Analysis brackets::
1738 * Fingering instructions::
1749 A slur indicates that notes are to be played bound or @emph{legato}.
1753 They are entered using parentheses:
1754 @lilypond[relative=1,fragment,verbatim]
1755 f( g)( a) a8 b( a4 g2 f4)
1760 @c TODO: should explain that ^( and _( set directions
1761 @c should set attachments with ^ and _ ?
1763 Slurs avoid crossing stems, and are generally attached to note heads.
1764 However, in some situations with beams, slurs may be attached to stem
1765 ends. If you want to override this layout you can do this through the
1766 object property @code{attachment} of @internalsref{Slur} in
1767 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1768 the attachment type of the left and right end points:
1770 @lilypond[fragment,relative,verbatim]
1772 \override Stem #'length = #5.5
1774 \override Slur #'attachment = #'(stem . stem)
1778 If a slur would strike through a stem or beam, the slur will be moved
1779 away upward or downward. If this happens, attaching the slur to the
1780 stems might look better:
1782 @lilypond[fragment,relative,verbatim]
1785 \override Slur #'attachment = #'(stem . stem)
1792 @cindex @code{\slurUp}
1794 @cindex @code{\slurDown}
1796 @cindex @code{\slurBoth}
1798 @cindex @code{\slurDotted}
1800 @cindex @code{\slurSolid}
1805 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1810 Producing nice slurs is a difficult problem, and LilyPond currently
1811 uses a simple, empiric method to produce slurs. In some cases, its
1815 @cindex Adjusting slurs
1817 @node Phrasing slurs
1818 @subsection Phrasing slurs
1820 @cindex phrasing slurs
1821 @cindex phrasing marks
1823 A phrasing slur (or phrasing mark) connects chords and is used to
1824 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1827 @lilypond[fragment,verbatim,relative]
1828 \time 6/4 c'\( d( e) f( e) d\)
1831 Typographically, the phrasing slur behaves almost exactly like a
1832 normal slur. However, they are treated as different objects. A
1833 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1834 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1835 @code{\phrasingSlurBoth}.
1837 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1838 will only affect normal slurs and not phrasing slurs.
1842 @cindex @code{\phrasingSlurUp}
1843 @code{\phrasingSlurUp},
1844 @cindex @code{\phrasingSlurDown}
1845 @code{\phrasingSlurDown},
1846 @cindex @code{\phrasingSlurBoth}
1847 @code{\phrasingSlurBoth}.
1851 Internals: see also @internalsref{PhrasingSlur}, and
1852 @internalsref{PhrasingSlurEvent}.
1856 Phrasing slurs have the same limitations in their formatting as normal
1857 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1860 @subsection Breath marks
1862 Breath marks are entered using @code{\breathe}:
1865 @lilypond[fragment,relative,verbatim]
1869 The glyph of the breath mark can be tweaked by overriding the
1870 @code{text} property of the @code{BreathingSign} layout object with
1871 any markup text. For example,
1872 @lilypond[fragment,verbatim,relative]
1874 \override BreathingSign #'text
1875 = #(make-musicglyph-markup "scripts-rvarcomma")
1882 Internals: @internalsref{BreathingSign},
1883 @internalsref{BreathingSignEvent}.
1885 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1888 @node Metronome marks
1889 @subsection Metronome marks
1892 @cindex beats per minute
1893 @cindex metronome marking
1895 Metronome settings can be entered as follows:
1897 \tempo @var{duration} = @var{per-minute}
1900 In the MIDI output, they are interpreted as a tempo change, and in the
1901 paper output, a metronome marking is printed:
1902 @cindex @code{\tempo}
1903 @lilypond[fragment,verbatim]
1909 Internals: @internalsref{MetronomeChangeEvent}.
1914 @subsection Text spanners
1915 @cindex Text spanners
1917 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1918 are written as texts, and extended over many measures with dotted
1919 lines. You can create such texts using text spanners: attach
1920 @code{\startTextSpan} and @code{\stopTextSpan} to the
1921 start and ending note of the spanner.
1923 The string to be printed, as well as the style, is set through object
1926 @lilypond[fragment,relative,verbatim]
1928 \override TextSpanner #'direction = #-1
1929 \override TextSpanner #'edge-text = #'("rall " . "")
1930 c2\startTextSpan b c\stopTextSpan a }
1936 Internals @internalsref{TextSpanEvent},
1937 @internalsref{TextSpanner}.
1939 Examples: @inputfileref{input/regression,text-spanner.ly}.
1942 @node Analysis brackets
1943 @subsection Analysis brackets
1945 @cindex phrasing brackets
1946 @cindex musicological analysis
1947 @cindex note grouping bracket
1949 Brackets are used in musical analysis to indicate structure in musical
1950 pieces. LilyPond supports a simple form of nested horizontal brackets.
1951 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1952 @internalsref{Staff} context. A bracket is started with
1953 @code{\startGroup} and closed with @code{\stopGroup}:
1955 @lilypond[raggedright,verbatim]
1956 \score { \notes \relative c'' {
1957 c4\startGroup\startGroup
1960 c4\stopGroup\stopGroup
1962 \paper { \translator {
1963 \StaffContext \consists "Horizontal_bracket_engraver"
1969 Internals: @internalsref{HorizontalBracket},
1970 @internalsref{NoteGroupingEvent}.
1972 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1976 @subsection Articulations
1977 @cindex Articulations
1979 @cindex articulations
1983 A variety of symbols can appear above and below notes to indicate
1984 different characteristics of the performance. They are added to a note
1985 by adding a dash and the character signifying the
1986 articulation. They are demonstrated here:
1988 @lilypondfile[]{script-abbreviations.ly}
1990 The meanings of these shorthands can be changed: see
1991 @file{ly/script-init.ly} for examples.
1994 The script is automatically placed, but if you need to force
1995 directions, you can use @code{_} to force them down, or @code{^} to
1997 @lilypond[fragment,verbatim]
2001 Other symbols can be added using the syntax
2002 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2003 can be forced up or down using @code{^} and @code{_},
2006 @lilypond[verbatim,fragment,relative=2]
2007 c\fermata c^\fermata c_\fermata
2014 @cindex staccatissimo
2023 @cindex organ pedal marks
2032 @cindex prallmordent
2036 @cindex thumb marking
2041 @lilypondfile[]{script-chart.ly}
2046 @cindex @code{\scriptUp}
2048 @cindex @code{\scriptDown}
2050 @cindex @code{\scriptBoth}
2055 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2059 These note ornaments appear in the printed output but have no
2060 effect on the MIDI rendering of the music.
2063 @node Fingering instructions
2064 @subsection Fingering instructions
2068 Fingering instructions can be entered using
2070 @var{note}-@var{digit}
2072 For finger changes, use markup texts:
2074 @lilypond[verbatim,raggedright,fragment]
2075 c'4-1 c'4-2 c'4-3 c'4-4
2076 c'^\markup { \fontsize #-3 \number "2-3" }
2079 @cindex finger change
2084 You can use the thumb-script to indicate that a note should be
2085 played with the thumb (e.g. in cello music):
2087 @lilypond[verbatim,raggedright,fragment]
2088 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2089 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2092 Fingerings for chords can also be added to individual notes
2093 of the chord by adding them after the pitches:
2094 @lilypond[verbatim,raggedright,fragment,relative=1]
2095 < c-1 e-2 g-3 b-5 > 4
2099 In this case, setting @code{fingeringOrientations} will put fingerings next
2102 @lilypond[verbatim,raggedright,fragment,relative=1]
2103 \set fingeringOrientations = #'(left down)
2104 <c-1 es-2 g-4 bes-5 > 4
2105 \set fingeringOrientations = #'(up right down)
2106 <c-1 es-2 g-4 bes-5 > 4
2109 By using single note chords, fingering instructions can be put close
2110 to note heads in monophonic music.
2114 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2116 Examples: @inputfileref{input/regression,finger-chords.ly}.
2119 @subsection Text scripts
2120 @cindex Text scripts
2122 @cindex text items, non-empty
2123 @cindex non-empty texts
2125 It is possible to place arbitrary strings of text or markup text (see
2126 @ref{Text markup}) above or below notes by using a string:
2127 @code{c^"text"}. By default, these indications do not influence the
2128 note spacing, but by using the command @code{\fatText}, the widths
2129 will be taken into account:
2131 @lilypond[fragment,raggedright,verbatim] \relative c' {
2132 c4^"longtext" \fatText c4_"longlongtext" c4 }
2135 It is possible to use @TeX{} commands in the strings, but this should
2136 be avoided because the exact dimensions of the string can then no
2141 @cindex @code{\fatText}
2143 @cindex @code{\emptyText}
2148 In this manual: @ref{Text markup}.
2150 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2156 @subsection Grace notes
2159 @c should have blurb about accaciatura / appogiatura
2161 @cindex @code{\grace}
2165 Grace notes are ornaments that are written out. The most common ones
2166 are acciaccatura, which should be played as very short. It is denoted
2167 by a slurred small note with a slashed stem. The appoggiatura is a
2168 grace note that takes a fixed fraction of the main note, is and
2169 denoted as a slurred note in small print without a slash.
2170 They are entered with the commands @code{\acciaccatura} and
2171 @code{\appoggiatura}, as demonstrated in the following example:
2174 @cindex appoggiatura
2175 @cindex acciaccatura
2177 @lilypond[relative=2,verbatim,fragment]
2178 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2179 \acciaccatura { g16[ f] } e4
2182 Both are special forms of the @code{\grace} command. By prefixing this
2183 keyword to a music expression, a new one is formed, which will be
2184 printed in a smaller font and takes up no logical time in a measure.
2185 @lilypond[relative=2,verbatim,fragment]
2187 \grace { c16[ d16] } c2 c4
2191 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2192 @code{\grace} command does not start a slur.
2194 Internally, timing for grace notes is done using a second, `grace'
2195 time. Every point in time consists of two rational numbers: one
2196 denotes the logical time, one denotes the grace timing. The above
2197 example is shown here with timing tuples:
2199 @lilypond[raggedright]
2202 c4 \grace c16 c4 \grace {
2205 \new Lyrics \lyrics {
2208 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2209 \markup { (\fraction 1 4 , 0 ) } 4
2211 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2212 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2214 \markup { ( \fraction 2 4 , 0 ) }
2219 The placement of grace notes is synchronized between different staves.
2220 In the following example, there are two sixteenth graces notes for
2221 every eighth grace note:
2223 @lilypond[relative=2,verbatim,fragment]
2224 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2225 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2230 If you want to end a note with a grace, then the standard trick
2231 is to put the grace notes after a ``space note'', e.g.
2232 @lilypond[fragment,verbatim,relative=2]
2235 { s2 \grace { c16[ d] } } >>
2241 By adjusting the duration of the skip note (here it is a half-note),
2242 the space between the main-note and the grace is adjusted.
2245 A @code{\grace} section will introduce special typesetting settings,
2246 for example, to produce smaller type, and set directions. Hence, when
2247 introducing layout tweaks, they should be inside the grace section,
2249 @lilypond[fragment,verbatim,relative=1]
2252 \override Stem #'direction = #-1
2254 \revert Stem #'direction
2261 The overrides should also be reverted inside the grace section.
2263 If the layout of grace sections must be changed throughout the music,
2264 then this can be accomplished through the function
2265 @code{add-grace-property}. The following example
2266 undefines the Stem direction grace section, so stems do not always
2271 #(add-grace-property "Voice" Stem direction '())
2277 Another option is to change the variables @code{startGraceMusic},
2278 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2279 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2280 @code{stopAppoggiaturaMusic}. More information is in the file
2281 @file{ly/grace-init.ly}.
2286 Internals: @internalsref{GraceMusic}.
2290 A score that starts with an @code{\grace} section needs an explicit
2291 @code{\context Voice} declaration, otherwise the main note and grace
2292 note end up on different staves.
2294 Grace note synchronization can also lead to surprises. Staff notation,
2295 such as key signatures, bar lines, etc. are also synchronized. Take
2296 care when you mix staves with grace notes and staves without, for example,
2298 @lilypond[relative=2,verbatim,fragment]
2299 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2300 \new Staff { c4 \bar "|:" d4 } >>
2303 Grace sections should only be used within sequential music
2304 expressions. Nesting or juxtaposing grace sections is not supported,
2305 and might produce crashes or other errors.
2309 @subsection Glissando
2312 @cindex @code{\glissando}
2314 A glissando is a smooth change in pitch. It is denoted by a line or a
2315 wavy line between two notes.
2319 A glissando line can be requested by attaching a @code{\glissando} to
2322 @lilypond[fragment,relative,verbatim]
2328 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2333 Adding additional texts (such as @emph{gliss.}) is not supported.
2337 @subsection Dynamics
2350 @cindex @code{\ffff}
2360 Absolute dynamic marks are specified using a command after a note:
2361 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2362 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2363 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2364 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2366 @lilypond[verbatim,raggedright,fragment,relative]
2367 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2373 @cindex @code{\decr}
2374 @cindex @code{\rced}
2381 A crescendo mark is started with @code{\<} and terminated with
2382 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2383 with @code{\!}. Because these marks are bound to notes, if you must
2384 use spacer notes if multiple marks during one note are needed:
2386 @lilypond[fragment,verbatim]
2387 c''\< c''\! d''\decr e''\rced
2388 << f''1 { s4 s4\< s4\! \> s4\! } >>
2390 This may give rise to very short hairpins. Use @code{minimum-length}
2391 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2395 \override Staff.Hairpin #'minimum-length = #5
2398 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2399 is an example how to do it:
2401 @lilypond[fragment,relative=2,verbatim]
2402 c4 \cresc c4 c c c \endcresc c4
2408 You can also supply your own texts:
2409 @lilypond[fragment,relative,verbatim]
2411 \set crescendoText = \markup { \italic "cresc. poco" }
2412 \set crescendoSpanner = #'dashed-line
2422 @cindex @code{\dynamicUp}
2424 @cindex @code{\dynamicDown}
2425 @code{\dynamicDown},
2426 @cindex @code{\dynamicBoth}
2427 @code{\dynamicBoth}.
2429 @cindex direction, of dynamics
2433 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2434 @internalsref{AbsoluteDynamicEvent}.
2436 Dynamics are objects of @internalsref{DynamicText} and
2437 @internalsref{Hairpin}. Vertical positioning of these symbols is
2438 handled by the @internalsref{DynamicLineSpanner} object.
2440 If you want to adjust padding or vertical direction of the dynamics, you
2441 must set properties for the @internalsref{DynamicLineSpanner} object.
2449 @cindex @code{\repeat}
2452 Repetition is a central concept in music, and multiple notations exist
2453 for repetitions. In LilyPond, most of these notations can be captured
2454 in a uniform syntax. One of the advantages is that they can be
2455 rendered in MIDI accurately.
2457 The following types of repetition are supported:
2461 Repeated music is fully written (played) out. Useful for MIDI
2462 output, and entering repetitive music.
2465 This is the normal notation: Repeats are not written out, but
2466 alternative endings (volte) are printed, left to right.
2470 Alternative endings are written stacked. This has limited use but may be
2471 used to typeset two lines of lyrics in songs with repeats, see
2472 @inputfileref{input,star-spangled-banner.ly}.
2480 Make beat or measure repeats. These look like percent signs.
2486 * Repeats and MIDI::
2487 * Manual repeat commands::
2489 * Tremolo subdivisions::
2494 @subsection Repeat syntax
2498 LilyPond has one syntactic construct for specifying different types of
2499 repeats. The syntax is
2502 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2505 If you have alternative endings, you may add
2506 @cindex @code{\alternative}
2508 \alternative @code{@{} @var{alternative1}
2510 @var{alternative3} @dots{} @code{@}}
2512 where each @var{alternative} is a music expression. If you do not
2513 give enough alternatives for all of the repeats, then the first
2514 alternative is assumed to be played more than once.
2516 Normal notation repeats are used like this:
2517 @lilypond[fragment,verbatim,relative=1]
2519 \repeat volta 2 { c4 d e f }
2520 \repeat volta 2 { f e d c }
2523 With alternative endings:
2524 @lilypond[fragment,verbatim,relative=1]
2526 \repeat volta 2 {c4 d e f}
2527 \alternative { {d2 d} {f f,} }
2531 @lilypond[fragment,verbatim,relative=1]
2534 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2535 \alternative { { g4 g g } { a | a a a a | b2. } }
2541 If you do a nested repeat like
2550 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2551 belongs. This ambiguity is resolved by always having the
2552 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2553 it is advisable to use braces in such situations.
2556 @node Repeats and MIDI
2557 @subsection Repeats and MIDI
2559 @cindex expanding repeats
2561 For instructions on how to unfold repeats for MIDI output, see the
2562 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2567 Timing information is not remembered at the start of an alternative,
2568 so after a repeat timing information must be reset by hand, for
2569 example by setting @code{Score.measurePosition} or entering
2570 @code{\partial}. Similarly, slurs or ties are also not repeated.
2573 @node Manual repeat commands
2574 @subsection Manual repeat commands
2576 @cindex @code{repeatCommands}
2578 The property @code{repeatCommands} can be used to control the layout of
2579 repeats. Its value is a Scheme list of repeat commands, where each repeat
2583 @item the symbol @code{start-repeat},
2584 which prints a @code{|:} bar line,
2585 @item the symbol @code{end-repeat},
2586 which prints a @code{:|} bar line,
2587 @item the list @code{(volta @var{text})},
2588 which prints a volta bracket saying @var{text}: The text can be specified as
2589 a text string or as a markup text, see @ref{Text markup}. Do not
2590 forget to change the font, as the default number font does not contain
2591 alphabetic characters. Or,
2592 @item the list @code{(volta #f)}, which
2593 stops a running volta bracket:
2596 @lilypond[verbatim,fragment,relative=2]
2598 \set Score.repeatCommands = #'((volta "93") end-repeat)
2600 \set Score.repeatCommands = #'((volta #f))
2607 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2608 @internalsref{VoltaRepeatedMusic},
2609 @internalsref{UnfoldedRepeatedMusic}, and
2610 @internalsref{FoldedRepeatedMusic}.
2612 @node Tremolo repeats
2613 @subsection Tremolo repeats
2614 @cindex tremolo beams
2616 To place tremolo marks between notes, use @code{\repeat} with tremolo
2618 @lilypond[verbatim,raggedright]
2620 \context Voice \notes\relative c' {
2621 \repeat "tremolo" 8 { c16 d16 }
2622 \repeat "tremolo" 4 { c16 d16 }
2623 \repeat "tremolo" 2 { c16 d16 }
2628 Tremolo marks can also be put on a single note. In this case, the
2629 note should not be surrounded by braces.
2630 @lilypond[verbatim,raggedright]
2631 \repeat "tremolo" 4 c16
2634 A similar mechanism is the tremolo subdivision, described in
2635 @ref{Tremolo subdivisions}.
2639 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2641 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2642 tremolos are @internalsref{StemTremolo} objects. The music expression is
2643 @internalsref{TremoloEvent}.
2645 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2646 @inputfileref{input/regression,stem-tremolo.ly}.
2648 @node Tremolo subdivisions
2649 @subsection Tremolo subdivisions
2650 @cindex tremolo marks
2651 @cindex @code{tremoloFlags}
2653 Tremolo marks can be printed on a single note by adding
2654 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2655 A @var{length} value of 8 gives one line across the note stem. If the
2656 length is omitted, then then the last value (stored in
2657 @code{tremoloFlags}) is used:
2659 @lilypond[verbatim,fragment]
2660 c'2:8 c':32 | c': c': |
2663 @c [TODO : stok is te kort bij 32en]
2667 Tremolos in this style do not carry over into the MIDI output.
2671 In this manual: @ref{Tremolo repeats}.
2673 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2675 @node Measure repeats
2676 @subsection Measure repeats
2678 @cindex percent repeats
2679 @cindex measure repeats
2681 In the @code{percent} style, a note pattern can be repeated. It is
2682 printed once, and then the pattern is replaced with a special sign.
2683 Patterns of a one and two measures are replaced by percent-like signs,
2684 patterns that divide the measure length are replaced by slashes:
2686 @lilypond[verbatim,raggedright]
2687 \context Voice { \repeat "percent" 4 { c'4 }
2688 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2694 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2695 @internalsref{PercentRepeatedMusic}, and
2696 @internalsref{DoublePercentRepeat}.
2700 @node Rhythmic music
2701 @section Rhythmic music
2705 * Showing melody rhythms::
2706 * Entering percussion::
2707 * Percussion staves::
2711 @node Showing melody rhythms
2712 @subsection Showing melody rhythms
2714 Sometimes you might want to show only the rhythm of a melody. This
2715 can be done with the rhythmic staff. All pitches of notes on such a
2716 staff are squashed, and the staff itself has a single line:
2718 @lilypond[fragment,relative,verbatim]
2719 \context RhythmicStaff {
2721 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2727 Internals: @internalsref{RhythmicStaff}.
2729 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2732 @node Entering percussion
2733 @subsection Entering percussion
2740 Percussion notes may be entered in @code{\drums} mode, which is
2741 similar to @code{notes}. Each piece of percussion has a full name and
2742 an abbreviated name, and both be used in input files:
2744 @lilypond[raggedright]
2745 \drums { hihat4 hh4 }
2748 The complete list of drum names is in the init file
2749 @file{ly/drumpitch-init.ly}.
2750 @c TODO: properly document this.
2754 Internals: @internalsref{DrumNoteEvent}.
2756 @node Percussion staves
2757 @subsection Percussion staves
2761 A percussion part for more than one instrument typically uses a
2762 multiline staff where each position in the staff refers to one piece
2766 To typeset the music, the notes must be interpreted in a
2767 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2770 @lilypond[raggedright,verbatim]
2771 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2772 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2775 << \new DrumVoice { \voiceOne \up }
2776 \new DrumVoice { \voiceTwo \down }
2780 The above example shows verbose polyphonic notation. The short
2781 polyphonic notation, described in @ref{Polyphony}, can also be used if
2782 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2785 \drums \new DrumStaff <<
2786 \context DrumVoice = "1" { s1 *2 }
2787 \context DrumVoice = "2" { s1 *2 }
2791 { \repeat unfold 16 hh16 }
2800 There are also other layout possibilities. To use these, set the
2801 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2802 The following variables have been predefined:
2806 is the default. It typesets a typical drum kit on a five-line staff
2809 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2810 bd sn ss tomh tommh tomml toml tomfh tomfl }
2811 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2812 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2814 << \new DrumStaff\with {
2815 \remove Bar_engraver
2816 \remove Time_signature_engraver
2817 \override Stem #'transparent = ##t
2818 \override Stem #'Y-extent-callback = ##f
2819 minimumVerticalExtent = #'(-4.0 . 5.0)
2821 \context Lyrics \nam
2824 %% need to do this, because of indented @itemize
2826 \translator { \ScoreContext
2827 \override BarNumber #'transparent =##T
2831 The drum scheme supports six different toms. When there fewer toms, simply
2832 select the toms that produce the desired result, i.e. to get toms on
2833 the three middle lines you use @code{tommh}, @code{tomml} and
2836 @item timbales-style
2837 to typeset timbales on a two line staff:
2839 @lilypond[raggedright]
2840 nam = \lyrics { timh ssh timl ssl cb }
2841 mus = \drums { timh ssh timl ssl cb s16 }
2844 \context DrumStaff \with {
2845 \remove Bar_engraver
2846 \remove Time_signature_engraver
2847 \override Stem #'transparent = ##t
2848 \override Stem #'Y-extent-callback = ##f
2849 \override StaffSymbol #'line-count = #2
2850 \override StaffSymbol #'staff-space = #2
2851 minimumVerticalExtent = #'(-3.0 . 4.0)
2852 drumStyleTable = #timbales-style
2854 \context Lyrics \nam
2859 to typeset congas on a two line staff:
2861 @lilypond[raggedright]
2862 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2863 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2866 \context DrumStaff\with {
2867 \remove Bar_engraver
2868 \remove Time_signature_engraver
2869 drumStyleTable = #congas-style
2870 \override StaffSymbol #'line-count = #2
2872 %% this sucks; it will lengthen stems.
2873 \override StaffSymbol #'staff-space = #2
2874 \override Stem #'transparent = ##t
2875 \override Stem #'Y-extent-callback = ##f
2877 \context Lyrics \nam
2882 to typeset bongos on a two line staff:
2884 @lilypond[raggedright]
2885 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2886 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2889 \context DrumStaff\with {
2890 \remove Bar_engraver
2891 \remove Time_signature_engraver
2892 \override StaffSymbol #'line-count = #2
2893 drumStyleTable = #bongos-style
2895 %% this sucks; it will lengthen stems.
2896 \override StaffSymbol #'staff-space = #2
2897 \override Stem #'transparent = ##t
2898 \override Stem #'Y-extent-callback = ##f
2900 \context Lyrics \nam
2905 @item percussion-style
2906 to typeset all kinds of simple percussion on one line staves:
2907 @lilypond[raggedright]
2908 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2909 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2912 \context DrumStaff\with{
2913 \remove Bar_engraver
2914 drumStyleTable = #percussion-style
2915 \override StaffSymbol #'line-count = #1
2916 \remove Time_signature_engraver
2917 \override Stem #'transparent = ##t
2918 \override Stem #'Y-extent-callback = ##f
2920 \context Lyrics \nam
2926 If you do not like any of the predefined lists you can define your own
2927 list at the top of your file:
2929 @lilypond[raggedright,verbatim]
2931 (bassdrum default #f -1)
2932 (snare default #f 0)
2934 (pedalhihat xcircle "stopped" 2)
2935 (lowtom diamond #f 3)
2937 up = \drums { hh8 hh hh hh hhp4 hhp }
2938 down = \drums { bd4 sn bd toml8 toml }
2941 \set DrumStaff.drumStyleTable
2942 = #(alist->hash-table mydrums)
2943 \new DrumVoice { \voiceOne \up }
2944 \new DrumVoice { \voiceTwo \down }
2952 Init files: @file{ly/drumpitch-init.ly}.
2954 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2958 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2959 work for @internalsref{DrumVoices}.
2961 Because general MIDI does not contain rim shots, the sidestick is used
2962 for this purpose instead.
2965 @section Piano music
2967 Piano staves are two normal staves coupled with a brace. The staves
2968 are largely independent, but sometimes voices can cross between the
2969 two staves. The same notation is also used for harps and other key
2970 instruments. The @internalsref{PianoStaff} is especially built to
2971 handle this cross-staffing behavior. In this section we discuss the
2972 @internalsref{PianoStaff} and some other pianistic peculiarities.
2976 * Automatic staff changes::
2977 * Manual staff switches::
2980 * Staff switch lines::
2985 There is no support for putting chords across staves. You can get
2986 this result by increasing the length of the stem in the lower stave so
2987 it reaches the stem in the upper stave, or vice versa. An example is
2988 included with the distribution as
2989 @inputfileref{input/test,stem-cross-staff.ly}.
2991 Dynamics are not centered, but kludges do exist. See
2992 @inputfileref{input/template,piano-dynamics.ly}.
2994 @cindex cross staff stem
2995 @cindex stem, cross staff
2997 The distance between the two staves is normally fixed across the
2998 entire score. It is possible to tune this per system, but it does
2999 require arcane command incantations. See
3000 @inputfileref{input/test,piano-staff-distance.ly}.
3007 @node Automatic staff changes
3008 @subsection Automatic staff changes
3009 @cindex Automatic staff changes
3011 Voices can switch automatically between the top and the bottom
3012 staff. The syntax for this is
3014 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3016 The two staffs of the piano staff must be named @code{up} and
3019 The autochanger switches on basis of pitch (middle C is the turning
3020 point), and it looks ahead skipping over rests to switch in
3021 advance. Here is a practical example:
3023 @lilypond[verbatim,raggedright]
3024 \score { \notes \context PianoStaff <<
3025 \context Staff = "up" {
3026 \autochange \new Voice \relative c' {
3027 g4 a b c d r4 a g } }
3028 \context Staff = "down" {
3035 In this example, spacer rests are used to prevent the bottom staff from
3036 terminating too soon.
3041 In this manual: @ref{Manual staff switches}.
3043 Internals: @internalsref{AutoChangeMusic}.
3049 The staff switches often do not end up in optimal places. For high
3050 quality output, staff switches should be specified manually.
3054 @node Manual staff switches
3055 @subsection Manual staff switches
3057 @cindex manual staff switches
3058 @cindex staff switch, manual
3060 Voices can be switched between staves manually, using the following command:
3062 \change Staff = @var{staffname} @var{music}
3066 The string @var{staffname} is the name of the staff. It switches the
3067 current voice from its current staff to the Staff called
3068 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3077 Pianos have pedals that alter the way sound are produced. Generally, a
3078 piano has three pedals, sustain, una corda, and sostenuto.
3082 Piano pedal instruction can be expressed by attaching
3083 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3084 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3087 @lilypond[fragment,verbatim]
3088 c'4\sustainDown c'4\sustainUp
3091 What is printed can be modified by setting @code{pedal@var{X}Strings},
3092 where @var{X} is one of the pedal types: @code{Sustain},
3093 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3094 documentation of @internalsref{SustainPedal} for more information.
3096 Pedals can also be indicated by a sequence of brackets, by setting the
3097 @code{pedalSustainStyle} property to @code{bracket} objects:
3099 @lilypond[fragment,verbatim]
3100 \set Staff.pedalSustainStyle = #'bracket
3101 c''4\sustainDown d''4 e''4
3102 a'4\sustainUp\sustainDown
3103 f'4 g'4 a'4\sustainUp
3106 A third style of pedal notation is a mixture of text and brackets,
3107 obtained by setting the @code{pedalSustainStyle} style property to
3110 @lilypond[fragment,verbatim]
3111 \set Staff.pedalSustainStyle = #'mixed
3112 c''4\sustainDown d''4 e''4
3113 c'4\sustainUp\sustainDown
3114 f'4 g'4 a'4\sustainUp
3117 The default `*Ped.' style for sustain and damper pedals corresponds to
3118 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3121 @lilypond[fragment,verbatim]
3122 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3125 For fine-tuning of the appearance of a pedal bracket, the properties
3126 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3127 @code{PianoPedalBracket} objects (see
3128 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3129 bracket may be extended to the end of the note head:
3131 @lilypond[fragment,verbatim]
3132 \override Staff.PianoPedalBracket
3133 #'shorten-pair = #'(0 . -1.0)
3134 c''4\sostenutoDown d''4 e''4 c'4
3135 f'4 g'4 a'4\sostenutoUp
3139 @subsection Arpeggio
3142 @cindex broken arpeggio
3143 @cindex @code{\arpeggio}
3145 You can specify an arpeggio sign on a chord by attaching an
3146 @code{\arpeggio} to a chord:
3149 @lilypond[fragment,relative,verbatim]
3153 When an arpeggio crosses staves, you attach an arpeggio to the chords
3154 in both staves, and set
3155 @internalsref{PianoStaff}.@code{connectArpeggios}:
3157 @lilypond[fragment,relative,verbatim]
3158 \context PianoStaff <<
3159 \set PianoStaff.connectArpeggios = ##t
3160 \new Staff { <c' e g c>\arpeggio }
3161 \new Staff { \clef bass <c,, e g>\arpeggio }
3165 The direction of the arpeggio is sometimes denoted by adding an
3166 arrowhead to the wiggly line:
3168 @lilypond[fragment,relative,verbatim]
3177 A square bracket on the left indicates that the player should not
3178 arpeggiate the chord:
3180 @lilypond[fragment,relative,verbatim]
3187 @cindex @code{\arpeggio}
3189 @cindex @code{\arpeggioUp}
3191 @cindex @code{\arpeggioDown}
3193 @cindex @code{\arpeggioBoth}
3194 @code{\arpeggioBoth},
3195 @cindex @code{\arpeggioBracket}
3196 @code{\arpeggioBracket}.
3200 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3201 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3202 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3206 It is not possible to mix connected arpeggios and unconnected
3207 arpeggios in one @internalsref{PianoStaff} at the same time.
3209 @node Staff switch lines
3210 @subsection Staff switch lines
3213 @cindex follow voice
3214 @cindex staff switching
3217 @cindex @code{followVoice}
3219 Whenever a voice switches to another staff a line connecting the notes
3220 can be printed automatically. This is enabled if the property
3221 @code{PianoStaff.followVoice} is set to true:
3223 @lilypond[fragment,relative,verbatim]
3224 \context PianoStaff <<
3225 \set PianoStaff.followVoice = ##t
3226 \context Staff \context Voice {
3231 \context Staff=two { \clef bass \skip 1*2 }
3235 The associated object is @internalsref{VoiceFollower}.
3239 @cindex @code{\showStaffSwitch}
3240 @code{\showStaffSwitch},
3241 @cindex @code{\hideStaffSwitch}
3242 @code{\hideStaffSwitch}.
3246 @section Vocal music
3248 This section discusses how to enter and print lyrics.
3252 * The Lyrics context::
3257 @node Entering lyrics
3258 @subsection Entering lyrics
3262 @cindex @code{\lyrics}
3265 Lyrics are entered in a special input mode. This mode is is introduced
3266 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3267 punctuation and accents without any hassle. Syllables are entered like
3268 notes, but with pitches replaced by text. For example,
3270 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3273 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3274 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3275 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3276 any 8-bit character with ASCII code over 127, or a two-character
3277 combination of a backslash followed by one of @code{`}, @code{'},
3278 @code{"}, or @code{^}.
3280 Subsequent characters of a word can be any character that is not a digit
3281 and not white space. One important consequence of this is that a word
3282 can end with @code{@}}. The following example is usually a bug. The
3283 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3285 \lyrics @{ twinkle@}
3288 @cindex @code{\property}, in @code{\lyrics}
3289 Similarly, a period following a alphabetic sequence, is included in
3290 the resulting string. As a consequence, spaces must be inserted around
3293 \override Score . LyricText #'font-shape = #'italic
3297 @cindex spaces, in lyrics
3298 @cindex quotes, in lyrics
3300 Any @code{_} character which appears in an unquoted word is converted
3301 to a space. This provides a mechanism for introducing spaces into words
3302 without using quotes. Quoted words can also be used in Lyrics mode to
3303 specify words that cannot be written with the above rules:
3306 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3310 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3315 These will be attached to the end of the first syllable.
3317 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3318 as a separate word between syllables. The hyphen will have variable
3319 length depending on the space between the syllables and it will be
3320 centered between the syllables.
3325 When a lyric is sung over many notes (this is called a melisma), this is
3326 indicated with a horizontal line centered between a syllable and the
3327 next one. Such a line is called an extender line, and it is entered as
3332 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3333 @internalsref{ExtenderEvent}.
3335 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3339 The definition of lyrics mode is too complex.
3343 @node The Lyrics context
3344 @subsection The Lyrics context
3346 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3348 \context Lyrics \lyrics @dots{}
3351 @cindex automatic syllable durations
3352 @cindex @code{\lyricsto}
3353 @cindex lyrics and melodies
3355 This will place the lyrics according to the durations that were
3356 entered. The lyrics can also be aligned under a given melody
3357 automatically. In this case, it is no longer necessary to enter the
3358 correct duration for each syllable. This is achieved by combining the
3359 melody and the lyrics with the @code{\lyricsto} expression:
3361 \lyricsto @var{name} \new Lyrics @dots{}
3364 This aligns the lyrics to the
3366 notes of the @internalsref{Voice} context called @var{name}, which has
3367 to exist. Therefore, normally the @code{Voice} is specified first, and
3368 then the lyrics are specified with @code{\lyricsto}.
3370 For different or more complex orderings, the best way is to setup the
3371 hierarchy of staves and lyrics first, e.g.
3373 \context ChoirStaff \notes <<
3374 \context Lyrics = sopranoLyrics @{ s1 @}
3375 \context Voice = soprano @{ @emph{music} @}
3376 \context Lyrics = tenorLyrics @{ s1 @}
3377 \context Voice = tenor @{ @emph{music} @}
3380 and then combine the appropriate melodies and lyric lines:
3382 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3386 The final input would resemble
3389 << \context ChoirStaff \notes << @emph{setup the music} >>
3390 \lyricsto "soprano" @emph{etc}
3391 \lyricsto "alto" @emph{etc}
3397 The @code{\lyricsto} command detects melismata: it only puts one
3398 syllable under a tied or slurred group of notes. If you want to force
3399 an unslurred group of notes to be a melisma, then insert
3400 @code{\melisma} after the first note of the group, and
3401 @code{\melismaEnd} after the last one, e.g.
3403 @lilypond[relative=1,raggedright,fragment,verbatim]
3404 << \context Voice = "lala" { \time 3/4
3410 \lyricsto "lala" \new Lyrics \lyrics {
3415 In addition, notes are considered a melisma if they are manually
3416 beamed, and automatic beaming (see @ref{Setting automatic beam
3417 behavior}) is switched off. The criteria for deciding melismata
3418 can be tuned with the property @code{melismaBusyProperties}. See
3419 @internalsref{Melisma_translator} for more information.
3421 When multiple stanzas are put on the same melody, it can happen that
3422 two stanzas have melismata in different locations. This can be
3423 remedied by switching off melismata for one
3424 @internalsref{Lyrics}. This is achieved by setting
3425 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3426 in @inputfileref{input/regression,lyric-combine-new.ly}.
3429 @cindex choral score
3431 A complete example of a SATB score setup is in the file
3432 @inputfileref{input/template,satb.ly}.
3437 @code{\melisma}, @code{\melismaEnd}
3438 @cindex @code{\melismaEnd}
3439 @cindex @code{\melisma}
3443 Internals: Music expressions: @internalsref{LyricCombineMusic},
3444 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3446 Examples: @inputfileref{input/template,satb.ly},
3447 @inputfileref{input/regression,lyric-combine-new.ly}.
3451 Melismata are not detected automatically, and extender lines must be
3455 For proper processing of extender lines, the
3456 @internalsref{Lyrics} and @internalsref{Voice} should be
3457 linked. This can be achieved either by using @code{\lyricsto} or by
3458 setting corresponding names for both contexts. The latter is explained
3459 in @ref{More stanzas}.
3462 @subsection More stanzas
3464 @cindex phrasing, in lyrics
3467 The lyrics should be aligned with the note heads of the melody. To
3468 achieve this, each line of lyrics should be marked to correspond with
3469 the melodic line. This is done automatically when @code{\lyricsto},
3470 but it can also be done manually.
3472 To this end, give the @internalsref{Voice} context an identity:
3474 \context Voice = duet @{
3479 Then set the @internalsref{Lyrics} contexts to names starting with
3480 that identity followed by a dash. In the preceding example, the
3481 @internalsref{Voice} identity is @code{duet}, so the identities of the
3482 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3484 \context Lyrics = "duet-1" @{
3485 Hi, my name is bert. @}
3486 \context Lyrics = "duet-2" @{
3487 Ooooo, ch\'e -- ri, je t'aime. @}
3490 The complete example is shown here:
3491 @lilypond[raggedright,verbatim]
3493 << \notes \relative c'' \context Voice = duet { \time 3/4
3495 \lyrics << \lyricsto "duet" \new Lyrics {
3497 \set vocNam = "Bert"
3498 Hi, my name is bert. }
3499 \lyricsto "duet" \new Lyrics {
3501 \set vocNam = "Ernie"
3502 Ooooo, ch\'e -- ri, je t'aime.
3508 @cindex stanza number
3509 @cindex singer's names
3510 @cindex name of singer
3512 Stanza numbers can be added by setting @code{stanza}, e.g.
3520 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3521 prevent @code{stanza} being interpreted as a single
3524 This example also demonstrates how names of the singers can be added
3525 using @code{vocalName} analogous to instrument annotations for staves.
3526 A short version may be entered as @code{vocNam}.
3528 To make empty spaces in lyrics, use @code{\skip}.
3533 Internals: Layout objects @internalsref{LyricText} and
3534 @internalsref{VocalName}. Music expressions:
3535 @internalsref{LyricEvent}.
3541 Input for lyrics introduces a syntactical ambiguity:
3548 is interpreted as assigning a string identifier @code{\foo} such that
3549 it contains @code{"bar"}. However, it could also be interpreted as
3550 making or a music identifier @code{\foo} containing the syllable
3551 `bar'. The force the latter interpretation, use
3561 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3562 for a given voice in a part of music. It also may denote the pitch
3563 range that a musical instrument is capable of playing. Most musical
3564 instruments have their ambitus standardized (or at least there is
3565 agreement upon the minimal ambitus of a particular type of
3566 instrument), such that a composer or arranger of a piece of music can
3567 easily meet the ambitus constraints of the targeted instrument.
3568 However, the ambitus of the human voice depends on individual
3569 physiological state, including education and training of the voice.
3570 Therefore, a singer potentially has to check for each piece of music
3571 if the ambitus of that piece meets his individual capabilities. This
3572 is why the ambitus of a piece may be of particular value to vocal
3575 The ambitus is typically notated on a per-voice basis at the very
3576 beginning of a piece, e.g. nearby the initial clef or time signature of
3577 each staff. The range is graphically specified by two note heads, that
3578 represent the minimum and maximum pitch. Some publishers use a textual
3579 notation: they put the range in words in front of the corresponding
3580 staff. LilyPond only supports the graphical ambitus notation.
3582 To apply, add the @internalsref{Ambitus_engraver} to the
3583 @internalsref{Voice} context, i.e.
3589 \consists Ambitus_engraver
3594 This results in the following output:
3596 @lilypond[raggedright]
3597 upper = \notes \relative c {
3600 as'' c e2 bes f cis d4 e f2 g
3602 lower = \notes \relative c {
3605 e'4 b g a c es fis a cis b a g f e d2
3608 \context ChoirStaff {
3610 \new Staff { \upper }
3611 \new Staff { \lower }
3617 \consists Ambitus_engraver
3623 If you have multiple voices in a single staff, and you want a single
3624 ambitus per staff rather than per each voice, then add the
3625 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3626 rather than to the @internalsref{Voice} context.
3628 It is possible to tune individual ambituses for multiple voices on a
3629 single staff, for example by erasing or shifting them horizontally. An
3630 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3634 Internals: @internalsref{Ambitus}.
3636 Examples: @inputfileref{input/regression,ambitus.ly},
3637 @inputfileref{input/test,ambitus-mixed.ly}.
3641 There is no collision handling in the case of multiple per-voice
3647 Tablature notation is used for notating music for plucked string
3648 instruments. It notates pitches not by using note heads, but by
3649 indicating on which string and fret a note must be played. LilyPond
3650 offers limited support for tablature.
3653 * Tablatures basic::
3654 * Non-guitar tablatures::
3657 @node Tablatures basic
3658 @subsection Tablatures basic
3659 @cindex Tablatures basic
3661 The string number associated to a note is given as a backslash
3662 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3663 string. By default, string 1 is the highest one, and the tuning
3664 defaults to the standard guitar tuning (with 6 strings). The notes
3665 are printed as tablature, by using @internalsref{TabStaff} and
3666 @internalsref{TabVoice} contexts:
3668 @lilypond[fragment,verbatim]
3669 \notes \context TabStaff {
3677 When no string is specified, the first string that does not give a
3678 fret number less than @code{minimumFret} is selected. The default
3679 value for @code{minimumFret} is 0:
3683 e8 fis gis a b cis' dis' e'
3684 \set TabStaff.minimumFret = #8
3685 e8 fis gis a b cis' dis' e'
3690 e8 fis gis a b cis' dis' e'
3691 \set TabStaff.minimumFret = #8
3692 e8 fis gis a b cis' dis' e'
3695 \context StaffGroup <<
3696 \context Staff { \clef "G_8" \frag }
3697 \context TabStaff { \frag }
3704 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3705 @internalsref{StringNumberEvent}.
3709 Chords are not handled in a special way, and hence the automatic
3710 string selector may easily select the same string to two notes in a
3714 @node Non-guitar tablatures
3715 @subsection Non-guitar tablatures
3716 @cindex Non-guitar tablatures
3718 You can change the number of strings, by setting the number of lines
3719 in the @internalsref{TabStaff}.
3721 You can change the tuning of the strings. A string tuning is given as
3722 a Scheme list with one integer number for each string, the number
3723 being the pitch (measured in semitones relative to middle C) of an
3724 open string. The numbers specified for @code{stringTuning} are the
3725 numbers of semitones to subtract or add, starting the specified pitch
3726 by default middle C, in string order. Thus, the notes are e, a, d, and
3729 @lilypond[fragment,verbatim]
3730 \context TabStaff <<
3731 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3734 a,4 c' a e' e c' a e'
3739 It is possible to change the Scheme function to format the tablature
3740 note text. The default is @code{fret-number-tablature-format}, which
3741 uses the fret number. For instruments that do not use this notation,
3742 you can create a special tablature formatting function. This function
3743 takes three argument: string number, string tuning and note pitch.
3747 No guitar special effects have been implemented.
3752 @section Chord names
3755 LilyPond has support for both printing chord names. Chords may be
3756 entered in musical chord notation, i.e. @code{< .. >}, but they can
3757 also be entered by name. Internally, the chords are represented as a
3758 set of pitches, so they can be transposed:
3761 @lilypond[verbatim,raggedright]
3762 twoWays = \notes \transpose c c' {
3772 << \context ChordNames \twoWays
3773 \context Voice \twoWays >> }
3776 This example also shows that the chord printing routines do not try to
3777 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3783 * Printing chord names::
3788 @subsection Chords mode
3791 Chord mode is a mode where you can input sets of pitches using common
3792 names. It is introduced by the keyword @code{\chords}.
3793 In chords mode, a chord is entered by the root, which is entered
3794 like a common pitch:
3795 @lilypond[fragment,verbatim,relative=1]
3796 \chords { es4. d8 c2 }
3801 Other chords may be entered by suffixing a colon, and introducing a
3802 modifier, and optionally, a number:
3804 @lilypond[fragment,verbatim]
3805 \chords { e1:m e1:7 e1:m7 }
3807 The first number following the root is taken to be the `type' of the
3808 chord, thirds are added to the root until it reaches the specified
3810 @lilypond[fragment,verbatim]
3811 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3814 @cindex root of chord
3815 @cindex additions, in chords
3816 @cindex removals, in chords
3818 More complex chords may also be constructed adding separate steps
3819 to a chord. Additions are added after the number following
3820 the colon, and are separated by dots:
3822 @lilypond[verbatim,fragment]
3823 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3825 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3827 @lilypond[verbatim,fragment]
3828 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3830 Removals are specified similarly, and are introduced by a caret. They
3831 must come after the additions:
3832 @lilypond[verbatim,fragment]
3833 \chords { c^3 c:7^5 c:9^3.5 }
3836 Modifiers can be used to change pitches. The following modifiers are
3840 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3842 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3845 is the augmented chord. This modifier raises the 5th step.
3847 is the major 7th chord. This modifier raises the 7th step if present.
3849 is the suspended 4th or 2nd. This modifier removes the 3rd
3850 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3853 Modifiers can be mixed with additions:
3854 @lilypond[verbatim,fragment]
3855 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3858 @cindex modifiers, in chords.
3865 Since an unaltered 11 does not sound good when combined with an
3866 unaltered 13, the 11 is removed in this case (unless it is added
3869 @lilypond[fragment,verbatim]
3870 \chords { c:13 c:13.11 c:m13 }
3875 An inversion (putting one pitch of the chord on the bottom), as well
3876 as bass notes, can be specified by appending
3877 @code{/}@var{pitch} to the chord:
3878 @lilypond[fragment,verbatim]
3879 \chords { c1 c/g c/f }
3883 A bass note can be added instead of transposed out of the chord,
3884 by using @code{/+}@var{pitch}.
3886 @lilypond[fragment,verbatim]
3887 \chords { c1 c/+g c/+f }
3890 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3891 of the commands continue to work, for example, @code{r} and
3892 @code{\skip} can be used to insert rests and spaces, and property
3893 commands may be used to change various settings.
3899 Each step can only be present in a chord once. The following
3900 simply produces the augmented chord, since @code{5+} is interpreted
3903 @lilypond[verbatim,fragment]
3904 \chords { c:5.5-.5+ }
3908 @node Printing chord names
3909 @subsection Printing chord names
3911 @cindex printing chord names
3915 For displaying printed chord names, use the @internalsref{ChordNames} context.
3916 The chords may be entered either using the notation
3917 described above, or directly using @code{<} and @code{>}:
3919 @lilypond[verbatim,raggedright]
3921 \chords {a1 b c} <d' f' a'> <e' g' b'>
3925 \context ChordNames \scheme
3926 \context Staff \scheme
3931 You can make the chord changes stand out by setting
3932 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3933 display chord names when there is a change in the chords scheme and at
3934 the start of a new line:
3936 @lilypond[verbatim,linewidth=9\cm]
3938 c1:m c:m \break c:m c:m d
3942 \context ChordNames {
3943 \set chordChanges = ##t
3945 \context Staff \transpose c c' \scheme
3950 The default chord name layout is a system for Jazz music, proposed by
3951 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3952 following properties:
3955 @cindex chordNameExceptions
3956 @item chordNameExceptions
3957 This is a list that contains the chords that have special formatting.
3959 @inputfileref{input/regression,chord-name-exceptions.ly}.
3960 @cindex exceptions, chord names.
3963 @cindex majorSevenSymbol
3964 @item majorSevenSymbol
3965 This property contains the markup object used for the 7th step, when
3966 it is major. Predefined options are @code{whiteTriangleMarkup} and
3967 @code{blackTriangleMarkup}. See
3968 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3970 @cindex chordNameSeparator
3971 @item chordNameSeparator
3972 Different parts of a chord name are normally separated by a
3973 slash. By setting @code{chordNameSeparator}, you can specify other
3975 @lilypond[fragment,verbatim]
3976 \context ChordNames \chords {
3978 \set chordNameSeparator
3979 = \markup { \typewriter "|" }
3983 @cindex chordRootNamer
3984 @item chordRootNamer
3985 The root of a chord is usually printed as a letter with an optional
3986 alteration. The transformation from pitch to letter is done by this
3987 function. Special note names (for example, the German ``H'' for a
3988 B-chord) can be produced by storing a new function in this property.
3990 The predefined variables @code{\germanChords},
3991 @code{\semiGermanChords} set these variables.
3994 @cindex chordNoteNamer
3995 @item chordNoteNamer
3996 The default is to print single pitch, e.g. the bass note, using the
3997 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3998 to a specialized function to change this behavior. For example, the
3999 base can be printed in lower case.
4004 There are also two other chord name schemes implemented: an alternate
4005 Jazz chord notation, and a systematic scheme called Banter chords. The
4006 alternate jazz notation is also shown on the chart in @ref{Chord name
4007 chart}. Turning on these styles is described in the input file
4008 @inputfileref{input/test,chord-names-jazz.ly}.
4012 @cindex chords, jazz
4017 @cindex @code{\germanChords}
4018 @code{\germanChords},
4019 @cindex @code{\semiGermanChords}
4020 @code{\semiGermanChords}.
4027 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4028 @inputfileref{input/regression,chord-name-exceptions.ly},
4029 @inputfileref{input/test,chord-names-jazz.ly},
4030 @inputfileref{input/test,chord-names-german.ly}.
4032 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4037 Chord names are determined solely from the list of pitches. Chord
4038 inversions are not identified, and neither are added bass notes. This
4039 may result in strange chord names when chords are entered with the
4040 @code{< .. >} syntax.
4045 @node Orchestral music
4046 @section Orchestral music
4048 @cindex Writing parts
4050 Orchestral music involves some special notation, both in the full
4051 score and the individual parts. This section explains how to tackle
4052 some common problems in orchestral music.
4057 * Multiple staff contexts::
4060 * Instrument names::
4062 * Instrument transpositions::
4063 * Multi measure rests::
4064 * Automatic part combining::
4066 * Different editions from one source::
4067 * Quoting other voices::
4070 @node Multiple staff contexts
4071 @subsection Multiple staff contexts
4073 Polyphonic scores consist of many staves. These staves can be
4074 constructed in three different ways:
4076 @item The group is started with a brace at the left. This is done with the
4077 @internalsref{GrandStaff} context.
4078 @item The group is started with a bracket. This is done with the
4079 @internalsref{StaffGroup} context
4080 @item The group is started with a vertical line. This is the default
4084 @cindex Staff, multiple
4085 @cindex bracket, vertical
4086 @cindex brace, vertical
4093 @node Rehearsal marks
4094 @subsection Rehearsal marks
4095 @cindex Rehearsal marks
4097 @cindex @code{\mark}
4099 To print a rehearsal mark, use the @code{\mark} command:
4100 @lilypond[fragment,verbatim]
4111 (The letter I is skipped in accordance with engraving traditions.)
4113 The mark is incremented automatically if you use @code{\mark
4114 \default}, but you can also use an integer argument to set the mark
4115 manually. The value to use is stored in the property
4116 @code{rehearsalMark}.
4118 The style is defined by the property @code{markFormatter}. It is a
4119 function taking the current mark (an integer) and the current context
4120 as argument. It should return a markup object. In the following
4121 example, @code{markFormatter} is set to a canned procedure. After a
4122 few measures, it is set to function that produces a boxed number.
4124 @lilypond[verbatim,fragment,relative=1]
4125 \set Score.markFormatter = #format-mark-numbers
4128 \set Score.markFormatter
4129 = #(lambda (mark context)
4130 (make-bold-markup (make-box-markup (number->string mark))))
4135 The file @file{scm/translation-functions.scm} contains the definitions
4136 of @code{format-mark-numbers} (the default format) and
4137 @code{format-mark-letters}. They can be used as inspiration for other
4138 formatting functions.
4141 @cindex coda on bar line
4142 @cindex segno on bar line
4143 @cindex fermata on bar line
4144 @cindex bar lines, symbols on
4146 The @code{\mark} command can also be used to put signs like coda,
4147 segno and fermatas on a bar line. Use @code{\markup} to
4148 to access the appropriate symbol:
4150 @lilypond[fragment,verbatim,relative=1]
4151 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4155 In this case, during line breaks, marks must also be printed at the
4156 end of the line, and not at the beginning. Use the following to force
4159 \override Score.RehearsalMark
4160 #'break-visibility = #begin-of-line-invisible
4166 @cindex bar lines, putting symbols on
4170 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4172 Init files: @file{scm/translation-functions.scm} contains the
4173 definition of @code{format-mark-numbers} and
4174 @code{format-mark-letters}. They can be used as inspiration for other
4175 formatting functions.
4177 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4178 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4182 @subsection Bar numbers
4186 @cindex measure numbers
4187 @cindex currentBarNumber
4189 Bar numbers are printed by default at the start of the line. The
4190 number itself is stored in the
4191 @code{currentBarNumber} property,
4192 which is normally updated automatically for every measure.
4194 Bar numbers can be typeset at regular intervals instead of at the
4195 beginning of each line. This is illustrated in the following example,
4196 whose source is available as
4197 @inputfileref{input/test,bar-number-regular-interval.ly}:
4199 @lilypondfile[]{bar-number-regular-interval.ly}
4204 Internals: @internalsref{BarNumber}.
4206 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4207 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4211 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4212 there is one at the top. To solve this, the
4213 @code{padding} property of @internalsref{BarNumber} can be
4214 used to position the number correctly.
4216 @node Instrument names
4217 @subsection Instrument names
4219 In an orchestral score, instrument names are printed left side of the
4222 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4223 and @internalsref{Staff}.@code{instr}. This will print a string before
4224 the start of the staff. For the first start, @code{instrument} is
4225 used, for the next ones @code{instr} is used:
4228 @lilypond[verbatim,raggedright]
4229 \set Staff.instrument = "ploink " { c''4 }
4233 You can also use markup texts to construct more complicated instrument
4237 @lilypond[fragment,verbatim,raggedright]
4239 \set Staff.instrument = \markup {
4240 \column < "Clarinetti"
4253 Internals: @internalsref{InstrumentName}.
4257 When you put a name on a grand staff or piano staff the width of the
4258 brace is not taken into account. You must add extra spaces to the end of
4259 the name to avoid a collision.
4262 @subsection Transpose
4264 @cindex transposition of pitches
4265 @cindex @code{\transpose}
4267 A music expression can be transposed with @code{\transpose}. The syntax
4270 \transpose @var{from} @var{to} @var{musicexpr}
4273 This means that @var{musicexpr} is transposed by the interval between
4274 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4275 is changed to @code{to}.
4278 For example, consider a piece written in the key of D major. If
4279 this piece is a little too low for its performer, it can be
4280 transposed up to E major with
4282 \transpose d e @dots{}
4285 Consider a part written for violin (a C instrument). If
4286 this part is to be played on the A clarinet, the following
4287 transposition will produce the appropriate part
4290 \transpose a c @dots{}
4293 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4294 inside a @code{\notes} section. @code{\transpose} distinguishes
4295 between enharmonic pitches: both @code{\transpose c cis} or
4296 @code{\transpose c des} will transpose up half a tone. The first
4297 version will print sharps and the second version will print flats:
4299 @lilypond[raggedright,verbatim]
4300 mus =\notes { \key d \major cis d fis g }
4301 \score { \notes \context Staff {
4304 \transpose c g' \mus
4305 \transpose c f' \mus
4312 Internals: @internalsref{TransposedMusic}, and
4313 @internalsref{UntransposableMusic}.
4317 If you want to use both @code{\transpose} and @code{\relative}, then
4318 you must put @code{\transpose} outside of @code{\relative}, since
4319 @code{\relative} will have no effect music that appears inside a
4322 @node Instrument transpositions
4323 @subsection Instrument transpositions
4325 The key of a transposing instrument can also be specified. This
4326 applies to many wind instruments, for example, clarinets (B-flat, A and
4327 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4331 The transposition is entered after the keyword @code{\transposition}:
4334 \transposition bes %% B-flat clarinet
4337 This command sets the property @code{instrumentTuning}. The value of
4338 this property is used for MIDI output and quotations. It does not
4339 affect how notes are printed in the current staff.
4341 @cindex transposition, MIDI
4342 @cindex transposition, instrument
4345 @node Multi measure rests
4346 @subsection Multi measure rests
4347 @cindex multi measure rests
4348 @cindex Rests, multi measure
4352 Multi measure rests are entered using `@code{R}'. It is specifically
4353 meant for full bar rests and for entering parts: the rest can expand
4354 to fill a score with rests, or it can be printed as a single
4355 multimeasure rest. This expansion is controlled by the property
4356 @code{Score.skipBars}. If this is set to true, empty measures will not
4357 be expanded, and the appropriate number is added automatically:
4359 @lilypond[fragment,verbatim]
4360 \time 4/4 r1 | R1 | R1*2
4361 \set Score.skipBars = ##t R1*17 R1*4
4364 The @code{1} in @code{R1} is similar to the duration notation used for
4365 notes. Hence, for time signatures other than 4/4, you must enter other
4366 durations. This can be done with augmentation dots or fractions:
4368 @lilypond[fragment,verbatim]
4369 \set Score.skipBars = ##t
4377 An @code{R} spanning a single measure is printed as either a whole rest
4378 or a breve, centered in the measure regardless of the time signature.
4380 @cindex text on multi-measure rest
4381 @cindex script on multi-measure rest
4382 @cindex fermata on multi-measure rest
4384 Texts can be added to multi-measure rests by using the
4385 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4386 replaced. If you need both texts and the number, you must add the
4387 number by hand. A variable (@code{\fermataMarkup}) is provided for
4391 @lilypond[verbatim,fragment]
4393 R2._\markup { "Ad lib" }
4397 If you want to have a text on the left end of a multi-measure rest,
4398 attach the text to a zero-length skip note, i.e.
4406 @cindex whole rests for a full measure
4410 Internals: @internalsref{MultiMeasureRestEvent},
4411 @internalsref{MultiMeasureTextEvent},
4412 @internalsref{MultiMeasureRestMusicGroup}, and
4413 @internalsref{MultiMeasureRest}.
4415 The layout object @internalsref{MultiMeasureRestNumber} is for the
4416 default number, and @internalsref{MultiMeasureRestText} for user
4421 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4422 over multi-measure rests.
4424 @cindex condensing rests
4426 There is no way to automatically condense multiple rests into a single
4427 multimeasure rest. Multi measure rests do not take part in rest
4430 Be careful when entering multimeasure rests followed by whole
4431 notes. The following will enter two notes lasting four measures each:
4435 When @code{skipBars} is set, then the result will look OK, but the
4436 bar numbering will be off.
4438 @node Automatic part combining
4439 @subsection Automatic part combining
4440 @cindex automatic part combining
4441 @cindex part combiner
4444 Automatic part combining is used to merge two parts of music onto a
4445 staff. It is aimed at typesetting orchestral scores. When the two
4446 parts are identical for a period of time, only one is shown. In
4447 places where the two parts differ, they are typeset as separate
4448 voices, and stem directions are set automatically. Also, solo and
4449 @emph{a due} parts are identified and can be marked.
4453 The syntax for part combining is
4456 \partcombine @var{musicexpr1} @var{musicexpr2}
4459 The music expressions will be interpreted as @internalsref{Voice} contexts.
4461 The following example demonstrates the basic functionality of the part
4462 combiner: putting parts on one staff, and setting stem directions and
4465 @lilypond[verbatim,raggedright,fragment,relative=1]
4466 \new Staff \partcombine
4475 The first @code{g} appears only once, although it was
4476 specified twice (once in each part). Stem, slur and tie directions are
4477 set automatically, depending whether there is a solo or unisono. The
4478 first part (with context called @code{one}) always gets up stems, and
4479 `solo', while the second (called @code{two}) always gets down stems and
4482 If you just want the merging parts, and not the textual markings, you
4483 may set the property @var{soloADue} to false:
4485 @lilypond[verbatim,raggedright,fragment,relative=1]
4487 \set Staff.soloADue = ##f
4499 Internals: @internalsref{PartCombineMusic},
4500 @internalsref{SoloOneEvent}, and
4501 @internalsref{SoloTwoEvent}, and
4502 @internalsref{UnisonoEvent}.
4506 In @code{soloADue} mode, when the two voices play the same notes on and
4507 off, the part combiner may typeset @code{a2} more than once in a
4510 @code{\partcombine} can not be inside @code{\times}.
4512 Internally, the @code{\partcombine} interprets both arguments as
4513 @code{Voice}s named @code{one} and @code{two}, and then decides when
4514 the parts can be combined. Consequently, if the arguments switch to
4515 differently named @internalsref{Voice} contexts, then the events in
4516 those will be ignored.
4519 @subsection Hiding staves
4521 @cindex Frenched scores
4522 @cindex Hiding staves
4524 In orchestral scores, staff lines that only have rests are usually
4525 removed. This saves some space. This style is called `French Score'.
4526 For @internalsref{Lyrics},
4527 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4528 switched on by default. When these line of these contexts turn out
4529 empty after the line-breaking process, they are removed.
4531 For normal staves, a specialized @internalsref{Staff} context is
4532 available, which does the same: staves containing nothing (or only
4533 multi measure rests) are removed. The context definition is stored in
4534 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4535 in this example disappears in the second line:
4540 \notes \relative c' <<
4541 \new Staff { e4 f g a \break c1 }
4542 \new Staff { c4 d e f \break R1 }
4546 \translator { \RemoveEmptyStaffContext }
4551 The first page shows all staffs in full. If they should be removed
4552 from the first page too, set @code{remove-first} to false
4553 in @internalsref{RemoveEmptyVerticalGroup}.
4555 Another application is making ossia sections, i.e. alternative
4556 melodies on a separate piece of staff, with help of a Frenched
4557 staff. See @inputfileref{input/test,ossia.ly} for an example.
4560 @node Different editions from one source
4561 @subsection Different editions from one source
4563 The @code{\tag} command marks music expressions with a name. These
4564 tagged expressions can be filtered out later. With this mechanism it
4565 is possible to make different versions of the same music source.
4567 In the following example, we see two versions of a piece of music, one
4568 for the full score, and one with cue notes for the instrumental part:
4584 The same can be applied to articulations, texts, etc.: they are
4587 -\tag #@var{your-tag}
4589 to an articulation, for example,
4594 This defines a note with a conditional fingering indication.
4596 By applying the @code{remove-tag} function, tagged expressions can be
4597 filtered. For example,
4601 \apply #(remove-tag 'score) @var{the music}
4602 \apply #(remove-tag 'part) @var{the music}
4607 @lilypondfile[]{tag-filter.ly}
4609 The argument of the @code{\tag} command should be a symbol, or a list
4610 of symbols, for example,
4612 \tag #'(original-part transposed-part) @dots{}
4617 Examples: @inputfileref{input/regression,tag-filter.ly}.
4620 @node Quoting other voices
4621 @subsection Quoting other voices
4623 With quotations, fragments of other parts can be inserted into a part
4624 directly. Before a part can be quoted, it must be marked especially as
4625 quotable. This is done with code @code{\addquote} command. The
4626 quotation may then be done with @code{\quote}
4629 \addquote @var{name} @var{music}
4630 \quote @var{name} @var{duration}
4635 Here, @var{name} is an identifying string. The @var{music} is any kind
4636 of music. This is an example of @code{\addquote}:
4639 \addquote clarinet \notes\relative c' {
4644 During a part, a piece of music can be quoted with the @code{\quote}
4651 This would cite 3 quarter notes (a dotted half note) of the previously
4652 added clarinet voice.
4654 Quotations take into account the transposition both source and target
4655 instruments, if they are specified using the @code{\transposition} command.
4657 @lilypond[verbatim fragment]
4658 \addquote clarinet \notes\relative c' {
4664 e'8 f'8 \quote clarinet 2
4670 Only the contents of the first @internalsref{Voice} occurring in an
4671 @code{\addquote} command will be considered for quotation, so
4672 @var{music} can not contain @code{\new} and @code{\context Voice}
4673 statements that would switch to a different Voice.
4678 In this manual: @ref{Instrument transpositions}.
4680 Examples: @inputfileref{input/regression,quote.ly}
4681 @inputfileref{input/regression,quote-transposition.ly}
4683 Internals: @internalsref{QuoteMusic}.
4689 @node Ancient notation
4690 @section Ancient notation
4692 @cindex Vaticana, Editio
4693 @cindex Medicaea, Editio
4698 @c [TODO: write more comprehensive introduction on ancient notation]
4700 Support for ancient notation is still under heavy development.
4701 Regardless of all of the current limitations (see the bugs section
4702 below for details), it includes features for mensural
4703 notation and Gregorian Chant notation. There is also limited support
4704 for figured bass notation.
4706 Many graphical objects provide a @code{style} property, see
4707 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4708 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4709 signatures}. By manipulating such a grob property, the typographical
4710 appearance of the affected graphical objects can be accommodated for a
4711 specific notation flavor without need for introducing any new
4715 Other aspects of ancient notation can not that easily be expressed as
4716 in terms of just changing a style property of a graphical object.
4717 Therefore, some notational concepts are introduced specifically for
4718 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4719 @ref{Ligatures}, and @ref{Figured bass}.
4723 * Ancient note heads::
4724 * Ancient accidentals::
4728 * Ancient time signatures::
4733 * Vaticana style contexts::
4736 If this all is way too much of documentation for you, and you just
4737 want to dive into typesetting without worrying too much about the
4738 details on how to customize a context, then you may have a look at the
4739 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4740 set up predefined style-specific voice and staff contexts, and
4741 directly go ahead with the note entry.
4745 Ligatures need special spacing that has not yet been implemented. As
4746 a result, there is too much space between ligatures most of the time,
4747 and line breaking often is unsatisfactory. Also, lyrics do not
4748 correctly align with ligatures.
4750 Accidentals must not be printed within a ligature, but instead need to
4751 be collected and printed in front of it.
4753 Augmentum dots within ligatures are not handled correctly.
4756 @node Ancient note heads
4757 @subsection Ancient note heads
4763 For ancient notation, a note head style other than the @code{default}
4764 style may be chosen. This is accomplished by setting the @code{style}
4765 property of the NoteHead object to the desired value (@code{baroque},
4766 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4767 differs from the @code{default} style only in using a square shape for
4768 @code{\breve} note heads. The @code{neo_mensural} style differs from
4769 the @code{baroque} style in that it uses rhomboidal heads for whole
4770 notes and all smaller durations. Stems are centered on the note
4771 heads. This style is in particular useful when transcribing mensural
4772 music, e.g. for the incipit. The @code{mensural} style finally
4773 produces note heads that mimic the look of note heads in historic
4774 printings of the 16th century.
4776 The following example demonstrates the @code{neo_mensural} style:
4778 @lilypond[fragment,raggedright,verbatim]
4779 \override NoteHead #'style = #'neo_mensural
4780 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4783 When typesetting a piece in Gregorian Chant notation, a Gregorian
4784 ligature engraver will automatically select the proper note heads,
4785 such there is no need to explicitly set the note head style. Still,
4786 the note head style can be set e.g. to @code{vaticana_punctum} to
4787 produce punctum neumes. Similarly, a mensural ligature engraver is
4788 used to automatically assemble mensural ligatures. See
4789 @ref{Ligatures} for how ligature engravers work.
4794 @ref{Percussion staves} use note head styles of their own that are
4795 frequently used in contemporary music notation.
4797 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4798 overview over all available note head styles.
4801 @node Ancient accidentals
4802 @subsection Ancient accidentals
4808 Use the @code{style} property of grob @internalsref{Accidental} to
4809 select ancient accidentals. Supported styles are
4810 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4812 @lilypond[raggedright,staffsize=26]
4820 { " " \musicglyph #"accidentals-vaticana-1"
4821 " " \musicglyph #"accidentals-vaticana0" }
4825 { " " \musicglyph #"accidentals-medicaea-1" }
4829 { " " \musicglyph #"accidentals-hufnagel-1" }
4833 { " " \musicglyph #"accidentals-mensural-1"
4834 " " \musicglyph #"accidentals-mensural1" }
4843 \remove "Bar_number_engraver"
4847 \remove "Clef_engraver"
4848 \remove "Key_engraver"
4849 \remove "Time_signature_engraver"
4850 \remove "Staff_symbol_engraver"
4851 minimumVerticalExtent = ##f
4857 As shown, not all accidentals are supported by each style. When
4858 trying to access an unsupported accidental, LilyPond will switch to a
4859 different style, as demonstrated in
4860 @inputfileref{input/test,ancient-accidentals.ly}.
4862 Similarly to local accidentals, the style of the key signature can be
4863 controlled by the @code{style} property of the
4864 @internalsref{KeySignature} grob.
4868 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4869 @ref{Accidentals} give a general introduction into the use of
4870 accidentals. @ref{Key signature} gives a general introduction into
4871 the use of key signatures.
4873 Internals: @internalsref{KeySignature}.
4875 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4878 @subsection Ancient rests
4884 Use the @code{style} property of grob @internalsref{Rest} to select
4885 ancient accidentals. Supported styles are @code{classical},
4886 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4887 from the @code{default} style only in that the quarter rest looks like
4888 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4889 well for e.g. the incipit of a transcribed mensural piece of music.
4890 The @code{mensural} style finally mimics the appearance of rests as
4891 in historic prints of the 16th century.
4893 The following example demonstrates the @code{neo_mensural} style:
4895 @lilypond[fragment,raggedright,verbatim]
4896 \override Rest #'style = #'neo_mensural
4897 r\longa r\breve r1 r2 r4 r8 r16
4900 There are no 32th and 64th rests specifically for the mensural or
4901 neo-mensural style. Instead, the rests from the default style will be
4902 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4905 There are no rests in Gregorian Chant notation; instead, it uses
4910 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4914 @subsection Ancient clefs
4920 LilyPond supports a variety of clefs, many of them ancient.
4922 The following table shows all ancient clefs that are supported via the
4923 @code{\clef} command. Some of the clefs use the same glyph, but
4924 differ only with respect to the line they are printed on. In such
4925 cases, a trailing number in the name is used to enumerate these clefs.
4926 Still, you can manually force a clef glyph to be typeset on an
4927 arbitrary line, as described in @ref{Clef}. The note printed to the
4928 right side of each clef in the example column denotes the @code{c'}
4929 with respect to that clef.
4931 @multitable @columnfractions .3 .3 .3 .1
4935 @b{Description} @tab
4936 @b{Supported Clefs} @tab
4940 @code{clefs-neo_mensural_c} @tab
4941 modern style mensural C clef @tab
4942 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4943 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4944 @lilypond[relative,notime]
4945 \override Staff.TimeSignature #'transparent = ##t
4946 \clef "neo_mensural_c2" c
4950 @code{clefs-petrucci_c1}
4951 @code{clefs-petrucci_c2}
4952 @code{clefs-petrucci_c3}
4953 @code{clefs-petrucci_c4}
4954 @code{clefs-petrucci_c5}
4957 petrucci style mensural C clefs, for use on different staff lines
4958 (the examples shows the 2nd staff line C clef).
4968 @lilypond[relative,notime]
4969 \override Staff.TimeSignature #'transparent = ##t
4970 \clef "petrucci_c2" c
4974 @code{clefs-petrucci_f} @tab
4975 petrucci style mensural F clef @tab
4976 @code{petrucci_f} @tab
4977 @lilypond[relative,notime]
4978 \override Staff.TimeSignature #'transparent = ##t
4979 \clef "petrucci_f" c
4983 @code{clefs-petrucci_g} @tab
4984 petrucci style mensural G clef @tab
4985 @code{petrucci_g} @tab
4986 @lilypond[relative,notime]
4987 \override Staff.TimeSignature #'transparent = ##t
4988 \clef "petrucci_g" c
4992 @code{clefs-mensural_c} @tab
4993 historic style mensural C clef @tab
4994 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4995 @code{mensural_c4} @tab
4996 @lilypond[relative,notime]
4997 \override Staff.TimeSignature #'transparent = ##t
4998 \clef "mensural_c2" c
5002 @code{clefs-mensural_f} @tab
5003 historic style mensural F clef @tab
5004 @code{mensural_f} @tab
5005 @lilypond[relative,notime]
5006 \override Staff.TimeSignature #'transparent = ##t
5007 \clef "mensural_f" c
5011 @code{clefs-mensural_g} @tab
5012 historic style mensural G clef @tab
5013 @code{mensural_g} @tab
5014 @lilypond[relative,notime]
5015 \override Staff.TimeSignature #'transparent = ##t
5016 \clef "mensural_g" c
5020 @code{clefs-vaticana_do} @tab
5021 Editio Vaticana style do clef @tab
5022 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5023 @lilypond[relative,notime]
5024 \override Staff.StaffSymbol #'line-count = #4
5025 \override Staff.TimeSignature #'transparent = ##t
5026 \clef "vaticana_do2" c
5030 @code{clefs-vaticana_fa} @tab
5031 Editio Vaticana style fa clef @tab
5032 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5033 @lilypond[relative,notime]
5034 \override Staff.StaffSymbol #'line-count = #4
5035 \override Staff.TimeSignature #'transparent = ##t
5036 \clef "vaticana_fa2" c
5040 @code{clefs-medicaea_do} @tab
5041 Editio Medicaea style do clef @tab
5042 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5043 @lilypond[relative,notime]
5044 \override Staff.StaffSymbol #'line-count = #4
5045 \override Staff.TimeSignature #'transparent = ##t
5046 \clef "medicaea_do2" c
5050 @code{clefs-medicaea_fa} @tab
5051 Editio Medicaea style fa clef @tab
5052 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5053 @lilypond[relative,notime]
5054 \override Staff.StaffSymbol #'line-count = #4
5055 \override Staff.TimeSignature #'transparent = ##t
5056 \clef "medicaea_fa2" c
5060 @code{clefs-hufnagel_do} @tab
5061 historic style hufnagel do clef @tab
5062 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5063 @lilypond[relative,notime]
5064 \override Staff.StaffSymbol #'line-count = #4
5065 \override Staff.TimeSignature #'transparent = ##t
5066 \clef "hufnagel_do2" c
5070 @code{clefs-hufnagel_fa} @tab
5071 historic style hufnagel fa clef @tab
5072 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5073 @lilypond[relative,notime]
5074 \override Staff.StaffSymbol #'line-count = #4
5075 \override Staff.TimeSignature #'transparent = ##t
5076 \clef "hufnagel_fa2" c
5080 @code{clefs-hufnagel_do_fa} @tab
5081 historic style hufnagel combined do/fa clef @tab
5082 @code{hufnagel_do_fa} @tab
5083 @lilypond[relative,notime]
5084 \override Staff.TimeSignature #'transparent = ##t
5085 \clef "hufnagel_do_fa" c
5090 @c --- This should go somewhere else: ---
5091 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5094 @c @code{percussion}
5096 @c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
5098 @c @item modern style tab clef (glyph: @code{clefs-tab})
5103 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
5105 @emph{Modern style} means ``as is typeset in contemporary editions of
5106 transcribed mensural music''.
5108 @emph{Petrucci style} means ``inspired by printings published by the
5109 famous engraver Petrucci (1466-1539)''.
5111 @emph{Historic style} means ``as was typeset or written in historic
5112 editions (other than those of Petrucci)''.
5114 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5116 Petrucci used C clefs with differently balanced left-side vertical
5117 beams, depending on which staff line it is printed.
5121 In this manual: for the percussion clef, see @ref{Percussion staves}.
5122 For the @code{TAB} clef, see @ref{Tablatures}.
5124 Internals: for modern clefs, see @ref{Clef}.
5128 The mensural g clef is temporarily mapped to the Petrucci g clef,
5129 until a new mensural g clef will have been implemented.
5134 @subsection Ancient flags
5140 Use the @code{flag-style} property of grob @internalsref{Stem} to
5141 select ancient flags. Besides the @code{default} flag style,
5142 only @code{mensural} style is supported:
5144 @lilypond[fragment,raggedright,verbatim]
5145 \override Stem #'flag-style = #'mensural
5146 \override Stem #'thickness = #1.0
5147 \override NoteHead #'style = #'mensural
5149 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
5150 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5153 Note that the innermost flare of each mensural flag always is
5154 vertically aligned with a staff line. If you do not like this
5155 behavior, you can set the @code{adjust-if-on-staffline} property of
5156 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5157 of the end of each flare is different between notes on staff lines and
5158 notes between staff lines:
5160 @lilypond[fragment,raggedright]
5161 \override Stem #'flag-style = #'mensural
5162 \override Stem #'thickness = #1.0
5163 \override Stem #'adjust-if-on-staffline = ##f
5164 \override NoteHead #'style = #'mensural
5166 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
5167 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5170 There is no particular flag style for neo-mensural notation. Hence,
5171 when typesetting e.g. the incipit of a transcribed piece of mensural
5172 music, the default flag style should be used. There are no flags in
5173 Gregorian Chant notation.
5176 @node Ancient time signatures
5177 @subsection Ancient time signatures
5179 @cindex time signatures
5183 There is limited support for mensural time signatures. The
5184 glyphs are hard-wired to particular time fractions. In other words,
5185 to get a particular mensural signature glyph with the @code{\time n/m}
5186 command, @code{n} and @code{m} have to be chosen according to the
5192 \set Score.timing = ##f
5193 \set Score.barAlways = ##t
5194 s_\markup { "$\\backslash$time 4/4" }
5195 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5197 s_\markup { "$\\backslash$time 2/2" }
5198 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5200 s_\markup { "$\\backslash$time 6/4" }
5201 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5203 s_\markup { "$\\backslash$time 6/8" }
5204 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5206 s_\markup { "$\\backslash$time 3/2" }
5207 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5209 s_\markup { "$\\backslash$time 3/4" }
5210 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5212 s_\markup { "$\\backslash$time 9/4" }
5213 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5215 s_\markup { "$\\backslash$time 9/8" }
5216 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5218 s_\markup { "$\\backslash$time 4/8" }
5219 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5221 s_\markup { "$\\backslash$time 2/4" }
5222 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5230 \remove Staff_symbol_engraver
5231 \remove Clef_engraver
5232 \remove Time_signature_engraver
5238 Use the @code{style} property of grob @internalsref{TimeSignature} to
5239 select ancient time signatures. Supported styles are
5240 @code{neo_mensural} and @code{mensural}. The above table uses the
5241 @code{neo_mensural} style. This style is appropriate e.g. for the
5242 incipit of transcriptions of mensural pieces. The @code{mensural}
5243 style mimics the look of historical printings of the 16th century.
5245 @inputfileref{input/test,time.ly} gives an overview over all available
5246 ancient and modern styles.
5250 Internals: @ref{Time signature} gives a general introduction into the use of time
5255 Mensural signature glyphs are mapped to time fractions in a
5256 hard-wired way. This mapping is sensible, but still arbitrary: given
5257 a mensural time signature, the time fraction represents a modern meter
5258 that usually will be a good choice when transcribing a mensural piece
5259 of music. For a particular piece of mensural music, however, the
5260 mapping may be unsatisfactory. In particular, the mapping assumes a
5261 fixed transcription of durations (e.g. brevis = half note in 2/2,
5262 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5263 are not at all accessible through the @code{\time} command.
5265 Mensural time signatures are supported typographically, but not yet
5266 musically. The internal representation of durations is
5267 based on a purely binary system; a ternary division such as 1 brevis =
5268 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5269 prolatione maiori) is not correctly handled: event times in ternary
5270 modes will be badly computed, resulting e.g. in horizontally
5271 misaligned note heads, and bar checks are likely to erroneously fail.
5273 The syntax and semantics of the @code{\time} command for mensural
5274 music is subject to change.
5277 @subsection Custodes
5282 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5283 symbol that appears at the end of a staff. It anticipates the pitch
5284 of the first note(s) of the following line and thus helps the player
5285 or singer to manage line breaks during performance, thus enhancing
5286 readability of a score.
5288 Custodes were frequently used in music notation until the 17th
5289 century. Nowadays, they have survived only in a few particular forms
5290 of musical notation such as contemporary editions of Gregorian chant
5291 like the @emph{editio vaticana}. There are different custos glyphs
5292 used in different flavors of notational style.
5296 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5297 @internalsref{Staff} context when declaring the @code{\paper} block,
5298 as shown in the following example:
5304 \consists Custos_engraver
5305 Custos \override #'style = #'mensural
5310 The result looks like this:
5316 \override Staff.Custos #'style = #'mensural
5323 \consists Custos_engraver
5330 The custos glyph is selected by the @code{style} property. The styles
5331 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5332 @code{mensural}. They are demonstrated in the following fragment:
5342 { " " \musicglyph #"custodes-vaticana-u0" }
5346 { " " \musicglyph #"custodes-medicaea-u0" }
5350 { " " \musicglyph #"custodes-hufnagel-u0" }
5354 { " " \musicglyph #"custodes-mensural-u0" }
5363 \remove "Bar_number_engraver"
5367 \remove "Clef_engraver"
5368 \remove "Key_engraver"
5369 \remove "Time_signature_engraver"
5370 \remove "Staff_symbol_engraver"
5371 minimumVerticalExtent = ##f
5377 If the boolean property @code{adjust-if-on-staffline} is set to
5378 @code{#t} (which it is by default), lily typesets slightly different
5379 variants of the custos glyph, depending on whether the custos, is
5380 typeset on or between staff lines. The glyph will
5381 optically fit well into the staff, with the appendage on the right of
5382 the custos always ending at the same vertical position between two
5383 staff lines regardless of the pitch. If you set
5384 @code{adjust-if-on-staffline} to @code{#f}, then
5385 a compromise between both forms is used.
5387 Just like stems can be attached to note heads in two directions
5388 @emph{up} and @emph{down}, each custos glyph is available with its
5389 appendage pointing either up or down. If the pitch of a custos is
5390 above a selectable position, the appendage will point downwards; if
5391 the pitch is below this position, the appendage will point upwards.
5392 Use property @code{neutral-position} to select this position. By
5393 default, it is set to @code{0}, such that the neutral position is the
5394 center of the staff. Use property @code{neutral-direction} to control
5395 what happens if a custos is typeset on the neutral position itself.
5396 By default, this property is set to @code{-1}, such that the appendage
5397 will point downwards. If set to @code{1}, the appendage will point
5398 upwards. Other values such as @code{0} are reserved for future
5399 extensions and should not be used.
5403 Internals: @internalsref{Custos}.
5405 Examples: @inputfileref{input/regression,custos.ly}.
5409 @subsection Divisiones
5415 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5416 `division') is a staff context symbol that is used to structure
5417 Gregorian music into phrases and sections. The musical meaning of
5418 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5419 can be characterized as short, medium and long pause, somewhat like
5420 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5421 a chant, but is also frequently used within a single
5422 antiphonal/responsorial chant to mark the end of each section.
5426 To use divisiones, include the file @code{gregorian-init.ly}. It
5427 contains definitions that you can apply by just inserting
5428 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5429 and @code{\finalis} at proper places in the input. Some editions use
5430 @emph{virgula} or @emph{caesura} instead of divisio minima.
5431 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5434 @lilypondfile[]{divisiones.ly}
5438 @cindex @code{\virgula}
5440 @cindex @code{\caesura}
5442 @cindex @code{\divisioMinima}
5443 @code{\divisioMinima},
5444 @cindex @code{\divisioMaior}
5445 @code{\divisioMaior},
5446 @cindex @code{\divisioMaxima}
5447 @code{\divisioMaxima},
5448 @cindex @code{\finalis}
5453 In this manual: @ref{Breath marks}.
5455 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5457 Examples: @inputfileref{input/test,divisiones.ly}.
5460 @subsection Ligatures
5464 @c TODO: Should double check if I recalled things correctly when I wrote
5465 @c down the following paragraph by heart.
5467 In musical terminology, a ligature is a coherent graphical symbol that
5468 represents at least two distinct notes. Ligatures originally appeared
5469 in the manuscripts of Gregorian chant notation roughly since the 9th
5470 century as an allusion to the accent symbols of Greek lyric poetry to
5471 denote ascending or descending sequences of notes. Both, the shape
5472 and the exact meaning of ligatures changed tremendously during the
5473 following centuries: In early notation, ligatures were used for
5474 monophonic tunes (Gregorian chant) and very soon denoted also the way
5475 of performance in the sense of articulation. With upcoming
5476 multiphony, the need for a metric system arised, since multiple voices
5477 of a piece have to be synchronized some way. New notation systems
5478 were invented that used the manifold shapes of ligatures to now denote
5479 rhythmical patterns (e.g. black mensural notation, mannered notation,
5480 ars nova). With the invention of the metric system of the white
5481 mensural notation, the need for ligatures to denote such patterns
5482 disappeared. Nevertheless, ligatures were still in use in the
5483 mensural system for a couple of decades until they finally disappeared
5484 during the late 16th / early 17th century. Still, ligatures have
5485 survived in contemporary editions of Gregorian chant such as the
5486 Editio Vaticana from 1905/08.
5490 Syntactically, ligatures are simply enclosed by @code{\[} and
5491 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5492 additional input syntax specific for this particular type of ligature.
5493 By default, the @internalsref{LigatureBracket} engraver just puts a
5494 square bracket above the ligature:
5496 @lilypond[raggedright,verbatim]
5498 \notes \transpose c c' {
5506 To select a specific style of ligatures, a proper ligature engraver
5507 has to be added to the @internalsref{Voice} context, as explained in
5508 the following subsections. Only white mensural ligatures
5509 are supported with certain limitations. Support for Editio Vaticana
5510 will be added in the future.
5513 * White mensural ligatures::
5514 * Gregorian square neumes ligatures::
5517 @node White mensural ligatures
5518 @subsubsection White mensural ligatures
5520 @cindex Mensural ligatures
5521 @cindex White mensural ligatures
5523 There is limited support for white mensural ligatures. The
5524 implementation is still experimental; it may output strange
5525 warnings or even crash in some cases or produce weird results on more
5530 To engrave white mensural ligatures, in the paper block the
5531 @internalsref{Mensural_ligature_engraver} has to be put into the
5532 @internalsref{Voice} context, and remove the
5533 @internalsref{Ligature_bracket_engraver}:
5539 \remove Ligature_bracket_engraver
5540 \consists Mensural_ligature_engraver
5545 There is no additional input language to describe the shape of a
5546 white mensural ligature. The shape is rather determined solely from
5547 the pitch and duration of the enclosed notes. While this approach may
5548 take a new user a while to get accustomed, it has the great advantage
5549 that the full musical information of the ligature is known internally.
5550 This is not only required for correct MIDI output, but also allows for
5551 automatic transcription of the ligatures.
5556 \set Score.timing = ##f
5557 \set Score.defaultBarType = "empty"
5558 \override NoteHead #'style = #'neo_mensural
5559 \override Staff.TimeSignature #'style = #'neo_mensural
5561 \[ g\longa c\breve a\breve f\breve d'\longa \]
5563 \[ e1 f1 a\breve g\longa \]
5565 @lilypond[raggedright]
5567 \notes \transpose c c' {
5568 \set Score.timing = ##f
5569 \set Score.defaultBarType = "empty"
5570 \override NoteHead #'style = #'neo_mensural
5571 \override Staff.TimeSignature #'style = #'neo_mensural
5573 \[ g\longa c\breve a\breve f\breve d'\longa \]
5575 \[ e1 f1 a\breve g\longa \]
5580 \remove Ligature_bracket_engraver
5581 \consists Mensural_ligature_engraver
5587 Without replacing @internalsref{Ligature_bracket_engraver} with
5588 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5591 @lilypond[raggedright]
5593 \notes \transpose c c' {
5594 \set Score.timing = ##f
5595 \set Score.defaultBarType = "empty"
5596 \override NoteHead #'style = #'neo_mensural
5597 \override Staff.TimeSignature #'style = #'neo_mensural
5599 \[ g\longa c\breve a\breve f\breve d'\longa \]
5601 \[ e1 f1 a\breve g\longa \]
5607 @node Gregorian square neumes ligatures
5608 @subsubsection Gregorian square neumes ligatures
5610 @cindex Square neumes ligatures
5611 @cindex Gregorian square neumes ligatures
5613 Gregorian square neumes notation (following the style of the Editio
5614 Vaticana) is under heavy development, but not yet really usable for
5615 production purposes. Core ligatures can already be typeset, but
5616 essential issues for serious typesetting are still under development,
5617 such as (among others) horizontal alignment of multiple ligatures,
5618 lyrics alignment and proper accidentals handling. Still, this section
5619 gives a sneak preview of what Gregorian chant may look like once it
5622 The following table contains the extended neumes table of the 2nd
5623 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5624 1983 by the monks of Solesmes.
5626 @multitable @columnfractions .4 .2 .2 .2
5629 @b{Neuma aut@*Neumarum Elementa} @tab
5630 @b{Figurae@*Rectae} @tab
5631 @b{Figurae@*Liquescentes Auctae} @tab
5632 @b{Figurae@*Liquescentes Deminutae}
5634 @c TODO: \paper block is identical in all of the below examples.
5635 @c Therefore, it should somehow be included rather than duplicated all
5638 @c why not make identifiers in ly/engraver-init.ly? --hwn
5640 @c Because it's just used to typeset plain notes without
5641 @c a staff for demonstration purposes rather than something
5642 @c special of Gregorian chant notation. --jr
5647 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5648 \include "gregorian-init.ly"
5650 \notes \transpose c c' {
5653 \noBreak s^\markup {"a"} \noBreak
5655 % Punctum Inclinatum
5657 \noBreak s^\markup {"b"}
5663 \remove "Bar_number_engraver"
5667 \remove "Clef_engraver"
5668 \remove "Key_engraver"
5669 \override StaffSymbol #'transparent = ##t
5670 \remove "Time_signature_engraver"
5671 \remove "Bar_engraver"
5672 minimumVerticalExtent = ##f
5676 \remove Ligature_bracket_engraver
5677 \consists Vaticana_ligature_engraver
5678 \override NoteHead #'style = #'vaticana_punctum
5679 \override Stem #'transparent = ##t
5685 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5686 \include "gregorian-init.ly"
5688 \notes \transpose c c' {
5689 % Punctum Auctum Ascendens
5690 \[ \auctum \ascendens b \]
5691 \noBreak s^\markup {"c"} \noBreak
5693 % Punctum Auctum Descendens
5694 \[ \auctum \descendens b \]
5695 \noBreak s^\markup {"d"} \noBreak
5697 % Punctum Inclinatum Auctum
5698 \[ \inclinatum \auctum b \]
5699 \noBreak s^\markup {"e"}
5705 \remove "Bar_number_engraver"
5709 \remove "Clef_engraver"
5710 \remove "Key_engraver"
5711 \override StaffSymbol #'transparent = ##t
5712 \remove "Time_signature_engraver"
5713 \remove "Bar_engraver"
5714 minimumVerticalExtent = ##f
5718 \remove Ligature_bracket_engraver
5719 \consists Vaticana_ligature_engraver
5720 \override NoteHead #'style = #'vaticana_punctum
5721 \override Stem #'transparent = ##t
5727 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5728 \include "gregorian-init.ly"
5730 \notes \transpose c c' {
5731 % Punctum Inclinatum Parvum
5732 \[ \inclinatum \deminutum b \]
5733 \noBreak s^\markup {"f"}
5739 \remove "Bar_number_engraver"
5743 \remove "Clef_engraver"
5744 \remove "Key_engraver"
5745 \override StaffSymbol #'transparent = ##t
5746 \remove "Time_signature_engraver"
5747 \remove "Bar_engraver"
5748 minimumVerticalExtent = ##f
5752 \remove Ligature_bracket_engraver
5753 \consists Vaticana_ligature_engraver
5754 \override NoteHead #'style = #'vaticana_punctum
5755 \override Stem #'transparent = ##t
5764 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5765 \include "gregorian-init.ly"
5767 \notes \transpose c c' {
5770 \noBreak s^\markup {"g"}
5776 \remove "Bar_number_engraver"
5780 \remove "Clef_engraver"
5781 \remove "Key_engraver"
5782 \override StaffSymbol #'transparent = ##t
5783 \remove "Time_signature_engraver"
5784 \remove "Bar_engraver"
5785 minimumVerticalExtent = ##f
5789 \remove Ligature_bracket_engraver
5790 \consists Vaticana_ligature_engraver
5791 \override NoteHead #'style = #'vaticana_punctum
5792 \override Stem #'transparent = ##t
5801 @code{3. Apostropha vel Stropha}
5803 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5804 \include "gregorian-init.ly"
5806 \notes \transpose c c' {
5809 \noBreak s^\markup {"h"}
5815 \remove "Bar_number_engraver"
5819 \remove "Clef_engraver"
5820 \remove "Key_engraver"
5821 \override StaffSymbol #'transparent = ##t
5822 \remove "Time_signature_engraver"
5823 \remove "Bar_engraver"
5824 minimumVerticalExtent = ##f
5828 \remove Ligature_bracket_engraver
5829 \consists Vaticana_ligature_engraver
5830 \override NoteHead #'style = #'vaticana_punctum
5831 \override Stem #'transparent = ##t
5837 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5838 \include "gregorian-init.ly"
5840 \notes \transpose c c' {
5842 \[ \stropha \auctum b \]
5843 \noBreak s^\markup {"i"}
5849 \remove "Bar_number_engraver"
5853 \remove "Clef_engraver"
5854 \remove "Key_engraver"
5855 \override StaffSymbol #'transparent = ##t
5856 \remove "Time_signature_engraver"
5857 \remove "Bar_engraver"
5858 minimumVerticalExtent = ##f
5862 \remove Ligature_bracket_engraver
5863 \consists Vaticana_ligature_engraver
5864 \override NoteHead #'style = #'vaticana_punctum
5865 \override Stem #'transparent = ##t
5875 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5876 \include "gregorian-init.ly"
5878 \notes \transpose c c' {
5881 \noBreak s^\markup {"j"}
5887 \remove "Bar_number_engraver"
5891 \remove "Clef_engraver"
5892 \remove "Key_engraver"
5893 \override StaffSymbol #'transparent = ##t
5894 \remove "Time_signature_engraver"
5895 \remove "Bar_engraver"
5896 minimumVerticalExtent = ##f
5900 \remove Ligature_bracket_engraver
5901 \consists Vaticana_ligature_engraver
5902 \override NoteHead #'style = #'vaticana_punctum
5903 \override Stem #'transparent = ##t
5912 @code{5. Clivis vel Flexa}
5914 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5915 \include "gregorian-init.ly"
5917 \notes \transpose c c' {
5926 \remove "Bar_number_engraver"
5930 \remove "Clef_engraver"
5931 \remove "Key_engraver"
5932 \override StaffSymbol #'transparent = ##t
5933 \remove "Time_signature_engraver"
5934 \remove "Bar_engraver"
5935 minimumVerticalExtent = ##f
5939 \remove Ligature_bracket_engraver
5940 \consists Vaticana_ligature_engraver
5941 \override NoteHead #'style = #'vaticana_punctum
5942 \override Stem #'transparent = ##t
5948 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5949 \include "gregorian-init.ly"
5951 \notes \transpose c c' {
5952 % Clivis Aucta Descendens
5953 \[ b \flexa \auctum \descendens g \]
5954 \noBreak s^\markup {"l"} \noBreak
5956 % Clivis Aucta Ascendens
5957 \[ b \flexa \auctum \ascendens g \]
5958 \noBreak s^\markup {"m"}
5964 \remove "Bar_number_engraver"
5968 \remove "Clef_engraver"
5969 \remove "Key_engraver"
5970 \override StaffSymbol #'transparent = ##t
5971 \remove "Time_signature_engraver"
5972 \remove "Bar_engraver"
5973 minimumVerticalExtent = ##f
5977 \remove Ligature_bracket_engraver
5978 \consists Vaticana_ligature_engraver
5979 \override NoteHead #'style = #'vaticana_punctum
5980 \override Stem #'transparent = ##t
5986 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5987 \include "gregorian-init.ly"
5989 \notes \transpose c c' {
5991 \[ b \flexa \deminutum g \]
5998 \remove "Bar_number_engraver"
6002 \remove "Clef_engraver"
6003 \remove "Key_engraver"
6004 \override StaffSymbol #'transparent = ##t
6005 \remove "Time_signature_engraver"
6006 \remove "Bar_engraver"
6007 minimumVerticalExtent = ##f
6011 \remove Ligature_bracket_engraver
6012 \consists Vaticana_ligature_engraver
6013 \override NoteHead #'style = #'vaticana_punctum
6014 \override Stem #'transparent = ##t
6021 @code{6. Podatus vel Pes}
6023 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6024 \include "gregorian-init.ly"
6026 \notes \transpose c c' {
6035 \remove "Bar_number_engraver"
6039 \remove "Clef_engraver"
6040 \remove "Key_engraver"
6041 \override StaffSymbol #'transparent = ##t
6042 \remove "Time_signature_engraver"
6043 \remove "Bar_engraver"
6044 minimumVerticalExtent = ##f
6048 \remove Ligature_bracket_engraver
6049 \consists Vaticana_ligature_engraver
6050 \override NoteHead #'style = #'vaticana_punctum
6051 \override Stem #'transparent = ##t
6057 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6058 \include "gregorian-init.ly"
6060 \notes \transpose c c' {
6061 % Pes Auctus Descendens
6062 \[ g \pes \auctum \descendens b \]
6063 \noBreak s^\markup {"p"} \noBreak
6065 % Pes Auctus Ascendens
6066 \[ g \pes \auctum \ascendens b \]
6067 \noBreak s^\markup {"q"}
6073 \remove "Bar_number_engraver"
6077 \remove "Clef_engraver"
6078 \remove "Key_engraver"
6079 \override StaffSymbol #'transparent = ##t
6080 \remove "Time_signature_engraver"
6081 \remove "Bar_engraver"
6082 minimumVerticalExtent = ##f
6086 \remove Ligature_bracket_engraver
6087 \consists Vaticana_ligature_engraver
6088 \override NoteHead #'style = #'vaticana_punctum
6089 \override Stem #'transparent = ##t
6095 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6096 \include "gregorian-init.ly"
6098 \notes \transpose c c' {
6100 \[ g \pes \deminutum b \]
6107 \remove "Bar_number_engraver"
6111 \remove "Clef_engraver"
6112 \remove "Key_engraver"
6113 \override StaffSymbol #'transparent = ##t
6114 \remove "Time_signature_engraver"
6115 \remove "Bar_engraver"
6116 minimumVerticalExtent = ##f
6120 \remove Ligature_bracket_engraver
6121 \consists Vaticana_ligature_engraver
6122 \override NoteHead #'style = #'vaticana_punctum
6123 \override Stem #'transparent = ##t
6130 @code{7. Pes Quassus}
6132 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6133 \include "gregorian-init.ly"
6135 \notes \transpose c c' {
6137 \[ \oriscus g \pes \virga b \]
6144 \remove "Bar_number_engraver"
6148 \remove "Clef_engraver"
6149 \remove "Key_engraver"
6150 \override StaffSymbol #'transparent = ##t
6151 \remove "Time_signature_engraver"
6152 \remove "Bar_engraver"
6153 minimumVerticalExtent = ##f
6157 \remove Ligature_bracket_engraver
6158 \consists Vaticana_ligature_engraver
6159 \override NoteHead #'style = #'vaticana_punctum
6160 \override Stem #'transparent = ##t
6166 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6167 \include "gregorian-init.ly"
6169 \notes \transpose c c' {
6170 % Pes Quassus Auctus Descendens
6171 \[ \oriscus g \pes \auctum \descendens b \]
6178 \remove "Bar_number_engraver"
6182 \remove "Clef_engraver"
6183 \remove "Key_engraver"
6184 \override StaffSymbol #'transparent = ##t
6185 \remove "Time_signature_engraver"
6186 \remove "Bar_engraver"
6187 minimumVerticalExtent = ##f
6191 \remove Ligature_bracket_engraver
6192 \consists Vaticana_ligature_engraver
6193 \override NoteHead #'style = #'vaticana_punctum
6194 \override Stem #'transparent = ##t
6202 @code{8. Quilisma Pes}
6204 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6205 \include "gregorian-init.ly"
6207 \notes \transpose c c' {
6209 \[ \quilisma g \pes b \]
6216 \remove "Bar_number_engraver"
6220 \remove "Clef_engraver"
6221 \remove "Key_engraver"
6222 \override StaffSymbol #'transparent = ##t
6223 \remove "Time_signature_engraver"
6224 \remove "Bar_engraver"
6225 minimumVerticalExtent = ##f
6229 \remove Ligature_bracket_engraver
6230 \consists Vaticana_ligature_engraver
6231 \override NoteHead #'style = #'vaticana_punctum
6232 \override Stem #'transparent = ##t
6238 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6239 \include "gregorian-init.ly"
6241 \notes \transpose c c' {
6242 % Quilisma Pes Auctus Descendens
6243 \[ \quilisma g \pes \auctum \descendens b \]
6250 \remove "Bar_number_engraver"
6254 \remove "Clef_engraver"
6255 \remove "Key_engraver"
6256 \override StaffSymbol #'transparent = ##t
6257 \remove "Time_signature_engraver"
6258 \remove "Bar_engraver"
6259 minimumVerticalExtent = ##f
6263 \remove Ligature_bracket_engraver
6264 \consists Vaticana_ligature_engraver
6265 \override NoteHead #'style = #'vaticana_punctum
6266 \override Stem #'transparent = ##t
6274 @code{9. Podatus Initio Debilis}
6276 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6277 \include "gregorian-init.ly"
6279 \notes \transpose c c' {
6280 % Pes Initio Debilis
6281 \[ \deminutum g \pes b \]
6288 \remove "Bar_number_engraver"
6292 \remove "Clef_engraver"
6293 \remove "Key_engraver"
6294 \override StaffSymbol #'transparent = ##t
6295 \remove "Time_signature_engraver"
6296 \remove "Bar_engraver"
6297 minimumVerticalExtent = ##f
6301 \remove Ligature_bracket_engraver
6302 \consists Vaticana_ligature_engraver
6303 \override NoteHead #'style = #'vaticana_punctum
6304 \override Stem #'transparent = ##t
6310 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6311 \include "gregorian-init.ly"
6313 \notes \transpose c c' {
6314 % Pes Auctus Descendens Initio Debilis
6315 \[ \deminutum g \pes \auctum \descendens b \]
6322 \remove "Bar_number_engraver"
6326 \remove "Clef_engraver"
6327 \remove "Key_engraver"
6328 \override StaffSymbol #'transparent = ##t
6329 \remove "Time_signature_engraver"
6330 \remove "Bar_engraver"
6331 minimumVerticalExtent = ##f
6335 \remove Ligature_bracket_engraver
6336 \consists Vaticana_ligature_engraver
6337 \override NoteHead #'style = #'vaticana_punctum
6338 \override Stem #'transparent = ##t
6348 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6349 \include "gregorian-init.ly"
6351 \notes \transpose c c' {
6353 \[ a \pes b \flexa g \]
6360 \remove "Bar_number_engraver"
6364 \remove "Clef_engraver"
6365 \remove "Key_engraver"
6366 \override StaffSymbol #'transparent = ##t
6367 \remove "Time_signature_engraver"
6368 \remove "Bar_engraver"
6369 minimumVerticalExtent = ##f
6373 \remove Ligature_bracket_engraver
6374 \consists Vaticana_ligature_engraver
6375 \override NoteHead #'style = #'vaticana_punctum
6376 \override Stem #'transparent = ##t
6382 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6383 \include "gregorian-init.ly"
6385 \notes \transpose c c' {
6386 % Torculus Auctus Descendens
6387 \[ a \pes b \flexa \auctum \descendens g \]
6394 \remove "Bar_number_engraver"
6398 \remove "Clef_engraver"
6399 \remove "Key_engraver"
6400 \override StaffSymbol #'transparent = ##t
6401 \remove "Time_signature_engraver"
6402 \remove "Bar_engraver"
6403 minimumVerticalExtent = ##f
6407 \remove Ligature_bracket_engraver
6408 \consists Vaticana_ligature_engraver
6409 \override NoteHead #'style = #'vaticana_punctum
6410 \override Stem #'transparent = ##t
6416 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6417 \include "gregorian-init.ly"
6419 \notes \transpose c c' {
6420 % Torculus Deminutus
6421 \[ a \pes b \flexa \deminutum g \]
6428 \remove "Bar_number_engraver"
6432 \remove "Clef_engraver"
6433 \remove "Key_engraver"
6434 \override StaffSymbol #'transparent = ##t
6435 \remove "Time_signature_engraver"
6436 \remove "Bar_engraver"
6437 minimumVerticalExtent = ##f
6441 \remove Ligature_bracket_engraver
6442 \consists Vaticana_ligature_engraver
6443 \override NoteHead #'style = #'vaticana_punctum
6444 \override Stem #'transparent = ##t
6451 @code{11. Torculus Initio Debilis}
6453 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6454 \include "gregorian-init.ly"
6456 \notes \transpose c c' {
6457 % Torculus Initio Debilis
6458 \[ \deminutum a \pes b \flexa g \]
6465 \remove "Bar_number_engraver"
6469 \remove "Clef_engraver"
6470 \remove "Key_engraver"
6471 \override StaffSymbol #'transparent = ##t
6472 \remove "Time_signature_engraver"
6473 \remove "Bar_engraver"
6474 minimumVerticalExtent = ##f
6478 \remove Ligature_bracket_engraver
6479 \consists Vaticana_ligature_engraver
6480 \override NoteHead #'style = #'vaticana_punctum
6481 \override Stem #'transparent = ##t
6487 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6488 \include "gregorian-init.ly"
6490 \notes \transpose c c' {
6491 % Torculus Auctus Descendens Initio Debilis
6492 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6499 \remove "Bar_number_engraver"
6503 \remove "Clef_engraver"
6504 \remove "Key_engraver"
6505 \override StaffSymbol #'transparent = ##t
6506 \remove "Time_signature_engraver"
6507 \remove "Bar_engraver"
6508 minimumVerticalExtent = ##f
6512 \remove Ligature_bracket_engraver
6513 \consists Vaticana_ligature_engraver
6514 \override NoteHead #'style = #'vaticana_punctum
6515 \override Stem #'transparent = ##t
6521 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6522 \include "gregorian-init.ly"
6524 \notes \transpose c c' {
6525 % Torculus Deminutus Initio Debilis
6526 \[ \deminutum a \pes b \flexa \deminutum g \]
6533 \remove "Bar_number_engraver"
6537 \remove "Clef_engraver"
6538 \remove "Key_engraver"
6539 \override StaffSymbol #'transparent = ##t
6540 \remove "Time_signature_engraver"
6541 \remove "Bar_engraver"
6542 minimumVerticalExtent = ##f
6546 \remove Ligature_bracket_engraver
6547 \consists Vaticana_ligature_engraver
6548 \override NoteHead #'style = #'vaticana_punctum
6549 \override Stem #'transparent = ##t
6556 @code{12. Porrectus}
6558 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6559 \include "gregorian-init.ly"
6561 \notes \transpose c c' {
6563 \[ a \flexa g \pes b \]
6570 \remove "Bar_number_engraver"
6574 \remove "Clef_engraver"
6575 \remove "Key_engraver"
6576 \override StaffSymbol #'transparent = ##t
6577 \remove "Time_signature_engraver"
6578 \remove "Bar_engraver"
6579 minimumVerticalExtent = ##f
6583 \remove Ligature_bracket_engraver
6584 \consists Vaticana_ligature_engraver
6585 \override NoteHead #'style = #'vaticana_punctum
6586 \override Stem #'transparent = ##t
6592 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6593 \include "gregorian-init.ly"
6595 \notes \transpose c c' {
6596 % Porrectus Auctus Descendens
6597 \[ a \flexa g \pes \auctum \descendens b \]
6604 \remove "Bar_number_engraver"
6608 \remove "Clef_engraver"
6609 \remove "Key_engraver"
6610 \override StaffSymbol #'transparent = ##t
6611 \remove "Time_signature_engraver"
6612 \remove "Bar_engraver"
6613 minimumVerticalExtent = ##f
6617 \remove Ligature_bracket_engraver
6618 \consists Vaticana_ligature_engraver
6619 \override NoteHead #'style = #'vaticana_punctum
6620 \override Stem #'transparent = ##t
6626 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6627 \include "gregorian-init.ly"
6629 \notes \transpose c c' {
6630 % Porrectus Deminutus
6631 \[ a \flexa g \pes \deminutum b \]
6638 \remove "Bar_number_engraver"
6642 \remove "Clef_engraver"
6643 \remove "Key_engraver"
6644 \override StaffSymbol #'transparent = ##t
6645 \remove "Time_signature_engraver"
6646 \remove "Bar_engraver"
6647 minimumVerticalExtent = ##f
6651 \remove Ligature_bracket_engraver
6652 \consists Vaticana_ligature_engraver
6653 \override NoteHead #'style = #'vaticana_punctum
6654 \override Stem #'transparent = ##t
6663 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6664 \include "gregorian-init.ly"
6666 \notes \transpose c c' {
6668 \[ \virga b \inclinatum a \inclinatum g \]
6675 \remove "Bar_number_engraver"
6679 \remove "Clef_engraver"
6680 \remove "Key_engraver"
6681 \override StaffSymbol #'transparent = ##t
6682 \remove "Time_signature_engraver"
6683 \remove "Bar_engraver"
6684 minimumVerticalExtent = ##f
6688 \remove Ligature_bracket_engraver
6689 \consists Vaticana_ligature_engraver
6690 \override NoteHead #'style = #'vaticana_punctum
6691 \override Stem #'transparent = ##t
6697 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6698 \include "gregorian-init.ly"
6700 \notes \transpose c c' {
6702 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6709 \remove "Bar_number_engraver"
6713 \remove "Clef_engraver"
6714 \remove "Key_engraver"
6715 \override StaffSymbol #'transparent = ##t
6716 \remove "Time_signature_engraver"
6717 \remove "Bar_engraver"
6718 minimumVerticalExtent = ##f
6722 \remove Ligature_bracket_engraver
6723 \consists Vaticana_ligature_engraver
6724 \override NoteHead #'style = #'vaticana_punctum
6725 \override Stem #'transparent = ##t
6731 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6732 \include "gregorian-init.ly"
6734 \notes \transpose c c' {
6735 % Climacus Deminutus
6736 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6743 \remove "Bar_number_engraver"
6747 \remove "Clef_engraver"
6748 \remove "Key_engraver"
6749 \override StaffSymbol #'transparent = ##t
6750 \remove "Time_signature_engraver"
6751 \remove "Bar_engraver"
6752 minimumVerticalExtent = ##f
6756 \remove Ligature_bracket_engraver
6757 \consists Vaticana_ligature_engraver
6758 \override NoteHead #'style = #'vaticana_punctum
6759 \override Stem #'transparent = ##t
6766 @code{14. Scandicus}
6768 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6769 \include "gregorian-init.ly"
6771 \notes \transpose c c' {
6773 \[ g \pes a \virga b \]
6780 \remove "Bar_number_engraver"
6784 \remove "Clef_engraver"
6785 \remove "Key_engraver"
6786 \override StaffSymbol #'transparent = ##t
6787 \remove "Time_signature_engraver"
6788 \remove "Bar_engraver"
6789 minimumVerticalExtent = ##f
6793 \remove Ligature_bracket_engraver
6794 \consists Vaticana_ligature_engraver
6795 \override NoteHead #'style = #'vaticana_punctum
6796 \override Stem #'transparent = ##t
6802 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6803 \include "gregorian-init.ly"
6805 \notes \transpose c c' {
6806 % Scandicus Auctus Descendens
6807 \[ g \pes a \pes \auctum \descendens b \]
6814 \remove "Bar_number_engraver"
6818 \remove "Clef_engraver"
6819 \remove "Key_engraver"
6820 \override StaffSymbol #'transparent = ##t
6821 \remove "Time_signature_engraver"
6822 \remove "Bar_engraver"
6823 minimumVerticalExtent = ##f
6827 \remove Ligature_bracket_engraver
6828 \consists Vaticana_ligature_engraver
6829 \override NoteHead #'style = #'vaticana_punctum
6830 \override Stem #'transparent = ##t
6836 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6837 \include "gregorian-init.ly"
6839 \notes \transpose c c' {
6840 % Scandicus Deminutus
6841 \[ g \pes a \pes \deminutum b \]
6848 \remove "Bar_number_engraver"
6852 \remove "Clef_engraver"
6853 \remove "Key_engraver"
6854 \override StaffSymbol #'transparent = ##t
6855 \remove "Time_signature_engraver"
6856 \remove "Bar_engraver"
6857 minimumVerticalExtent = ##f
6861 \remove Ligature_bracket_engraver
6862 \consists Vaticana_ligature_engraver
6863 \override NoteHead #'style = #'vaticana_punctum
6864 \override Stem #'transparent = ##t
6873 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6874 \include "gregorian-init.ly"
6876 \notes \transpose c c' {
6878 \[ g \oriscus a \pes \virga b \]
6885 \remove "Bar_number_engraver"
6889 \remove "Clef_engraver"
6890 \remove "Key_engraver"
6891 \override StaffSymbol #'transparent = ##t
6892 \remove "Time_signature_engraver"
6893 \remove "Bar_engraver"
6894 minimumVerticalExtent = ##f
6898 \remove Ligature_bracket_engraver
6899 \consists Vaticana_ligature_engraver
6900 \override NoteHead #'style = #'vaticana_punctum
6901 \override Stem #'transparent = ##t
6907 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6908 \include "gregorian-init.ly"
6910 \notes \transpose c c' {
6911 % Salicus Auctus Descendens
6912 \[ g \oriscus a \pes \auctum \descendens b \]
6919 \remove "Bar_number_engraver"
6923 \remove "Clef_engraver"
6924 \remove "Key_engraver"
6925 \override StaffSymbol #'transparent = ##t
6926 \remove "Time_signature_engraver"
6927 \remove "Bar_engraver"
6928 minimumVerticalExtent = ##f
6932 \remove Ligature_bracket_engraver
6933 \consists Vaticana_ligature_engraver
6934 \override NoteHead #'style = #'vaticana_punctum
6935 \override Stem #'transparent = ##t
6945 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6946 \include "gregorian-init.ly"
6948 \notes \transpose c c' {
6950 \[ \stropha b \stropha b \stropha a \]
6957 \remove "Bar_number_engraver"
6961 \remove "Clef_engraver"
6962 \remove "Key_engraver"
6963 \override StaffSymbol #'transparent = ##t
6964 \remove "Time_signature_engraver"
6965 \remove "Bar_engraver"
6966 minimumVerticalExtent = ##f
6970 \remove Ligature_bracket_engraver
6971 \consists Vaticana_ligature_engraver
6972 \override NoteHead #'style = #'vaticana_punctum
6973 \override Stem #'transparent = ##t
6985 Unlike most other neumes notation systems, the input language for
6986 neumes does not necessarily reflect directly the typographical
6987 appearance, but is designed to solely focuse on musical meaning. For
6988 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6989 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6990 a Porrectus with a curved flexa shape and only a single Punctum head.
6991 There is no command to explicitly typeset the curved flexa shape; the
6992 decision of when to typeset a curved flexa shape is purely taken from
6993 the musical input. The idea of this approach is to separate the
6994 musical aspects of the input from the notation style of the output.
6995 This way, the same input can be reused to typeset the same music in a
6996 different style of Gregorian chant notation such as Hufnagel (also
6997 known as German gothic neumes) or Medicaea (kind of a very simple
6998 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6999 engraver and Medicaea ligature engraver will have been implemented, it
7000 will be as simple as replacing the ligature engraver in the
7001 @internalsref{Voice} context to get the desired notation style from
7004 The following table shows the code fragments that produce the
7005 ligatures in the above neumes table. The letter in the first column
7006 in each line of the below table indicates to which ligature in the
7007 above table it refers. The second column gives the name of the
7008 ligature. The third column shows the code fragment that produces this
7009 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7011 @multitable @columnfractions .1 .4 .5
7025 Punctum Inclinatum @tab
7026 @code{\[ \inclinatum b \]}
7030 Punctum Auctum Ascendens @tab
7031 @code{\[ \auctum \ascendens b \]}
7035 Punctum Auctum Descendens @tab
7036 @code{\[ \auctum \descendens b \]}
7040 Punctum Inclinatum Auctum @tab
7041 @code{\[ \inclinatum \auctum b \]}
7045 Punctum Inclinatum Parvum @tab
7046 @code{\[ \inclinatum \deminutum b \]}
7051 @code{\[ \virga b \]}
7056 @code{\[ \stropha b \]}
7061 @code{\[ \stropha \auctum b \]}
7066 @code{\[ \oriscus b \]}
7070 Clivis vel Flexa @tab
7071 @code{\[ b \flexa g \]}
7075 Clivis Aucta Descendens @tab
7076 @code{\[ b \flexa \auctum \descendens g \]}
7080 Clivis Aucta Ascendens @tab
7081 @code{\[ b \flexa \auctum \ascendens g \]}
7086 @code{\[ b \flexa \deminutum g \]}
7090 Podatus vel Pes @tab
7091 @code{\[ g \pes b \]}
7095 Pes Auctus Descendens @tab
7096 @code{\[ g \pes \auctum \descendens b \]}
7100 Pes Auctus Ascendens @tab
7101 @code{\[ g \pes \auctum \ascendens b \]}
7106 @code{\[ g \pes \deminutum b \]}
7111 @code{\[ \oriscus g \pes \virga b \]}
7115 Pes Quassus Auctus Descendens @tab
7116 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7121 @code{\[ \quilisma g \pes b \]}
7125 Quilisma Pes Auctus Descendens @tab
7126 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7130 Pes Initio Debilis @tab
7131 @code{\[ \deminutum g \pes b \]}
7135 Pes Auctus Descendens Initio Debilis @tab
7136 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7141 @code{\[ a \pes b \flexa g \]}
7145 Torculus Auctus Descendens @tab
7146 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7150 Torculus Deminutus @tab
7151 @code{\[ a \pes b \flexa \deminutum g \]}
7155 Torculus Initio Debilis @tab
7156 @code{\[ \deminutum a \pes b \flexa g \]}
7160 Torculus Auctus Descendens Initio Debilis @tab
7161 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7165 Torculus Deminutus Initio Debilis @tab
7166 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7171 @code{\[ a \flexa g \pes b \]}
7175 Porrectus Auctus Descendens @tab
7176 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7180 Porrectus Deminutus @tab
7181 @code{\[ a \flexa g \pes \deminutum b \]}
7186 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7190 Climacus Auctus @tab
7191 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7195 Climacus Deminutus @tab
7196 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7201 @code{\[ g \pes a \virga b \]}
7205 Scandicus Auctus Descendens @tab
7206 @code{\[ g \pes a \pes \auctum \descendens b \]}
7210 Scandicus Deminutus @tab
7211 @code{\[ g \pes a \pes \deminutum b \]}
7216 @code{\[ g \oriscus a \pes \virga b \]}
7220 Salicus Auctus Descendens @tab
7221 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7226 @code{\[ \stropha b \stropha b \stropha a \]}
7232 The following head prefixes are supported:
7234 @cindex @code{\virga}
7236 @cindex @code{\stropha}
7238 @cindex @code{\inclinatum}
7240 @cindex @code{\auctum}
7242 @cindex @code{\descendens}
7244 @cindex @code{\ascendens}
7246 @cindex @code{\oriscus}
7248 @cindex @code{\quilisma}
7250 @cindex @code{\deminutum}
7253 Head prefixes can be accumulated, though restrictions apply. For
7254 example, either @code{\descendens} or @code{\ascendens} can be applied
7255 to a head, but not both to the same head.
7258 @cindex @code{\flexa}
7259 Two adjacent heads can be tied together with the @code{\pes} and
7260 @code{\flexa} infix commands for a rising and falling line of melody,
7265 Trigonus: apply equal spacing, regardless of pitch.
7268 @subsection Figured bass
7270 @cindex Basso continuo
7272 @c TODO: musicological blurb about FB
7276 LilyPond has limited support for figured bass:
7278 @lilypond[verbatim,fragment]
7280 \context Voice \notes { \clef bass dis4 c d ais}
7281 \context FiguredBass
7283 < 6 >4 < 7 >8 < 6+ [_!] >
7289 The support for figured bass consists of two parts: there is an input
7290 mode, introduced by @code{\figures}, where you can enter bass figures
7291 as numbers, and there is a context called @internalsref{FiguredBass} that
7292 takes care of making @internalsref{BassFigure} objects.
7294 In figures input mode, a group of bass figures is delimited by
7295 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7300 \context FiguredBass
7304 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7311 \context FiguredBass
7312 \figures { <4- 6+ 7!> }
7315 Spaces or dashes may be inserted by using @code{_}. Brackets are
7316 introduced with @code{[} and @code{]}:
7322 \context FiguredBass
7323 \figures { < [4 6] 8 [_! 12]> }
7326 Although the support for figured bass may superficially resemble chord
7327 support, it works much simpler. The @code{\figures} mode simply
7328 stores the numbers , and @internalsref{FiguredBass} context prints
7329 them as entered. There is no conversion to pitches, and no
7330 realizations of the bass are played in the MIDI file.
7332 Internally, the code produces markup texts. You can use any of the
7333 markup text properties to override formatting. For example, the
7334 vertical spacing of the figures may be set with @code{baseline-skip}.
7338 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7339 and @internalsref{FiguredBass} context.
7343 Slash notation for alterations is not supported.
7346 @node Vaticana style contexts
7347 @subsection Vaticana style contexts
7349 @cindex VaticanaVoiceContext
7350 @cindex VaticanaStaffContext
7352 The predefined @code{VaticanaVoiceContext} and
7353 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7354 Gregorian Chant in the style of the Editio Vaticana. These contexts
7355 initialize all relevant context properties and grob properties to
7356 proper values. With these contexts, you can immediately go ahead
7357 entering the chant, as the following short excerpt demonstrates:
7359 @lilypond[raggedright,verbatim,noindent]
7360 \include "gregorian-init.ly"
7363 \context VaticanaVoice = "cantus" {
7364 \override Score.BarNumber #'transparent = ##t
7366 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7367 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7368 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7371 \lyricsto "cantus" \new Lyrics \lyrics {
7372 San- ctus, San- ctus, San- ctus
7378 @node Contemporary notation
7379 @section Contemporary notation
7381 In the 20th century, composers have greatly expanded the musical
7382 vocabulary. With this expansion, many innovations in musical notation
7383 have been tried. The book by Stone (1980) gives a comprehensive
7384 overview (see @ref{Literature list}). In general, the use of new,
7385 innovative notation makes a piece harder to understand and perform and
7386 its use should therefore be avoided if possible. For this reason,
7387 support for contemporary notation in LilyPond is limited.
7396 @subsection Clusters
7400 In musical terminology, a @emph{cluster} denotes a range of
7401 simultaneously sounding pitches that may change over time. The set of
7402 available pitches to apply usually depends on the acoustic source.
7403 Thus, in piano music, a cluster typically consists of a continuous range
7404 of the semitones as provided by the piano's fixed set of a chromatic
7405 scale. In choral music, each singer of the choir typically may sing an
7406 arbitrary pitch within the cluster's range that is not bound to any
7407 diatonic, chromatic or other scale. In electronic music, a cluster
7408 (theoretically) may even cover a continuous range of pitches, thus
7409 resulting in colored noise, such as pink noise.
7411 Clusters can be denoted in the context of ordinary staff notation by
7412 engraving simple geometrical shapes that replace ordinary notation of
7413 notes. Ordinary notes as musical events specify starting time and
7414 duration of pitches; however, the duration of a note is expressed by the
7415 shape of the note head rather than by the horizontal graphical extent of
7416 the note symbol. In contrast, the shape of a cluster geometrically
7417 describes the development of a range of pitches (vertical extent) over
7418 time (horizontal extent). Still, the geometrical shape of a cluster
7419 covers the area in which any single pitch contained in the cluster would
7420 be notated as an ordinary note. From this point of view, it is
7421 reasonable to specify a cluster as the envelope of a set of notes.
7425 A cluster is engraved as the envelope of a set of
7426 cluster-notes. Cluster notes are created by applying the function
7427 @code{notes-to-clusters} to a sequence of chords, e.g.
7429 @lilypond[relative=1,verbatim]
7430 \apply #notes-to-clusters { <c e > <b f'> }
7433 The following example (from
7434 @inputfileref{input/regression,cluster.ly}) shows what the result
7437 @lilypondfile[]{cluster.ly}
7439 By default, @internalsref{Cluster_spanner_engraver} is in the
7440 @internalsref{Voice} context. This allows putting ordinary notes and
7441 clusters together in the same staff, even simultaneously. In such a
7442 case no attempt is made to automatically avoid collisions between
7443 ordinary notes and clusters.
7447 Internals: @internalsref{ClusterSpanner},
7448 @internalsref{ClusterSpannerBeacon},
7449 @internalsref{Cluster_spanner_engraver}, and
7450 @internalsref{ClusterNoteEvent}.
7452 Examples: @inputfileref{input/regression,cluster.ly}.
7456 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7457 accurately. Use @code{<g a>8 <e a>8} instead.
7462 @subsection Fermatas
7468 Contemporary music notation frequently uses special fermata symbols to
7469 indicate fermatas of differing lengths.
7473 The following are supported
7475 @lilypond[raggedright]
7477 << \addlyrics \notes {
7497 \context Lyrics \lyrics {
7498 "shortfermata" "fermata" "longfermata" "verylongfermata"
7503 See @ref{Articulations} for general instructions how to apply scripts
7504 such as fermatas to a @code{\notes@{@}} block.
7507 @node Special notation
7508 @section Special notation
7512 * Easy Notation note heads::
7516 @subsection Balloon help
7518 Elements of notation can be marked and named with the help of a square
7519 balloon. The primary purpose of this feature is to explain notation.
7521 The following example demonstrates its use.
7523 @lilypond[verbatim,fragment,raggedright,relative=1]
7526 #(add-balloon-text 'NoteHead "heads, or tails?"
7532 The function @code{add-balloon-text} takes the name of a grob, the
7533 label to print and where to put the label relative to the object. In
7534 the above example, the text ``heads or tails?'' ends 3 spaces below
7538 @cindex notation, explaining
7542 Internals: @internalsref{text-balloon-interface}.
7544 Examples: @inputfileref{input/regression,balloon.ly}.
7546 @node Easy Notation note heads
7547 @subsection Easy Notation note heads
7549 @cindex easy notation
7552 The `easy play' note head includes a note name inside the head. It is
7553 used in music aimed at beginners:
7555 @lilypond[raggedright,verbatim,staffsize=26]
7557 \notes { c'2 e'4 f' | g'1 }
7558 \paper { \translator { \EasyNotation } }
7562 The @code{EasyNotation} variable overrides a @internalsref{Score} @c
7563 context. To make the letters readable, it has to be printed in a
7564 large font size. To print with a larger font, see @ref{Font Size}.
7569 If you view the result with Xdvi, then staff lines may show through
7570 the letters. Printing the PostScript file obtained does produce the