3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
39 @c FIXME: Note entry vs Music entry at top level menu is confusing.
45 The basic elements of any piece of music are the notes. This section
46 is about basic notation elements notes, rests and related constructs,
47 such as stems, tuplets and ties.
52 * Chromatic alterations::
60 * Easy Notation note heads ::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative 2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
179 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
181 @node Chromatic alterations
182 @subsection Chromatic alterations
184 Normally accidentals are printed automatically, but you may also
185 print them manually. A reminder accidental
186 @cindex reminder accidental
188 can be forced by adding an exclamation mark @code{!}
189 after the pitch. A cautionary accidental
190 @cindex cautionary accidental
191 @cindex parenthesized accidental
192 (an accidental within parentheses) can be obtained by adding the
193 question mark `@code{?}' after the pitch:
195 @lilypond[fragment,verbatim]
196 cis' cis' cis'! cis'?
200 The automatic production of accidentals can be tuned in many
201 ways. For more information, refer to @ref{Accidentals}.
206 A chord is formed by a enclosing a set of pitches in @code{<} and
207 @code{>}. A chord may be followed by a duration, and a set of
208 articulations, just like simple notes.
218 Rests are entered like notes, with the note name @code{r}:
220 @lilypond[singleline,verbatim]
224 Whole bar rests, centered in middle of the bar,
225 must be done with multi measure rests. They are discussed in
226 @ref{Multi measure rests}.
229 A rest's vertical position may be explicitly specified by entering a
230 note with the @code{\rest} keyword appended. This makes manual
231 formatting in polyphonic music easier. Rest collision testing will
232 leave these rests alone:
234 @lilypond[singleline,verbatim]
240 @internalsref{RestEvent}, and @internalsref{Rest}.
247 @cindex Invisible rest
250 An invisible rest (also called a `skip') can be entered like a note
251 with note name `@code{s}' or with @code{\skip @var{duration}}:
253 @lilypond[singleline,verbatim]
257 The @code{s} syntax is only available in Note mode and Chord mode. In
258 other situations, you should use the @code{\skip} command:
260 @lilypond[singleline,verbatim]
263 { \time 4/8 \skip 2 \time 4/4 }
264 \notes\relative c'' { a2 a1 }
269 The skip command is merely an empty musical placeholder. It does not
270 produce any output, not even transparent output.
274 @internalsref{SkipEvent}.
279 @subsection Durations
285 In Note, Chord, and Lyrics mode, durations are designated by numbers
286 and dots: durations are entered as their reciprocal values. For example,
287 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
288 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
289 longer than a whole you must use variables:
291 @c FIXME: what is an identifier? I do not think it's been introduced yet.
292 @c and if it has, I obviously skipped that part. - Graham
296 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
298 r1 r2 r4 r8 r16 r32 r64 r64
303 \notes \relative c'' {
305 a1 a2 a4 a8 a16 a32 a64 a64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \remove "Clef_engraver"
313 \remove "Staff_symbol_engraver"
314 \remove "Time_signature_engraver"
315 \consists "Pitch_squash_engraver"
322 If the duration is omitted then it is set to the previously entered
323 duration. The default for the first note is a quarter note. The duration
324 can be followed by dots (`@code{.}') in order to obtain dotted note
328 @lilypond[fragment,verbatim,center]
329 a' b' c''8 b' a'4 a'4. b'4.. c'8.
334 You can alter the length of duration by a fraction @var{N/M}
335 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
336 will not affect the appearance of the notes or rests produced.
337 In the following example, the first three notes take up exactly two
339 @lilypond[fragment,relative 2,verbatim]
341 a4*2/3 gis4*2/3 a4*2/3
348 Dots are normally moved up to avoid staff lines, except in polyphonic
349 situations. The following commands may be used to force a particular
352 @cindex @code{\dotsUp}
354 @cindex @code{\dotsDown}
356 @cindex @code{\dotsBoth}
361 @internalsref{Dots}, and @internalsref{DotColumn}.
365 In dense chords, dots can overlap.
370 Whenever a note is found, a @internalsref{Stem} object is created
371 automatically. For whole notes and rests, they are also created but
376 @cindex @code{\stemUp}
378 @cindex @code{\stemDown}
380 @cindex @code{\stemBoth}
391 A tie connects two adjacent note heads of the same pitch. The tie in
392 effect extends the length of a note. Ties should not be confused with
393 slurs, which indicate articulation, or phrasing slurs, which indicate
394 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
396 @lilypond[fragment,verbatim,center]
397 e' ~ e' <c' e' g'> ~ <c' e' g'>
400 When a tie is applied to a chord, all note heads whose pitches match
401 are connected. When no note heads match, no ties will be created.
403 In its meaning a tie is just a way of extending a note duration, similar
404 to the augmentation dot; in the following example there are two ways of
405 notating exactly the same concept:
407 @lilypond[fragment, singleline,quote]
408 \time 3/4 c'2. c'2 ~ c'4
410 If you need to tie a lot of notes over bars, it may be easier to use automatic
411 note splitting (See @ref{Automatic note splitting}).
416 @cindex @code{\tieUp}
418 @cindex @code{\tieDown}
420 @cindex @code{\tieBoth}
422 @cindex @code{\tieDotted}
424 @cindex @code{\tieSolid}
429 @internalsref{TieEvent}, @internalsref{NewTieEvent},
430 @internalsref{Tie}, and @ref{Automatic note splitting}.
433 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
436 For tieing only a subset of the note heads of a pair of chords, see
437 @inputfileref{input/regression,tie-chord-partial.ly}.
442 Switching staves when a tie is active will not produce a slanted tie.
444 Formatting of ties is a difficult subject. The results are often not
454 @cindex @code{\times}
456 Tuplets are made out of a music expression by multiplying all durations
459 @cindex @code{\times}
461 \times @var{fraction} @var{musicexpr}
465 The duration of @var{musicexpr} will be multiplied by the fraction.
466 The fraction's denominator will be printed over the notes, optionally
467 with a bracket. The most common tuplet is the triplet in which 3
468 notes have the length of 2, so the notes are 2/3 of their written
471 @lilypond[fragment,verbatim,center]
472 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
475 The property @code{tupletSpannerDuration} specifies how long each
476 bracket should last. With this, you can make lots of tuplets while
477 typing @code{\times} only once, saving lots of typing. In the next
478 example, there are two triplets shown, while @code{\times} was only
481 @lilypond[fragment, relative, singleline, verbatim]
482 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
483 \times 2/3 { c'8 c c c c c }
486 The format of the number is determined by the property
487 @code{tupletNumberFormatFunction}. The default prints only the
488 denominator, but if it is set to the Scheme function
489 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
493 @cindex @code{tupletNumberFormatFunction}
494 @cindex tuplet formatting
499 @cindex @code{\tupletUp}
501 @cindex @code{\tupletDown}
503 @cindex @code{\tupletBoth}
508 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
512 Nested tuplets are not formatted automatically. In this case, outer
513 tuplet brackets should be moved manually.
515 @node Easy Notation note heads
516 @subsection Easy Notation note heads
518 @cindex easy notation
521 The `easy play' note head includes a note name inside the head. It is
522 used in music aimed at beginners:
524 @lilypond[singleline,verbatim,26pt]
526 \notes { c'2 e'4 f' | g'1 }
527 \paper { \translator { \EasyNotation } }
531 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
532 You probably will want to print it with magnification or a
533 large font size to make it more readable. To print with
534 magnification, you must create a DVI file (with @file{lilypond}) and
535 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
536 See the @code{dvips} documentation for more details. To print with a
537 larger font, see @ref{Font Size}.
543 If you view the result with Xdvi, then staff lines will show through
544 the letters. Printing the PostScript file obtained does produce the
548 @node Easier music entry
549 @section Easier music entry
552 When entering music it is easy to introduce errors. This section deals
553 with tricks and features of the input language that were added solely
554 to help entering music, and find and correct mistakes.
556 It is also possible to use external programs, for example GUI
557 interfaces, or MIDI transcription programs, to enter or edit
558 music. Refer to the website for more information. Finally, there are
559 tools make debugging easier, by linking the input file and the output
560 shown on screen. See @ref{Point and click} for more information.
567 * Skipping corrected music::
568 * Automatic note splitting ::
574 @node Relative octaves
575 @subsection Relative octaves
577 @cindex relative octave specification
579 Octaves are specified by adding @code{'} and @code{,} to pitch names.
580 When you copy existing music, it is easy to accidentally put a pitch
581 in the wrong octave and hard to find such an error. The relative
582 octave mode prevents these errors: a single error puts the rest of the
583 piece off by one octave:
585 @cindex @code{\relative}
587 \relative @var{startpitch} @var{musicexpr}
590 The octave of notes that appear in @var{musicexpr} are calculated as
591 follows: If no octave changing marks are used, the basic interval
592 between this and the last note is always taken to be a fourth or less
593 (; this distance is determined without regarding alterations: a
594 @code{fisis} following a @code{ceses} will be put above the
597 The octave changing marks @code{'} and @code{,} can be added to raise
598 or lower the pitch by an extra octave. Upon entering relative mode,
599 an absolute starting pitch must be specified that will act as the
600 predecessor of the first note of @var{musicexpr}.
602 Here is the relative mode shown in action:
603 @lilypond[fragment,singleline,verbatim,center]
609 Octave changing marks are used for intervals greater than a fourth:
610 @lilypond[fragment,verbatim,center]
615 If the preceding item is a chord, the first note of the chord is used
616 to determine the first note of the next chord:
618 @lilypond[fragment,verbatim,center]
625 @cindex @code{\notes}
627 The pitch after the @code{\relative} contains a note name. To parse
628 the pitch as a note name, you have to be in note mode, so there must
629 be a surrounding @code{\notes} keyword (which is not
632 The relative conversion will not affect @code{\transpose},
633 @code{\chords} or @code{\relative} sections in its argument. If you
634 want to use relative within transposed music, you must place an
635 additional @code{\relative} inside the @code{\transpose}.
638 @subsection Octave check
641 Octave checks make octave errors easier to correct.
647 This checks that @var{pitch} (without octave) yields @var{pitch} (with
648 octave) in \relative mode. If not, a warning is printed, and the
649 octave is corrected, for example, the first check is passed
650 successfully. The second check fails with an error message. The
651 octave is adjusted so the following notes are in the correct octave
662 The octave of a note following an octave check is determined with
663 respect to the note preceding it. In the next fragment, the last note
664 is a @code{a'}, above central C. Hence, the @code{\octave} check may
665 be deleted without changing the meaning of the piece.
667 @lilypond[verbatim,fragment]
678 @subsection Bar check
682 @cindex @code{barCheckSynchronize}
685 Bar checks help detect errors in the durations. A bar check is
686 entered using the bar symbol, `@code{|}'. Whenever it is encountered
687 during interpretation, it should fall on a measure boundary. If it
688 does not, a warning is printed. Depending on the value of
689 @code{barCheckSynchronize}, the beginning of the measure will be
692 In the next example, the second bar check will signal an error:
694 \time 3/4 c2 e4 | g2 |
699 @cindex skipTypesetting
701 Failed bar checks are caused by entering incorrect
702 durations. Incorrect durations often completely garble up the score,
703 especially if it is polyphonic, so you should start correcting the
704 score by scanning for failed bar checks and incorrect durations. To
705 speed up this process, you can use @code{skipTypesetting}, described
708 @node Skipping corrected music
709 @subsection Skipping corrected music
711 The property @code{Score.skipTypesetting} can be used to switch on and
712 off typesetting completely during the interpretation phase. When
713 typesetting is switched off, the music is processed much more quickly.
714 This can be used to skip over the parts of a score that have already
715 been checked for errors:
717 @lilypond[fragment,singleline,verbatim]
719 \property Score.skipTypesetting = ##t
721 \property Score.skipTypesetting = ##f
725 @node Automatic note splitting
726 @subsection Automatic note splitting
728 Long notes can be converted automatically to tied notes. This is done
729 by replacing the @internalsref{Note_heads_engraver} by the
730 @internalsref{Completion_heads_engraver}:
733 \paper @{ \translator @{
735 \remove "Note_heads_engraver"
736 \consists "Completion_heads_engraver"
740 which will make long notes tied in the following example:
743 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
750 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
752 \paper { \translator {
754 \remove "Note_heads_engraver"
755 \consists "Completion_heads_engraver"
760 This engraver splits all running notes at the bar line, and inserts
761 ties. One of its uses is to debug complex scores: if the measures are
762 not entirely filled, then the ties exactly show how much each measure
767 Not all durations (especially those containing tuplets) can be
768 represented exactly; the engraver will not insert tuplets.
774 @section Staff notation
776 This section describes music notation that occurs on staff level,
777 such as keys, clefs and time signatures.
779 @cindex Staff notation
793 @subsection Staff symbol
795 @cindex adjusting staff symbol
796 @cindex StaffSymbol, using \property
798 Notes, dynamic signs, etc. are grouped
799 with a set of horizontal lines, into a staff (plural `staves'). In our
800 system, these lines are drawn using a separate layout object called
804 @cindex staff lines, setting number of
805 @cindex staff lines, setting thickness of
806 @cindex thickness of staff lines, setting
807 @cindex number of staff lines, setting
809 This object is created whenever a @internalsref{Staff} context is
810 created. The appearance of the staff symbol cannot be changed by
811 using @code{\override} or @code{\set}. At the moment that
812 @code{\property Staff} is interpreted, a @internalsref{Staff} context
813 is made, and the @internalsref{StaffSymbol} is created before any
814 @code{\override} is effective. Properties can be changed in a
815 @code{\translator} definition, or by using @code{\applyoutput}.
819 If a staff is ended halfway a piece, the staff symbol may not end
820 exactly on the barline.
824 @subsection Key signature
825 @cindex Key signature
829 The key signature indicates the scale in which a piece is played. It
830 is denoted by a set of alterations (flats or sharps) at the start of
835 Setting or changing the key signature is done with the @code{\key}
838 @code{\key} @var{pitch} @var{type}
841 @cindex @code{\minor}
842 @cindex @code{\major}
843 @cindex @code{\minor}
844 @cindex @code{\ionian}
845 @cindex @code{\locrian}
846 @cindex @code{\aeolian}
847 @cindex @code{\mixolydian}
848 @cindex @code{\lydian}
849 @cindex @code{\phrygian}
850 @cindex @code{\dorian}
852 Here, @var{type} should be @code{\major} or @code{\minor} to get
853 @var{pitch}-major or @var{pitch}-minor, respectively.
854 The standard mode names @code{\ionian},
855 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
856 @code{\phrygian}, and @code{\dorian} are also defined.
858 This command sets the context property
859 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
860 can be specified by setting this property directly.
862 Accidentals and key signatures often confuse new users, because
863 unaltered notes get natural signs depending on the keysignature. The
864 tutorial explains why this is so in @ref{More about pitches}.
868 The ordering of a key cancellation is wrong when it is combined with
869 repeat bar lines. The cancellation is also printed after a line break.
873 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
875 @cindex @code{keySignature}
882 The clef indicates which lines of the staff correspond to which
887 The clef can be set or changed with the @code{\clef} command:
888 @lilypond[fragment,verbatim]
889 \key f\major c''2 \clef alto g'2
892 Supported clef-names include:
893 @c Moved standard clefs to the top /MB
897 @item treble, violin, G, G2
910 G clef on 1st line, so-called French violin clef
915 @cindex mezzosoprano clef
918 @cindex baritone clef
921 @cindex varbaritone clef
930 By adding @code{_8} or @code{^8} to the clef name, the clef is
931 transposed one octave down or up, respectively, and @code{_15} and
932 @code{^15} transposes by two octaves. The argument @var{clefname}
933 must be enclosed in quotes when it contains underscores or digits. For
937 @cindex choral tenor clef
938 @lilypond[verbatim,fragment,relative]
942 This command is equivalent to setting @code{clefGlyph},
943 @code{clefPosition} (which controls the Y position of the clef),
944 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
945 when any of these properties are changed.
949 The object for this symbol is @internalsref{Clef}.
953 @node Ottava brackets
954 @subsection Ottava brackets
956 ``Ottava'' brackets introduce an extra transposition of an octave for
957 the staff. They are created by invoking the function
958 @code{set-octavation}:
964 @lilypond[verbatim,fragment]
973 Internally the @code{set-octavation} function sets the properties
974 @code{ottavation} (eg. to @code{"8va"}) and
975 @code{centralCPosition}. The function also takes arguments -1 (for 8va
976 bassa) and 2 (for 15ma).
978 @internalsref{OttavaSpanner}.
982 @code{set-octavation} will get confused when clef changes happen
983 during an octavation bracket.
986 @subsection Time signature
987 @cindex Time signature
991 Time signature indicates the metrum of a piece: a regular pattern of
992 strong and weak beats. It is denoted by a fraction at the start of the
997 The time signature is set or changed by the @code{\time}
999 @lilypond[fragment,verbatim]
1000 \time 2/4 c'2 \time 3/4 c'2.
1003 The symbol that is printed can be customized with the @code{style}
1004 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1005 2/2 time. There are many more options for its layout. See
1006 @inputfileref{input/test,time.ly} for more examples.
1009 This command sets the property @code{timeSignatureFraction},
1010 @code{beatLength} and @code{measureLength} in the @code{Timing}
1011 context, which is normally aliased to @internalsref{Score}. The
1012 property @code{measureLength} determines where bar lines should be
1013 inserted, and how automatic beams should be generated. Changing the
1014 value of @code{timeSignatureFraction} also causes the symbol to be
1017 More options are available through the Scheme function
1018 @code{set-time-signature}. In combination with the
1019 @internalsref{Measure_grouping_engraver}, it will create
1020 @internalsref{MeasureGrouping} signs. Such signs ease reading
1021 rhythmically complex modern music. In the following example, the 9/8
1022 measure is subdivided in 2, 2, 2 and 3. This is passed to
1023 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1026 \score { \notes \relative c'' {
1027 #(set-time-signature 9 8 '(2 2 2 3))
1028 g8[ g] d[ d] g[ g] a8[( bes g]) |
1029 #(set-time-signature 5 8 '(3 2))
1034 \translator { \StaffContext
1035 \consists "Measure_grouping_engraver"
1041 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1046 Automatic beaming does not use measure grouping specified with
1047 @code{set-time-signature}.
1049 @node Partial measures
1050 @subsection Partial measures
1053 @cindex partial measure
1054 @cindex measure, partial
1055 @cindex shorten measures
1056 @cindex @code{\partial}
1058 Partial measures, for example in upsteps, are entered using the
1059 @code{\partial} command:
1060 @lilypond[fragment,verbatim,relative 1]
1061 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1064 The syntax for this command is
1066 \partial @var{duration}
1068 This is internally translated into
1070 \property Timing.measurePosition = -@var{length of duration}
1073 The property @code{measurePosition} contains a rational number
1074 indicating how much of the measure has passed at this point.
1076 @node Unmetered music
1077 @subsection Unmetered music
1079 Bar lines and bar numbers are calculated automatically. For unmetered
1080 music (e.g. cadenzas), this is not desirable. By setting
1081 @code{Score.timing} to false, this automatic timing can be switched
1087 @cindex @code{\cadenzaOn}
1089 @cindex @code{\cadenzaOff}
1093 @subsection Bar lines
1097 @cindex measure lines
1101 Bar lines delimit measures, but are also used to indicate repeats.
1102 Normally, they are inserted automatically. Line breaks may only
1108 of barlines can be forced with the @code{\bar} command:
1110 @lilypond[relative=1,fragment,verbatim]
1114 The following bar types are available:
1115 @lilypond[fragment, relative, singleline, verbatim]
1126 For allowing linebreaks, there is a special command,
1130 This will insert an invisible barline, and allow linebreaks at this
1133 In scores with many staves, a @code{\bar} command in one staff is
1134 automatically applied to all staves. The resulting bar lines are
1135 connected between different staves of a @internalsref{StaffGroup}:
1137 @lilypond[fragment, verbatim]
1138 << \context StaffGroup <<
1142 \new Staff { \clef bass c4 g e g } >>
1143 \new Staff { \clef bass c2 c2 } >>
1147 The command @code{\bar @var{bartype}} is a short cut for doing
1148 @code{\property Score.whichBar = @var{bartype}} Whenever
1149 @code{whichBar} is set to a string, a bar line of that type is
1150 created. At the start of a measure it is set to
1151 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1152 to override default measure bars.
1154 Property @code{whichBar} can also be set directly, using @code{\property}
1155 or @code{\bar}. These settings take precedence over the automatic
1156 @code{whichBar} settings.
1159 @cindex repeatCommands
1160 @cindex defaultBarType
1162 You are encouraged to use @code{\repeat} for repetitions. See
1172 The bar line objects that are created at @internalsref{Staff} level
1173 are called @internalsref{BarLine}, the bar lines that span staves are
1174 @internalsref{SpanBar}s.
1176 @cindex bar lines at start of system
1177 @cindex start of system
1179 The barlines at the start of each system are
1180 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1181 @internalsref{SystemStartBracket}. They are spanner objects and
1182 typically must be tuned from a @code{\translator} block.
1189 The easiest way to enter fragments with more than one voice on a staff
1190 is to split chords using the separator @code{\\}. You can use it for
1191 small, short-lived voices or for single chords:
1193 @lilypond[verbatim,fragment]
1194 \context Staff \relative c'' {
1195 c4 << { f d e } \\ { b c2 } >>
1196 c4 << g' \\ b, \\ f' \\ d >>
1200 The separator causes @internalsref{Voice} contexts to be
1202 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1203 contexts, vertical direction of slurs, stems, etc. is set
1206 This can also be done by instantiating @internalsref{Voice} contexts
1207 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1208 a stem directions and horizontal shift for each part:
1211 @lilypond[singleline, verbatim]
1213 \context Staff << \new Voice { \voiceOne cis2 b }
1214 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1215 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1218 Normally, note heads with a different number of dots are not merged, but
1219 when the object property @code{merge-differently-dotted} is set in
1220 the @internalsref{NoteCollision} object, they are merged:
1221 @lilypond[verbatim,fragment,singleline]
1222 \relative c'' \context Voice << {
1224 \property Staff.NoteCollision \override
1225 #'merge-differently-dotted = ##t
1227 } \\ { g8.[ f16] g8.[ f16] }
1231 Similarly, you can merge half note heads with eighth notes, by setting
1232 @code{merge-differently-headed}:
1233 @lilypond[fragment, relative=2,verbatim]
1236 \property Staff.NoteCollision
1237 \override #'merge-differently-headed = ##t
1238 c8 c4. } \\ { c2 c2 } >>
1241 LilyPond also vertically shifts rests that are opposite of a stem:
1244 @lilypond[singleline,fragment,verbatim]
1245 \context Voice << c''4 \\ r4 >>
1253 @cindex @code{\oneVoice}
1255 @cindex @code{\voiceOne}
1257 @cindex @code{\voiceTwo}
1259 @cindex @code{\voiceThree}
1261 @cindex @code{\voiceFour}
1264 The following commands specify in what chords of the current voice
1265 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1266 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1269 @cindex @code{\shiftOn}
1271 @cindex @code{\shiftOnn}
1273 @cindex @code{\shiftOnnn}
1275 @cindex @code{\shiftOff}
1282 The objects responsible for resolving collisions are
1283 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1284 also example files @inputfileref{input/regression,collision-dots.ly},
1285 @inputfileref{input/regression,collision-head-chords.ly},
1286 @inputfileref{input/regression,collision-heads.ly},
1287 @inputfileref{input/regression,collision-mesh.ly}, and
1288 @inputfileref{input/regression,collisions.ly}.
1293 Resolving collisions is a intricate subject, and only a few situations
1294 are handled. When LilyPond cannot cope, the @code{force-hshift}
1295 property of the @internalsref{NoteColumn} object and pitched rests can
1296 be used to override typesetting decisions.
1298 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1299 note, and a downstem half note, the 8th note gets the wrong offset.
1304 Beams are used to group short notes into chunks that are aligned with
1305 the metrum. They are inserted automatically in most cases:
1307 @lilypond[fragment,verbatim, relative=2]
1308 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1311 When these automatic decisions are not good enough, beaming can be
1312 entered explicitly. It is also possible to define beaming patterns
1313 that differ from the defaults.
1317 @internalsref{Beam}.
1320 @cindex Automatic beams
1321 @subsection Manual beams
1322 @cindex beams, manual
1326 In some cases it may be necessary to override the automatic beaming
1327 algorithm. For example, the auto beamer will not put beams over rests
1328 or bar lines. Such beams are specified by manually: the begin and end
1329 point are marked with @code{[} and @code{]}:
1331 @lilypond[fragment,relative,verbatim]
1333 r4 r8[ g' a r8] r8 g[ | a] r8
1337 @cindex @code{stemLeftBeamCount}
1339 Normally, beaming patterns within a beam are determined automatically.
1340 When this mechanism fouls up, the properties
1341 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1342 be used to control the beam subdivision on a stem. If either property
1343 is set, its value will be used only once, and then it is erased.
1345 @lilypond[fragment,relative,verbatim]
1348 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1351 @cindex @code{stemRightBeamCount}
1354 The property @code{subdivideBeams} can be set in order to subdivide
1355 all 16th or shorter beams at beat positions, as defined by the
1356 @code{beatLength} property . This accomplishes the same effect as
1357 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1358 but it take less typing:
1361 @lilypond[relative=1,verbatim,noindent]
1363 \property Voice.subdivideBeams = ##t
1365 \property Score.beatLength = #(ly:make-moment 1 8)
1368 @cindex subdivideBeams
1370 Kneed beams are inserted automatically, when a large gap is detected
1371 between the note heads. This behavior can be tuned through the object
1372 property @code{auto-knee-gap}.
1374 Normally, line breaks are forbidden when beams cross bar lines. This
1375 behavior can be changed by setting @code{allowBeamBreak}.
1377 @cindex @code{allowBeamBreak}
1378 @cindex beams and line breaks
1380 @cindex beams, kneed
1382 @cindex auto-knee-gap
1388 @cindex Frenched staves
1390 Automatically kneed beams cannot be used together with hidden staves.
1395 * Setting automatic beam behavior ::
1399 @no de Beam typography
1400 @sub section Beam typography
1402 One of the strong points of LilyPond is how beams are formatted. Beams
1403 are quantized, meaning that the left and right endpoints beams start
1404 exactly on staff lines. Without quantization, small wedges of white
1405 space appear between the beam and staff line, and this looks untidy.
1407 Beams are also slope-damped: melodies that go up or down should also
1408 have beams that go up or down, but the slope of the beams should be
1409 less than the slope of the notes themselves.
1411 Some beams should be horizontal. These are so-called concave beams.
1413 [TODO: some pictures.]
1417 @node Setting automatic beam behavior
1418 @subsection Setting automatic beam behavior
1420 @cindex @code{autoBeamSettings}
1421 @cindex @code{(end * * * *)}
1422 @cindex @code{(begin * * * *)}
1423 @cindex automatic beams, tuning
1424 @cindex tuning automatic beaming
1426 @c [TODO: use \applycontext]
1428 In normal time signatures, automatic beams can start on any note but can
1429 only end in a few positions within the measure: beams can end on a beat,
1430 or at durations specified by the properties in
1431 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1432 are defined in @file{scm/auto-beam.scm}.
1434 The value of @code{autoBeamSettings} is changed using
1435 @code{\override} and restored with @code{\revert}:
1437 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1438 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1440 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1441 whether the rule applies to begin or end-points. The quantity
1442 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1443 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1444 signature (wildcards, `@code{* *}' may be entered to designate all time
1447 For example, if automatic beams should end on every quarter note, use
1450 \property Voice.autoBeamSettings \override
1451 #'(end * * * *) = #(ly:make-moment 1 4)
1453 Since the duration of a quarter note is 1/4 of a whole note, it is
1454 entered as @code{(ly:make-moment 1 4)}.
1456 The same syntax can be used to specify beam starting points. In this
1457 example, automatic beams can only end on a dotted quarter note:
1459 \property Voice.autoBeamSettings \override
1460 #'(end * * * *) = #(ly:make-moment 3 8)
1462 In 4/4 time signature, this means that automatic beams could end only on
1463 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1464 3/8 has passed within the measure).
1466 Rules can also be restricted to specific time signatures. A rule that
1467 should only be applied in @var{N}/@var{M} time signature is formed by
1468 replacing the second asterisks by @var{N} and @var{M}. For example, a
1469 rule for 6/8 time exclusively looks like
1471 \property Voice.autoBeamSettings \override
1472 #'(begin * * 6 8) = ...
1475 If a rule should be to applied only to certain types of beams, use the
1476 first pair of asterisks. Beams are classified according to the
1477 shortest note they contain. For a beam ending rule that only applies
1478 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1481 If a score ends while an automatic beam has not been ended and is still
1482 accepting notes, this last beam will not be typeset at all.
1484 @cindex automatic beam generation
1486 @cindex @code{Voice.autoBeaming}
1489 For melodies that have lyrics, you may want to switch off
1490 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1495 @cindex @code{\autoBeamOff}
1496 @code{\autoBeamOff},
1497 @cindex @code{\autoBeamOn}
1503 The rules for ending a beam depend on the shortest note in a beam.
1504 So, while it is possible to have different ending rules for eight
1505 beams and sixteenth beams, a beam that contains both eight and
1506 sixteenth notes will use the rules for the sixteenth beam.
1508 In the example below, the autobeamer makes eight beams and sixteenth
1509 end at 3 eights; the third beam can only be corrected by specifying
1512 @lilypond[singleline,fragment,relative,noverbatim,quote]
1513 \property Voice.autoBeamSettings
1514 \override #'(end * * * *) = #(ly:make-moment 3 8)
1515 % rather show case where it goes wrong
1516 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1517 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1519 It is not possible to specify beaming parameters that act differently in
1520 different parts of a measure. This means that it is not possible to use
1521 automatic beaming in irregular meters such as @code{5/8}.
1524 @section Accidentals
1527 This section describes how to change the way that accidentals are
1528 inserted automatically before the running notes.
1532 * Using the predefined accidental variables::
1533 * Customized accidental rules::
1536 @node Using the predefined accidental variables
1537 @subsection Using the predefined accidental variables
1539 The constructs for describing the accidental typesetting rules are
1540 quite hairy, so non-experts should stick to the variables
1541 defined in @file{ly/property-init.ly}.
1542 @cindex @file{property-init.ly}
1544 The variables set properties in the ``@code{Current}'' context (see
1545 @ref{Context properties}). This means that the variables should
1546 normally be added right after the creation of the context in which the
1547 accidental typesetting described by the variable is to take
1548 effect. For example, if you want to use piano-accidentals in a piano
1549 staff then issue @code{\pianoAccidentals} first thing after the
1550 creation of the piano staff:
1553 \notes \relative c'' <<
1554 \new Staff @{ cis4 d e2 @}
1555 \context GrandStaff <<
1557 \new Staff @{ cis4 d e2 @}
1558 \new Staff @{ es2 c @}
1560 \new Staff @{ es2 c @}
1564 @lilypond[singleline]
1566 \notes \relative c'' <<
1567 \new Staff { cis4 d e2 }
1568 \context GrandStaff <<
1570 \new Staff { cis4 d e2 }
1571 \new Staff { es2 c }
1573 \new Staff { es2 c }
1578 minimumVerticalExtent = #'(-4.0 . 4.0)
1586 @item \defaultAccidentals
1587 @cindex @code{\defaultAccidentals}
1588 This is the default typesetting behaviour. It should correspond
1589 to 18th century common practice: Accidentals are
1590 remembered to the end of the measure in which they occur and
1591 only on their own octave.
1593 @item \voiceAccidentals
1594 @cindex @code{\voiceAccidentals}
1596 The normal behaviour is to
1597 remember the accidentals on Staff-level. This variable, however,
1598 typesets accidentals individually for each voice. Apart from that the
1599 rule is similar to @code{\defaultAccidentals}.
1601 This leads to some weird and often unwanted results
1602 because accidentals from one voice do not get cancelled in other
1604 @lilypond[singleline,relative,fragment,verbatim,quote]
1612 Hence you should only use @code{\voiceAccidentals} if the voices
1613 are to be read solely by individual musicians. If the staff is to be
1614 used by one musician (e.g. a conductor) then you use
1615 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1618 @item \modernAccidentals
1619 @cindex @code{\modernAccidentals}
1620 This rule corresponds to the common practice in the 20th
1622 The rule is more complex than @code{\defaultAccidentals}.
1623 You get all the same accidentals, but temporary
1624 accidentals also get cancelled in other octaves. Furthermore,
1625 in the same octave, they also get cancelled in the following measure:
1626 @lilypond[singleline,fragment,verbatim]
1628 cis' c'' cis'2 | c'' c'
1631 @item \modernCautionaries
1632 @cindex @code{\modernCautionaries}
1633 This rule is similar to @code{\modernAccidentals}, but the
1634 ``extra'' accidentals (the ones not typeset by
1635 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1636 They are printed in reduced size or with parentheses:
1637 @lilypond[singleline,fragment,verbatim]
1639 cis' c'' cis'2 | c'' c'
1642 @cindex @code{\modernVoiceAccidentals}
1643 @item \modernVoiceAccidentals
1644 is used for multivoice accidentals to be read both by musicians
1645 playing one voice and musicians playing all voices. Accidentals are
1646 typeset for each voice, but they @emph{are} cancelled across voices in
1647 the same @internalsref{Staff}.
1649 @cindex @code{\modernVoiceCautionaries}
1650 @item \modernVoiceCautionaries
1651 is the same as @code{\modernVoiceAccidentals}, but with the extra
1652 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1653 as cautionaries. Even though all accidentals typeset by
1654 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1655 some of them are typeset as cautionaries.
1657 @item \pianoAccidentals
1658 @cindex @code{\pianoAccidentals}
1659 20th century practice for piano notation. Very similar to
1660 @code{\modernAccidentals} but accidentals also get cancelled
1661 across the staves in the same @internalsref{GrandStaff} or
1662 @internalsref{PianoStaff}.
1664 @item \pianoCautionaries
1665 @cindex @code{\pianoCautionaries}
1666 As @code{\pianoAccidentals} but with the extra accidentals
1667 typeset as cautionaries.
1670 @cindex @code{\noResetKey}
1671 Same as @code{\defaultAccidentals} but with accidentals lasting
1672 ``forever'' and not only until the next measure:
1673 @lilypond[singleline,fragment,verbatim,relative]
1678 @item \forgetAccidentals
1679 @cindex @code{\forgetAccidentals}
1680 This is sort of the opposite of @code{\noResetKey}: Accidentals
1681 are not remembered at all---and hence all accidentals are
1682 typeset relative to the key signature, regardless of what was
1683 before in the music:
1684 @lilypond[singleline,fragment,verbatim,relative]
1686 \key d\major c4 c cis cis d d dis dis
1690 @node Customized accidental rules
1691 @subsection Customized accidental rules
1693 For determining when to print an accidental, several different rules
1694 are tried. The rule that gives the highest number of accidentals is
1695 used. Each rule consists of
1698 In which context is the rule applied. For example, if
1699 @var{context} is @internalsref{Score} then all staves share
1700 accidentals, and if @var{context} is @internalsref{Staff} then all
1701 voices in the same staff share accidentals, but staves do not.
1703 Whether the accidental changes all octaves or only the current
1706 Over how many barlines the accidental lasts.
1707 If @var{lazyness} is @code{-1} then the accidental is forget
1708 immediately, and if @var{lazyness} is @code{#t} then the accidental
1711 @c [TODO: should use +infinity for this case?]
1717 @cindex @code{\defaultAccidentals}
1718 @code{\defaultAccidentals},
1719 @cindex @code{\voiceAccidentals}
1720 @code{\voiceAccidentals},
1721 @cindex @code{\modernAccidentals}
1722 @code{\modernAccidentals},
1723 @cindex @code{\modernCautionaries}
1724 @code{\modernCautionaries},
1725 @cindex @code{\modernVoiceAccidentals}
1726 @code{\modernVoiceAccidentals},
1727 @cindex @code{\modernVoiceCautionaries}
1728 @code{\modernVoiceCautionaries},
1729 @cindex @code{\pianoAccidentals}
1730 @code{\pianoAccidentals},
1731 @cindex @code{\pianoCautionaries}
1732 @code{\pianoCautionaries},
1733 @cindex @code{\noResetKey}
1735 @cindex @code{\forgetAccidentals}
1736 @code{\forgetAccidentals}.
1740 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1741 @internalsref{AccidentalPlacement}.
1746 Currently the simultaneous notes are considered to be entered in
1747 sequential mode. This means that in a chord the accidentals are
1748 typeset as if the notes in the chord happened once at a time - in the
1749 order in which they appear in the input file.
1751 This is only a problem when there are simultaneous notes whose
1752 accidentals depend on each other. The problem only occurs when using
1753 non-default accidentals. In the default scheme, accidentals only
1754 depend on other accidentals with the same pitch on the same staff, so
1755 no conflicts possible.
1757 This example shows two examples of the same music giving different
1758 accidentals depending on the order in which the notes occur in the
1761 @lilypond[singleline,fragment,verbatim]
1762 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1763 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1764 | <cis' c''> r | <c'' cis'> r |
1767 This problem can be solved by manually inserting @code{!} and @code{?}
1768 for the problematic notes.
1770 @node Expressive marks
1771 @section Expressive marks
1774 @c todo: should change ordering
1775 @c where to put text spanners, metronome marks,
1784 * Analysis brackets::
1786 * Fingering instructions::
1797 A slur indicates that notes are to be played bound or @emph{legato}.
1801 They are entered using parentheses:
1802 @lilypond[relative 1,fragment,verbatim,center]
1803 f( g)( a) a8 b( a4 g2 f4)
1808 @c TODO: should explain that ^( and _( set directions
1809 @c should set attachments with ^ and _ ?
1811 Slurs avoid crossing stems, and are generally attached to note heads.
1812 However, in some situations with beams, slurs may be attached to stem
1813 ends. If you want to override this layout you can do this through the
1814 object property @code{attachment} of @internalsref{Slur} in
1815 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1816 the attachment type of the left and right end points:
1818 @lilypond[fragment,relative,verbatim]
1820 \property Voice.Stem \set #'length = #5.5
1822 \property Voice.Slur \set #'attachment = #'(stem . stem)
1826 If a slur would strike through a stem or beam, the slur will be moved
1827 away upward or downward. If this happens, attaching the slur to the
1828 stems might look better:
1830 @lilypond[fragment,relative,verbatim]
1833 \property Voice.Slur \set #'attachment = #'(stem . stem)
1840 @cindex @code{\slurUp}
1842 @cindex @code{\slurDown}
1844 @cindex @code{\slurBoth}
1846 @cindex @code{\slurDotted}
1848 @cindex @code{\slurSolid}
1853 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1858 Producing nice slurs is a difficult problem, and LilyPond currently
1859 uses a simple, empiric method to produce slurs. In some cases, its
1863 @cindex Adjusting slurs
1865 @node Phrasing slurs
1866 @subsection Phrasing slurs
1868 @cindex phrasing slurs
1869 @cindex phrasing marks
1871 A phrasing slur (or phrasing mark) connects chords and is used to
1872 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1875 @lilypond[fragment,verbatim,center,relative]
1876 \time 6/4 c'\( d( e) f( e) d\)
1879 Typographically, the phrasing slur behaves almost exactly like a
1880 normal slur. However, they are treated as different objects. A
1881 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1882 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1883 @code{\phrasingSlurBoth}.
1885 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1886 will only affect normal slurs and not phrasing slurs.
1890 @cindex @code{\phrasingSlurUp}
1891 @code{\phrasingSlurUp},
1892 @cindex @code{\phrasingSlurDown}
1893 @code{\phrasingSlurDown},
1894 @cindex @code{\phrasingSlurBoth}
1895 @code{\phrasingSlurBoth},
1899 See also @internalsref{PhrasingSlur}, and
1900 @internalsref{PhrasingSlurEvent}.
1904 Phrasing slurs have the same limitations in their formatting as normal
1905 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1908 @subsection Breath marks
1910 Breath marks are entered using @code{\breathe}:
1913 @lilypond[fragment,relative,verbatim]
1917 The glyph of the breath mark can be tweaked by overriding the
1918 @code{text} property of the @code{BreathingSign} layout object with
1919 any markup text. For example,
1920 @lilypond[fragment,verbatim,relative]
1922 \property Voice.BreathingSign \override #'text
1923 = #(make-musicglyph-markup "scripts-rvarcomma")
1930 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1931 @inputfileref{input/regression,breathing-sign.ly}.
1934 @node Metronome marks
1935 @subsection Metronome marks
1938 @cindex beats per minute
1939 @cindex metronome marking
1941 Metronome settings can be entered as follows:
1943 \tempo @var{duration} = @var{perminute}
1946 In the MIDI output, they are interpreted as a tempo change, and in the
1947 paper output, a metronome marking is printed:
1948 @cindex @code{\tempo}
1949 @lilypond[fragment,verbatim]
1955 @internalsref{MetronomeChangeEvent}.
1960 @subsection Text spanners
1961 @cindex Text spanners
1963 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1964 are written as texts, and extended over many measures with dotted
1965 lines. You can create such texts using text spanners: attach
1966 @code{\startTextSpan} and @code{\stopTextSpan} to the
1967 start and ending note of the spanner.
1969 The string to be printed, as well as the style, is set through object
1972 @lilypond[fragment,relative,verbatim]
1974 \property Voice.TextSpanner \set #'direction = #-1
1975 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1976 c2\startTextSpan b c\stopTextSpan a }
1982 @internalsref{TextSpanEvent},
1983 @internalsref{TextSpanner}, and
1984 @inputfileref{input/regression,text-spanner.ly}.
1987 @node Analysis brackets
1988 @subsection Analysis brackets
1990 @cindex phrasing brackets
1991 @cindex musicological analysis
1992 @cindex note grouping bracket
1994 Brackets are used in musical analysis to indicate structure in musical
1995 pieces. LilyPond supports a simple form of nested horizontal brackets.
1996 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1997 @internalsref{Staff} context. A bracket is started with
1998 @code{\startGroup} and closed with @code{\stopGroup}:
2000 @lilypond[singleline,verbatim]
2001 \score { \notes \relative c'' {
2002 c4\startGroup\startGroup
2005 c4\stopGroup\stopGroup
2007 \paper { \translator {
2008 \StaffContext \consists "Horizontal_bracket_engraver"
2014 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
2015 @inputfileref{input/regression,note-group-bracket.ly}.
2019 @subsection Articulations
2020 @cindex Articulations
2022 @cindex articulations
2026 A variety of symbols can appear above and below notes to indicate
2027 different characteristics of the performance. They are added to a note
2028 by adding a dash and the character signifying the
2029 articulation. They are demonstrated here:
2031 @lilypondfile[notexidoc]{script-abbreviations.ly}
2033 The meanings of these shorthands can be changed: see
2034 @file{ly/script-init.ly} for examples.
2037 The script is automatically placed, but if you need to force
2038 directions, you can use @code{_} to force them down, or @code{^} to
2040 @lilypond[fragment, verbatim]
2044 Other symbols can be added using the syntax
2045 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2046 can be forced up or down using @code{^} and @code{_},
2049 @lilypond[verbatim,fragment,relative 2]
2050 c\fermata c^\fermata c_\fermata
2057 @cindex staccatissimo
2066 @cindex organ pedal marks
2075 @cindex prallmordent
2079 @cindex thumb marking
2084 @lilypondfile[notexidoc]{script-chart.ly}
2089 @cindex @code{\scriptUp}
2091 @cindex @code{\scriptDown}
2093 @cindex @code{\scriptBoth}
2098 @internalsref{ScriptEvent}, and @internalsref{Script}.
2102 These note ornaments appear in the printed output but have no
2103 effect on the MIDI rendering of the music.
2106 @node Fingering instructions
2107 @subsection Fingering instructions
2111 Fingering instructions can be entered using
2113 @var{note}-@var{digit}
2115 For finger changes, use markup texts:
2117 @lilypond[verbatim, singleline, fragment]
2118 c'4-1 c'4-2 c'4-3 c'4-4
2119 c'^\markup { \fontsize #-3 \number "2-3" }
2122 @cindex finger change
2127 You can use the thumb-script to indicate that a note should be
2128 played with your thumb (used in cello music):
2130 @lilypond[verbatim, singleline, fragment]
2131 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2132 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2135 Fingerings for chords can also be added to individual notes
2136 of the chord by adding them after the pitches:
2137 @lilypond[verbatim,singleline,fragment,relative=1]
2138 < c-1 e-2 g-3 b-5 > 4
2141 Setting @code{fingeringOrientations} will put fingerings next
2144 @lilypond[verbatim,singleline,fragment,relative=1]
2145 \property Voice.fingeringOrientations = #'(left down)
2146 <c-1 es-2 g-4 bes-5 > 4
2147 \property Voice.fingeringOrientations = #'(up right down)
2148 <c-1 es-2 g-4 bes-5 > 4
2153 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2157 @subsection Text scripts
2158 @cindex Text scripts
2160 It is possible to place arbitrary strings of text or markup text (see
2161 @ref{Text markup}) above or below notes by using a string:
2162 @code{c^"text"}. By default, these indications do not influence the
2163 note spacing, but by using the command @code{\fatText}, the widths
2164 will be taken into account:
2166 @lilypond[fragment,singleline,verbatim] \relative c' {
2167 c4^"longtext" \fatText c4_"longlongtext" c4 }
2170 It is possible to use @TeX{} commands in the strings, but this should
2171 be avoided because the exact dimensions of the string can then no
2177 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2183 @subsection Grace notes
2186 @c should have blurb about accaciatura / appogiatura
2188 @cindex @code{\grace}
2192 Grace notes are ornaments that are written out. The most common ones
2193 are acciaccatura, which should be played as very short. It is denoted
2194 by a slurred small note with a slashed stem. The appoggiatura is a
2195 grace note that takes a fixed fraction of the main note, is and
2196 denoted as a slurred note in small print without a slash.
2197 They are entered with the commands @code{\acciaccatura} and
2198 @code{\appoggiatura}, as demonstrated in the following example:
2201 @cindex appoggiatura
2202 @cindex acciaccatura
2204 @lilypond[relative=2,verbatim,fragment]
2205 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2206 \acciaccatura { g16[ f] } e4
2209 Both are special forms of the @code{\grace} command. By prefixing this
2210 keyword to a music expression, a new one is formed, which will be
2211 printed in a smaller font and takes up no logical time in a measure.
2212 @lilypond[relative=2,verbatim,fragment]
2214 \grace { c16[ d16] } c2 c4
2218 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2219 @code{\grace} command does not start a slur.
2221 Internally, timing for grace notes is done using a second, `grace'
2222 time. Every point in time consists of two rational numbers: one
2223 denotes the logical time, one denotes the grace timing. The above
2224 example is shown here with timing tuples:
2226 @lilypond[singleline]
2229 c4 \grace c16 c4 \grace {
2232 \new Lyrics \lyrics {
2235 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2236 \markup { (\fraction 1 4 , 0 ) } 4
2238 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2239 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2241 \markup { ( \fraction 2 4 , 0 ) }
2246 The placement of grace notes is synchronized between different staves.
2247 In the following example, there are two sixteenth graces notes for
2248 every eighth grace note:
2250 @lilypond[relative=2,verbatim,fragment]
2251 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2252 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2257 If you want to end a note with a grace, then the standard trick
2258 is to put the grace notes after a ``space note'', e.g.
2259 @lilypond[fragment,verbatim, relative=2]
2262 { s2 \grace { c16[ d] } } >>
2268 By adjusting the duration of the skip note (here it is a half-note),
2269 the space between the main-note and the grace is adjusted.
2272 A @code{\grace} section will introduce special typesetting settings,
2273 for example, to produce smaller type, and set directions. Hence, when
2274 introducing layout tweaks, they should be inside the grace section,
2276 @lilypond[fragment,verbatim,relative 1]
2279 \property Voice.Stem \override #'direction = #-1
2281 \property Voice.Stem \revert #'direction
2288 The overrides should also be reverted inside the grace section.
2290 If the layout of grace sections must be changed throughout the music,
2291 then this can be accomplished through the function
2292 @code{add-grace-property}. The following example
2293 undefines the Stem direction grace section, so stems do not always
2298 #(add-grace-property "Voice" Stem direction '())
2304 Another option is to change the variables @code{startGraceMusic},
2305 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2306 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2307 @code{stopAppoggiaturaMstuic}. More information is in the file
2308 @file{ly/grace-init.ly}
2313 @internalsref{GraceMusic}.
2317 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2319 A score that starts with an @code{\grace} section needs an explicit
2320 @code{\context Voice} declaration, otherwise the main note and grace
2321 note end up on different staves.
2323 Grace note synchronization can also lead to surprises. Staff notation,
2324 such as key signatures, barlines, etc. are also synchronized. Take
2325 care when you mix staves with grace notes and staves without, for example,
2327 @lilypond[relative=2,verbatim,fragment]
2328 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2329 \new Staff { c4 \bar "|:" d4 } >>
2332 Grace sections should only be used within sequential music
2333 expressions. Nesting or juxtaposing grace sections is not supported,
2334 and might produce crashes or other errors.
2336 Overriding settings cannot be done in separate styles for appoggiatura
2341 @subsection Glissando
2344 @cindex @code{\glissando}
2346 A glissando is a smooth change in pitch. It is denoted by a line or a
2347 wavy line between two notes.
2351 A glissando line can be requested by attaching a @code{\glissando} to
2354 @lilypond[fragment,relative,verbatim]
2360 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2365 Adding additional texts (such as @emph{gliss.}) is not supported.
2369 @subsection Dynamics
2382 @cindex @code{\ffff}
2392 Absolute dynamic marks are specified using an variable after a
2393 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2394 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2395 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2396 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2398 @lilypond[verbatim,singleline,fragment,relative]
2399 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2405 @cindex @code{\decr}
2406 @cindex @code{\rced}
2413 A crescendo mark is started with @code{\<} and terminated with
2414 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2415 with @code{\!}. Because these marks are bound to notes, if you must
2416 use spacer notes if multiple marks during one note are needed:
2418 @lilypond[fragment,verbatim,center,quote]
2419 c''\< c''\! d''\decr e''\rced
2420 << f''1 { s4 s4\< s4\! \> s4\! } >>
2422 This may give rise to very short hairpins. Use @code{minimum-length}
2423 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2427 \property Staff.Hairpin \override #'minimum-length = #5
2430 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2431 is an example how to do it:
2433 @lilypond[fragment,relative=2,verbatim]
2434 c4 \cresc c4 c c c \endcresc c4
2440 You can also supply your own texts:
2441 @lilypond[fragment,relative,verbatim]
2443 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2444 \property Voice.crescendoSpanner = #'dashed-line
2454 @cindex @code{\dynamicUp}
2456 @cindex @code{\dynamicDown}
2457 @code{\dynamicDown},
2458 @cindex @code{\dynamicBoth}
2459 @code{\dynamicBoth}.
2461 @cindex direction, of dynamics
2465 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2466 @internalsref{AbsoluteDynamicEvent}.
2468 Dynamics are objects of @internalsref{DynamicText} and
2469 @internalsref{Hairpin}. Vertical positioning of these symbols is
2470 handled by the @internalsref{DynamicLineSpanner} object.
2472 If you want to adjust padding or vertical direction of the dynamics, you
2473 must set properties for the @internalsref{DynamicLineSpanner} object.
2481 @cindex @code{\repeat}
2484 Repetition is a central concept in music, and multiple notations exist
2485 for repetitions. In LilyPond, most of these notations can be captured
2486 in a uniform syntax. One of the advantages is that they can be
2487 rendered in MIDI accurately.
2489 The following types of repetition are supported:
2493 Repeated music is fully written (played) out. Useful for MIDI
2494 output, and entering repetitive music.
2497 This is the normal notation: Repeats are not written out, but
2498 alternative endings (voltas) are printed, left to right.
2502 Alternative endings are written stacked. This has limited use but may be
2503 used to typeset two lines of lyrics in songs with repeats, see
2504 @inputfileref{input,star-spangled-banner.ly}.
2511 Make beat or measure repeats. These look like percent signs.
2517 * Repeats and MIDI::
2518 * Manual repeat commands::
2520 * Tremolo subdivisions::
2525 @subsection Repeat syntax
2529 LilyPond has one syntactic construct for specifying different types of
2530 repeats. The syntax is
2533 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2536 If you have alternative endings, you may add
2537 @cindex @code{\alternative}
2539 \alternative @code{@{} @var{alternative1}
2541 @var{alternative3} @dots{} @code{@}}
2543 where each @var{alternative} is a music expression. If you do not
2544 give enough alternatives for all of the repeats, then the first
2545 alternative is assumed to be played more than once.
2547 Normal notation repeats are used like this:
2548 @lilypond[fragment,verbatim,relative 1]
2550 \repeat volta 2 { c4 d e f }
2551 \repeat volta 2 { f e d c }
2554 With alternative endings:
2555 @lilypond[fragment,verbatim,relative 1]
2557 \repeat volta 2 {c4 d e f}
2558 \alternative { {d2 d} {f f,} }
2562 @lilypond[fragment,verbatim,relative 1]
2565 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2566 \alternative { { g4 g g } { a | a a a a | b2. } }
2572 If you do a nested repeat like
2581 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2582 belongs. This ambiguity is resolved by always having the
2583 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2584 it is advisable to use braces in such situations.
2587 @node Repeats and MIDI
2588 @subsection Repeats and MIDI
2590 @cindex expanding repeats
2592 For instructions on how to unfold repeats for MIDI output, see the
2593 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2598 Timing information is not remembered at the start of an alternative,
2599 so after a repeat timing information must be reset by hand, for
2600 example by setting @code{Score.measurePosition} or entering
2601 @code{\partial}. Similarly, slurs or ties are also not repeated.
2604 @node Manual repeat commands
2605 @subsection Manual repeat commands
2607 @cindex @code{repeatCommands}
2609 The property @code{repeatCommands} can be used to control the layout of
2610 repeats. Its value is a Scheme list of repeat commands, where each repeat
2614 @item the symbol @code{start-repeat},
2615 which prints a @code{|:} bar line,
2616 @item the symbol @code{end-repeat},
2617 which prints a @code{:|} bar line,
2618 @item the list @code{(volta @var{text})},
2619 which prints a volta bracket saying @var{text}: The text can be specified as
2620 a text string or as a markup text, see @ref{Text markup}. Do not
2621 forget to change the font, as the default number font does not contain
2622 alphabetic characters. Or,
2623 @item the list @code{(volta #f)}, which
2624 stops a running volta bracket:
2627 @lilypond[verbatim, fragment,relative 2]
2629 \property Score.repeatCommands = #'((volta "93") end-repeat)
2631 \property Score.repeatCommands = #'((volta #f))
2638 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2639 @internalsref{VoltaRepeatedMusic},
2640 @internalsref{UnfoldedRepeatedMusic}, and
2641 @internalsref{FoldedRepeatedMusic}.
2643 @node Tremolo repeats
2644 @subsection Tremolo repeats
2645 @cindex tremolo beams
2647 To place tremolo marks between notes, use @code{\repeat} with tremolo
2649 @lilypond[verbatim,center,singleline]
2651 \context Voice \notes\relative c' {
2652 \repeat "tremolo" 8 { c16 d16 }
2653 \repeat "tremolo" 4 { c16 d16 }
2654 \repeat "tremolo" 2 { c16 d16 }
2655 \repeat "tremolo" 4 c16
2662 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2663 are @internalsref{StemTremolo}s. The music expression is
2664 @internalsref{TremoloEvent}.
2669 The single stem tremolo must be entered without @code{@{} and
2672 @node Tremolo subdivisions
2673 @subsection Tremolo subdivisions
2674 @cindex tremolo marks
2675 @cindex @code{tremoloFlags}
2677 Tremolo marks can be printed on a single note by adding
2678 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2679 A @var{length} value of 8 gives one line across the note stem. If the
2680 length is omitted, then then the last value (stored in
2681 @code{Voice.tremoloFlags}) is used:
2683 @lilypond[verbatim,fragment,center]
2684 c'2:8 c':32 | c': c': |
2687 @c [TODO : stok is te kort bij 32en]
2691 Tremolos in this style do not carry over into the MIDI output.
2694 @node Measure repeats
2695 @subsection Measure repeats
2697 @cindex percent repeats
2698 @cindex measure repeats
2700 In the @code{percent} style, a note pattern can be repeated. It is
2701 printed once, and then the pattern is replaced with a special sign.
2702 Patterns of a one and two measures are replaced by percent-like signs,
2703 patterns that divide the measure length are replaced by slashes:
2705 @lilypond[verbatim,singleline]
2706 \context Voice { \repeat "percent" 4 { c'4 }
2707 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2713 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2714 @internalsref{PercentRepeatedMusic}, and
2715 @internalsref{DoublePercentRepeat}.
2719 @node Rhythmic music
2720 @section Rhythmic music
2722 Sometimes you might want to show only the rhythm of a melody. This
2723 can be done with the rhythmic staff. All pitches of notes on such a
2724 staff are squashed, and the staff itself has a single line:
2726 @lilypond[fragment,relative,verbatim]
2727 \context RhythmicStaff {
2729 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2734 * Percussion staves::
2735 * Percussion MIDI output::
2738 @node Percussion staves
2739 @subsection Percussion staves
2743 A percussion part for more than one instrument typically uses a
2744 multiline staff where each position in the staff refers to one piece
2749 Percussion staves are typeset with help of a set of Scheme
2750 functions. The system is based on the general MIDI drum-pitches.
2751 Include @file{drumpitch-init.ly} to use drum pitches. This file
2752 defines the pitches from the Scheme variable @code{drum-pitch-names},
2753 the definition of which can be read in @file{scm/drums.scm}. Each
2754 piece of percussion has a full name and an abbreviated name, and either
2755 the full name or the abbreviation may be used in input files.
2757 To typeset the music on a staff apply the function @code{drums->paper}
2758 to the percussion music. This function takes a list of percussion
2759 instrument names, notehead scripts and staff positions (that is:
2760 pitches relative to the C-clef) and transforms the input
2761 music by moving the pitch, changing the notehead and (optionally)
2764 @lilypond[singleline,verbatim,quote]
2765 \include "drumpitch-init.ly"
2766 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2767 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2769 \apply #(drums->paper 'drums) \context Staff <<
2771 \new Voice { \voiceOne \up }
2772 \new Voice { \voiceTwo \down }
2777 In the above example the music was transformed using the list @code{'drums}.
2778 The following lists are defined in @file{scm/drums.scm}:
2781 to typeset a typical drum kit on a five-line staff:
2784 \include "drumpitch-init.ly"
2785 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2786 bd sn ss tomh tommh tomml toml tomfh tomfl }
2787 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2788 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2791 \apply #(drums->paper 'drums) \context Staff <<
2795 \context Lyrics \nam
2798 linewidth = 100.0\mm
2801 \remove Bar_engraver
2802 \remove Time_signature_engraver
2803 minimumVerticalExtent = #'(-4.0 . 5.0)
2807 \remove Stem_engraver
2813 The drum scheme supports six different toms. When there fewer toms, simply
2814 select the toms that produce the desired result, i.e. to get toms on
2815 the three middle lines you use @code{tommh}, @code{tomml} and
2818 Because general MIDI does not contain rimshots the sidestick is used
2819 for this purpose instead.
2821 to typeset timbales on a two line staff:
2823 @lilypond[singleline]
2824 \include "drumpitch-init.ly"
2825 nam = \lyrics { timh ssh timl ssl cb }
2826 mus = \notes { timh ssh timl ssl cb s16 }
2829 \apply #(drums->paper 'timbales) \context Staff <<
2833 \context Lyrics \nam
2838 \remove Bar_engraver
2839 \remove Time_signature_engraver
2840 StaffSymbol \override #'line-count = #2
2841 StaffSymbol \override #'staff-space = #2
2842 minimumVerticalExtent = #'(-3.0 . 4.0)
2846 \remove Stem_engraver
2853 to typeset congas on a two line staff:
2855 @lilypond[singleline]
2856 \include "drumpitch-init.ly"
2857 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2858 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2861 \apply #(drums->paper 'congas) \context Staff <<
2865 \context Lyrics \nam
2870 \remove Bar_engraver
2871 \remove Time_signature_engraver
2872 StaffSymbol \override #'line-count = #2
2873 StaffSymbol \override #'staff-space = #2
2874 minimumVerticalExtent = #'(-3.0 . 4.0)
2878 \remove Stem_engraver
2884 to typeset bongos on a two line staff:
2886 @lilypond[singleline]
2887 \include "drumpitch-init.ly"
2888 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2889 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2892 \apply #(drums->paper 'bongos) \context Staff <<
2896 \context Lyrics \nam
2901 \remove Bar_engraver
2902 \remove Time_signature_engraver
2903 StaffSymbol \override #'line-count = #2
2904 StaffSymbol \override #'staff-space = #2
2905 minimumVerticalExtent = #'(-3.0 . 4.0)
2909 \remove Stem_engraver
2915 to typeset all kinds of simple percussion on one line staves:
2916 @lilypond[singleline]
2917 \include "drumpitch-init.ly"
2918 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2919 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2922 \apply #(drums->paper 'percussion) \context Staff <<
2926 \context Lyrics \nam
2931 \remove Bar_engraver
2932 \remove Time_signature_engraver
2933 StaffSymbol \override #'line-count = #1
2934 minimumVerticalExtent = #'(-2.0 . 3.0)
2938 \remove Stem_engraver
2945 If you do not like any of the predefined lists you can define your own
2946 list at the top of your file:
2948 @lilypond[singleline, verbatim]
2949 #(set-drum-kit 'mydrums `(
2950 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2951 (snare default #f ,(ly:make-pitch 0 1 0))
2952 (hihat cross #f ,(ly:make-pitch 0 5 0))
2953 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2954 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2956 \include "drumpitch-init.ly"
2957 up = \notes { hh8 hh hh hh hhp4 hhp }
2958 down = \notes { bd4 sn bd toml8 toml }
2960 \apply #(drums->paper 'mydrums) \context Staff <<
2962 \new Voice { \voiceOne \up }
2963 \new Voice { \voiceTwo \down }
2968 To use a modified existing list, one can prepend modifications to the
2972 #(set-drum-kit 'mydrums (append `(
2973 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2974 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2975 ) (get-drum-kit 'drums)))
2978 You can easily combine percussion notation with pitched notation.
2979 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2980 names, so you will have to reinclude @file{nederlands.ly} after the
2981 drum-pattern-definitions to enter normal notes:
2983 @lilypond[singleline,verbatim]
2984 \include "drumpitch-init.ly"
2985 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2986 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2987 \include "nederlands.ly"
2988 bass = \notes \transpose c c,, { a4. e8 r e g e }
2991 \apply #(drums->paper 'drums) \new Staff <<
2993 \new Voice { \voiceOne \up }
2994 \new Voice { \voiceTwo \down }
2996 \new Staff { \clef "F_8" \bass }
3001 @node Percussion MIDI output
3002 @subsection Percussion MIDI output
3004 In order to produce correct MIDI output you need to produce two score
3005 blocks---one for the paper and one for the MIDI output. To use the
3006 percussion channel you set the property @code{instrument} to
3007 @code{'drums}. Because the drum-pitches themselves are similar to the
3008 general MIDI pitches all you have to do is to insert the voices with
3009 none of the scheme functions to get the correct MIDI output:
3013 \apply #(drums->paper 'mydrums) \context Staff <<
3022 \property Staff.instrument = #'drums
3032 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3033 temporary implementation.
3037 @section Piano music
3039 Piano staves are two normal staves coupled with a brace. The staves
3040 are largely independent, but sometimes voices can cross between the
3041 two staves. The same notation is also used for harps and other key
3042 instruments. The @internalsref{PianoStaff} is especially built to
3043 handle this cross-staffing behavior. In this section we discuss the
3044 @internalsref{PianoStaff} and some other pianistic peculiarities.
3048 * Automatic staff changes::
3049 * Manual staff switches::
3052 * Staff switch lines::
3057 There is no support for putting chords across staves. You can get
3058 this result by increasing the length of the stem in the lower stave so
3059 it reaches the stem in the upper stave, or vice versa. An example is
3060 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3062 Dynamics are not centered, but kludges do exist. See
3063 @inputfileref{input/template,piano-dynamics.ly}.
3065 @cindex cross staff stem
3066 @cindex stem, cross staff
3069 @c fixme: should have hyperlinks as well.
3075 @node Automatic staff changes
3076 @subsection Automatic staff changes
3077 @cindex Automatic staff changes
3079 Voices can switch automatically between the top and the bottom
3080 staff. The syntax for this is
3082 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3084 The two staffs of the piano staff must be named @code{up} and
3087 The autochanger switches on basis of pitch (central C is the turning
3088 point), and it looks ahead skipping over rests to switch in
3089 advance. Here is a practical example:
3091 @lilypond[verbatim,singleline,quote]
3092 \score { \notes \context PianoStaff <<
3093 \context Staff = "up" {
3094 \autochange Staff \context Voice = VA << \relative c' {
3095 g4 a b c d r4 a g } >> }
3096 \context Staff = "down" {
3103 In this example, spacer rests are used to prevent the bottom staff from
3104 terminating too soon.
3109 @internalsref{AutoChangeMusic}.
3113 The staff switches often do not end up in optimal places. For high
3114 quality output, staff switches should be specified manually.
3118 @node Manual staff switches
3119 @subsection Manual staff switches
3121 @cindex manual staff switches
3122 @cindex staff switch, manual
3124 Voices can be switched between staves manually, using the following command:
3126 \translator Staff = @var{staffname} @var{music}
3130 The string @var{staffname} is the name of the staff. It switches the
3131 current voice from its current staff to the Staff called
3132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3140 Pianos have pedals that alter the way sound are produced. Generally, a
3141 piano has three pedals, sustain, una corda, and sostenuto.
3145 Piano pedal instruction can be expressed by attaching
3146 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3147 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3150 @lilypond[fragment,verbatim]
3151 c'4\sustainDown c'4\sustainUp
3154 What is printed can be modified by setting @code{pedal@var{X}Strings},
3155 where @var{X} is one of the pedal types: @code{Sustain},
3156 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3157 documentation of @internalsref{SustainPedal} for more information.
3159 Pedals can also be indicated by a sequence of brackets, by setting the
3160 @code{pedalSustainStyle} property to @code{bracket} objects:
3162 @lilypond[fragment,verbatim]
3163 \property Staff.pedalSustainStyle = #'bracket
3164 c''4\sustainDown d''4 e''4
3165 a'4\sustainUp\sustainDown
3166 f'4 g'4 a'4\sustainUp
3169 A third style of pedal notation is a mixture of text and brackets,
3170 obtained by setting @code{pedal-type} to @code{mixed}:
3172 @lilypond[fragment,verbatim]
3173 \property Staff.pedalSustainStyle = #'mixed
3174 c''4\sustainDown d''4 e''4
3175 c'4\sustainUp\sustainDown
3176 f'4 g'4 a'4\sustainUp
3179 The default `*Ped' style for sustain and damper pedals corresponds to
3180 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3181 for a sostenuto pedal:
3183 @lilypond[fragment,verbatim]
3184 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3187 For fine-tuning of the appearance of a pedal bracket, the properties
3188 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3189 @code{PianoPedalBracket} objects (see
3190 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3191 bracket may be extended to the end of the note head:
3193 @lilypond[fragment,verbatim]
3194 \property Staff.PianoPedalBracket \override
3195 #'shorten-pair = #'(0 . -1.0)
3196 c''4\sostenutoDown d''4 e''4 c'4
3197 f'4 g'4 a'4\sostenutoUp
3201 @subsection Arpeggio
3204 @cindex broken arpeggio
3205 @cindex @code{\arpeggio}
3207 You can specify an arpeggio sign on a chord by attaching an
3208 @code{\arpeggio} to a chord:
3211 @lilypond[fragment,relative,verbatim]
3215 When an arpeggio crosses staves, you attach an arpeggio to the chords
3216 in both staves, and set
3217 @internalsref{PianoStaff}.@code{connectArpeggios}:
3219 @lilypond[fragment,relative,verbatim]
3220 \context PianoStaff <<
3221 \property PianoStaff.connectArpeggios = ##t
3222 \new Staff { <c' e g c>\arpeggio }
3223 \new Staff { \clef bass <c,, e g>\arpeggio }
3227 The direction of the arpeggio is sometimes denoted by adding an
3228 arrowhead to the wiggly line. This can be typeset by setting
3229 @code{arpeggio-direction}:
3231 @lilypond[fragment,relative,verbatim]
3233 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3235 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3240 A square bracket on the left indicates that the player should not
3241 arpeggiate the chord. To draw these brackets, set the
3242 @code{molecule-callback} property of @code{Arpeggio} or
3243 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3244 @code{\arpeggio} statements within the chords as before:
3246 @lilypond[fragment,relative,verbatim]
3247 \property PianoStaff.Arpeggio \override
3248 #'molecule-callback = \arpeggioBracket
3254 @cindex @code{\arpeggioBracket}
3255 @code{\arpeggioBracket},
3256 @cindex @code{\arpeggio}
3261 @internalsref{ArpeggioEvent} music expressions lead to
3262 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3263 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3267 It is not possible to mix connected arpeggios and unconnected
3268 arpeggios in one @internalsref{PianoStaff} at the same time.
3270 @node Staff switch lines
3271 @subsection Staff switch lines
3274 @cindex follow voice
3275 @cindex staff switching
3278 @cindex @code{followVoice}
3280 Whenever a voice switches to another staff a line connecting the notes
3281 can be printed automatically. This is enabled if the property
3282 @code{PianoStaff.followVoice} is set to true:
3284 @lilypond[fragment,relative,verbatim]
3285 \context PianoStaff <<
3286 \property PianoStaff.followVoice = ##t
3287 \context Staff \context Voice {
3289 \translator Staff=two
3292 \context Staff=two { \clef bass \skip 1*2 }
3296 The associated object is @internalsref{VoiceFollower}.
3300 @cindex @code{\showStaffSwitch}
3301 @code{\showStaffSwitch},
3302 @cindex @code{\hideStaffSwitch}
3303 @code{\hideStaffSwitch}.
3307 @section Vocal music
3309 This section discusses how to enter and print lyrics.
3313 * The Lyrics context::
3318 @node Entering lyrics
3319 @subsection Entering lyrics
3323 @cindex @code{\lyrics}
3326 Lyrics are entered in a special input mode. This mode is is introduced
3327 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3328 punctuation and accents without any hassle. Syllables are entered like
3329 notes, but with pitches replaced by text. For example,
3331 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3334 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3335 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3336 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3337 any 8-bit character with ASCII code over 127, or a two-character
3338 combination of a backslash followed by one of @code{`}, @code{'},
3339 @code{"}, or @code{^}.
3341 Subsequent characters of a word can be any character that is not a digit
3342 and not white space. One important consequence of this is that a word
3343 can end with @code{@}}. The following example is usually a bug. The
3344 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3346 \lyrics @{ twinkle@}
3349 @cindex @code{\property}, in @code{\lyrics}
3350 Similarly, a period following a alphabetic sequence, is included in the
3351 resulting string. As a consequence, spaces must be inserted around
3352 @code{\property} commands:
3354 \property Lyrics . LyricText \set #'font-shape = #'italic
3358 @cindex spaces, in lyrics
3359 @cindex quotes, in lyrics
3361 Any @code{_} character which appears in an unquoted word is converted
3362 to a space. This provides a mechanism for introducing spaces into words
3363 without using quotes. Quoted words can also be used in Lyrics mode to
3364 specify words that cannot be written with the above rules:
3367 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3371 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3376 These will be attached to the end of the first syllable.
3378 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3379 as a separate word between syllables. The hyphen will have variable
3380 length depending on the space between the syllables and it will be
3381 centered between the syllables.
3386 When a lyric is sung over many notes (this is called a melisma), this is
3387 indicated with a horizontal line centered between a syllable and the
3388 next one. Such a line is called an extender line, and it is entered as
3393 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3394 @internalsref{ExtenderEvent}.
3398 The definition of lyrics mode is too complex.
3400 @node The Lyrics context
3401 @subsection The Lyrics context
3403 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3405 \context Lyrics \lyrics @dots{}
3408 @cindex automatic syllable durations
3409 @cindex @code{\addlyrics}
3410 @cindex lyrics and melodies
3412 This will place the lyrics according to the durations that were
3413 entered. The lyrics can also be aligned under a given melody
3414 automatically. In this case, it is no longer necessary to enter the
3415 correct duration for each syllable. This is achieved by combining the
3416 melody and the lyrics with the @code{\addlyrics} expression:
3420 \context Lyrics @dots{}
3423 @cindex staff order, with @code{\addlyrics}
3425 Normally, this will put the lyrics below the staff. For different or
3426 more complex orderings, the best way is to setup the hierarchy of
3427 staves and lyrics first, e.g.
3429 \context ChoirStaff \notes <<
3430 \context Lyrics = sopr @{ s1 @}
3431 \context Staff = soprStaff @{ s1 @}
3432 \context Lyrics = tenor @{ s1 @}
3433 \context Staff = tenorStaff @{ s1 @}
3436 and then combine the appropriate melodies and lyric lines:
3439 \context Staff = soprStaff @emph{the music}
3440 \context Lyrics = sopr @emph{the lyrics}
3443 putting both together, you would get
3445 \context ChoirStaff \notes <<
3446 \context Lyrics = @dots{}
3447 \context Staff = @dots{}
3453 @cindex choral score
3455 A complete example of a SATB score setup is in the file
3456 @inputfileref{input/template,satb.ly}.
3460 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3461 @inputfileref{input/template,satb.ly}.
3465 @code{\addlyrics} is not automatic enough: melismata are not detected
3466 automatically, and melismata are not stopped when they hit a rest. A
3467 melisma on the last note in a melody is not printed.
3471 @subsection More stanzas
3474 @cindex phrasing, in lyrics
3476 When multiple stanzas are printed underneath each other, the vertical
3477 groups of syllables should be aligned around punctuation. This can be
3478 done automatically when corresponding lyric lines and melodies are
3481 To this end, give the @internalsref{Voice} context an identity:
3483 \context Voice = duet @{
3488 Then set the @internalsref{LyricsVoice} contexts to names starting with
3489 that identity followed by a dash. In the preceding example, the
3490 @internalsref{Voice} identity is @code{duet}, so the identities of the
3491 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3493 \context LyricsVoice = "duet-1" @{
3494 Hi, my name is bert. @}
3495 \context LyricsVoice = "duet-2" @{
3496 Ooooo, ch\'e -- ri, je t'aime. @}
3498 The convention for naming @internalsref{LyricsVoice} and
3499 @internalsref{Voice} must also be used to get melismata correct in
3500 conjunction with rests.
3502 The complete example is shown here:
3503 @lilypond[singleline,verbatim]
3506 \notes \relative c'' \context Voice = duet { \time 3/4
3508 \lyrics \context Lyrics <<
3509 \context LyricsVoice = "duet-1" {
3510 \property LyricsVoice . stanza = "Bert"
3511 Hi, my name is bert. }
3512 \context LyricsVoice = "duet-2" {
3513 \property LyricsVoice . stanza = "Ernie"
3514 Ooooo, ch\'e -- ri, je t'aime. }
3519 Stanza numbers, or the names of the singers can be added by setting
3520 @code{LyricsVoice.Stanza} (for the first system) and
3521 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3522 surrounded with spaces in @code{\lyrics} mode:
3525 \property LyricsVoice . stanza = "Bert"
3527 \property LyricsVoice . stanza = "Ernie"
3530 To make empty spaces in lyrics, use @code{\skip}.
3538 Input for lyrics introduces a syntactical ambiguity:
3545 is interpreted as assigning a string identifier @code{\foo} such that
3546 it contains @code{"bar"}. However, it could also be interpreted as
3547 making or a music identifier @code{\foo} containing the syllable
3548 `bar'. The force the latter interpretation, use
3558 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3559 for a given voice in a part of music. It also may denote the pitch
3560 range that a musical instrument is capable of playing. Most musical
3561 instruments have their ambitus standardized (or at least there is
3562 agreement upon the minimal ambitus of a particular type of
3563 instrument), such that a composer or arranger of a piece of music can
3564 easily meet the ambitus constraints of the targeted instrument.
3565 However, the ambitus of the human voice depends on individual
3566 physiological state, including education and training of the voice.
3567 Therefore, a singer potentially has to check for each piece of music
3568 if the ambitus of that piece meets his individual capabilities. This
3569 is why the ambitus of a piece may be of particular value to vocal
3572 The ambitus is typically notated on a per-voice basis at the very
3573 beginning of a piece, e.g. nearby the initial clef or time signature of
3574 each staff. The range is graphically specified by two noteheads, that
3575 represent the minimum and maximum pitch. Some publishers use a textual
3576 notation: they put the range in words in front of the corresponding
3577 staff. LilyPond only supports the graphical ambitus notation.
3579 To apply, add the @internalsref{Ambitus_engraver} to the
3580 @internalsref{Voice} context, i.e.
3586 \consists Ambitus_engraver
3591 This results in the following output:
3592 @lilypond[singleline]
3593 upper = \notes \relative c {
3596 as'' c e2 bes f cis d4 e f2 g
3598 lower = \notes \relative c {
3601 e'4 b g a c es fis a cis b a g f e d2
3604 \context ChoirStaff {
3606 \new Staff { \upper }
3607 \new Staff { \lower }
3613 \consists Ambitus_engraver
3619 If you have multiple voices in a single staff, and you want a single
3620 ambitus per staff rather than per each voice, then add the
3621 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3622 rather than to the @internalsref{Voice} context.
3624 It is possible to tune individual ambituses for multiple voices on a
3625 single staff, for example by erasing or shifting them horizontally. An
3626 example is in @inputfileref{input/test,ambitus-mixed.ly}
3630 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly},
3631 @inputfileref{input/test,ambitus-mixed.ly}.
3635 There is no collision handling in the case of multiple per-voice
3641 Tablature notation is used for notating music for plucked string
3642 instruments. It notates pitches not by using note heads, but by
3643 indicating on which string and fret a note must be played. LilyPond
3644 offers limited support for tablature.
3647 * Tablatures basic::
3648 * Non-guitar tablatures::
3651 @node Tablatures basic
3652 @subsection Tablatures basic
3653 @cindex Tablatures basic
3655 The string number associated to a note is given as a backslash
3656 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3657 string. By default, string 1 is the highest one, and the tuning
3658 defaults to the standard guitar tuning (with 6 strings). The notes
3659 are printed as tablature, by using @internalsref{TabStaff} and
3660 @internalsref{TabVoice} contexts:
3662 @lilypond[fragment,verbatim]
3663 \notes \context TabStaff {
3669 When no string is specified, the first string that does not give a
3670 fret number less than @code{minimumFret} is selected. The default
3671 value for @code{minimumFret} is 0:
3675 e8 fis gis a b cis' dis' e'
3676 \property TabStaff.minimumFret = #8
3677 e8 fis gis a b cis' dis' e'
3682 e8 fis gis a b cis' dis' e'
3683 \property TabStaff.minimumFret = #8
3684 e8 fis gis a b cis' dis' e'
3687 \context StaffGroup <<
3688 \context Staff { \clef "G_8" \frag }
3689 \context TabStaff { \frag }
3696 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3697 @internalsref{StringNumberEvent}.
3701 Chords are not handled in a special way, and hence the automatic
3702 string selector may easily select the same string to two notes in a
3706 @node Non-guitar tablatures
3707 @subsection Non-guitar tablatures
3708 @cindex Non-guitar tablatures
3710 You can change the number of strings, by setting the number of lines
3711 in the @internalsref{TabStaff} (the @code{line-count} property of
3712 @internalsref{TabStaff} can only be changed using
3713 @code{\applyoutput}, for more information, see @ref{Tuning
3716 You can change the tuning of the strings. A string tuning is given as
3717 a Scheme list with one integer number for each string, the number
3718 being the pitch (measured in semitones relative to central C) of an
3719 open string. The numbers specified for @code{stringTuning} are the
3720 numbers of semitones to subtract or add, starting the specified pitch
3721 by default middle C, in string order. Thus, the notes are e, a, d, and
3724 @lilypond[fragment,verbatim]
3725 \context TabStaff <<
3727 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface)
3729 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3732 a,4 c' a e' e c' a e'
3737 It is possible to change the Scheme function to format the tablature
3738 note text. The default is @code{fret-number-tablature-format}, which
3739 uses the fret number. For instruments that do not use this notation,
3740 you can create a special tablature formatting function. This function
3741 takes three argument: string number, string tuning and note pitch.
3745 No guitar special effects have been implemented.
3750 @section Chord names
3753 LilyPond has support for both printing chord names. Chords may be
3754 entered in musical chord notation, i.e. @code{< .. >}, but they can
3755 also be entered by name. Internally, the chords are represented as a
3756 set of pitches, so they can be transposed:
3759 @lilypond[verbatim,singleline]
3760 twoWays = \notes \transpose c c' {
3770 << \context ChordNames \twoWays
3771 \context Voice \twoWays >> }
3774 This example also shows that the chord printing routines do not try to
3775 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3781 * Printing chord names::
3786 @subsection Chords mode
3789 Chord mode is a mode where you can input sets of pitches using common
3790 names. It is introduced by the keyword @code{\chords}.
3791 In chords mode, a chord is entered by the root, which is entered
3792 like a common pitch:
3793 @lilypond[fragment,verbatim,quote, relative=1]
3794 \chords { es4. d8 c2 }
3799 Other chords may be entered by suffixing a colon, and introducing a
3800 modifier, and optionally, a number:
3802 @lilypond[fragment,verbatim,quote]
3803 \chords { e1:m e1:7 e1:m7 }
3805 The first number following the root is taken to be the `type' of the
3806 chord, thirds are added to the root until it reaches the specified
3808 @lilypond[fragment,verbatim]
3809 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3812 @cindex root of chord
3813 @cindex additions, in chords
3814 @cindex removals, in chords
3816 More complex chords may also be constructed adding separate steps
3817 to a chord. Additions are added after the number following
3818 the colon, and are separated by dots:
3820 @lilypond[verbatim,fragment,quote]
3821 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3823 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3825 @lilypond[verbatim,fragment,quote]
3826 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3828 Removals are specified similarly, and are introduced by a caret. They
3829 must come after the additions:
3830 @lilypond[verbatim,fragment]
3831 \chords { c^3 c:7^5 c:9^3.5 }
3834 Modifiers can be used to change pitches. The following modifiers are
3838 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3840 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3843 is the augmented chord. This modifier raises the 5th step.
3845 is the major 7th chord. This modifier raises the 7th step if present.
3847 is the suspended 4th or 2nd. This modifier removes the 3rd
3848 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3851 Modifiers can be mixed with additions:
3852 @lilypond[verbatim,fragment]
3853 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3856 @cindex modifiers, in chords.
3863 Since an unaltered 11 does not sound good when combined with an
3864 unaltered 13, the 11 is removed in this case (unless it is added
3867 @lilypond[fragment,verbatim]
3868 \chords { c:13 c:13.11 c:m13 }
3873 An inversion (putting one pitch of the chord on the bottom), as well
3874 as bass notes, can be specified by appending
3875 @code{/}@var{pitch} to the chord:
3876 @lilypond[fragment,verbatim,center]
3877 \chords { c1 c/g c/f }
3881 A bass note can be added instead of transposed out of the chord,
3882 by using @code{/+}@var{pitch}.
3884 @lilypond[fragment,verbatim,center]
3885 \chords { c1 c/+g c/+f }
3888 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3889 of the commands continue to work, for example, @code{r} and
3890 @code{\skip} can be used to insert rests and spaces, and
3891 @code{\property} may be used to change various settings.
3897 Each step can only be present in a chord once. The following
3898 simply produces the augmented chord, since @code{5+} is interpreted
3901 @lilypond[verbatim,fragment]
3902 \chords { c:5.5-.5+ }
3906 @node Printing chord names
3907 @subsection Printing chord names
3909 @cindex printing chord names
3913 For displaying printed chord names, use the @internalsref{ChordNames} context.
3914 The chords may be entered either using the notation
3915 described above, or directly using @code{<} and @code{>}:
3917 @lilypond[verbatim,singleline]
3919 \chords {a1 b c} <d' f' a'> <e' g' b'>
3923 \context ChordNames \scheme
3924 \context Staff \scheme
3929 You can make the chord changes stand out by setting
3930 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3931 display chord names when there is a change in the chords scheme and at
3932 the start of a new line:
3934 @lilypond[verbatim, linewidth=9cm]
3936 c1:m c:m \break c:m c:m d
3940 \context ChordNames {
3941 \property ChordNames.chordChanges = ##t
3943 \context Staff \transpose c c' \scheme
3948 The default chord name layout is a system for Jazz music, proposed by
3949 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3950 following properties:
3953 @cindex chordNameExceptions
3954 @item chordNameExceptions
3955 This is a list that contains the chords that have special formatting.
3957 @inputfileref{input/regression,chord-name-exceptions.ly}.
3958 @cindex exceptions, chord names.
3961 @cindex majorSevenSymbol
3962 @item majorSevenSymbol
3963 This property contains the markup object used for the 7th step, when
3964 it is major. Predefined options are @code{whiteTriangleMarkup} and
3965 @code{blackTriangleMarkup}. See
3966 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3968 @cindex chordNameSeparator
3969 @item chordNameSeparator
3970 Different parts of a chord name are normally separated by a
3971 slash. By setting @code{chordNameSeparator}, you can specify other
3973 @lilypond[fragment,verbatim]
3974 \context ChordNames \chords {
3976 \property ChordNames.chordNameSeparator
3977 = \markup { \typewriter "|" }
3981 @cindex chordRootNamer
3982 @item chordRootNamer
3983 The root of a chord is usually printed as a letter with an optional
3984 alteration. The transformation from pitch to letter is done by this
3985 function. Special note names (for example, the German ``H'' for a
3986 B-chord) can be produced by storing a new function in this property.
3988 The pre-defined variables @code{\germanChords},
3989 @code{\semiGermanChords} set these variables.
3992 @cindex chordNoteNamer
3993 @item chordNoteNamer
3994 The default is to print single pitch, e.g. the bass note, using the
3995 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3996 to a specialized function to change this behavior. For example, the
3997 base can be printed in lower case.
4002 There are also two other chord name schemes implemented: an alternate
4003 Jazz chord notation, and a systematic scheme called Banter chords. The
4004 alternate jazz notation is also shown on the chart in @ref{Chord name
4005 chart}. Turning on these styles is described in the input file
4006 @inputfileref{input/test,chord-names-jazz.ly}.
4010 @cindex chords, jazz
4015 @cindex @code{\germanChords}
4016 @code{\germanChords},
4017 @cindex @code{\semiGermanChords}
4018 @code{\semiGermanChords}.
4025 @inputfileref{input/regression,chord-name-major7.ly},
4026 @inputfileref{input/regression,chord-name-exceptions.ly},
4027 @inputfileref{input/test,chord-names-jazz.ly},
4028 @inputfileref{input/test,chord-names-german.ly},
4029 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4034 Chord names are determined solely from the list of pitches. Chord
4035 inversions are not identified, and neither are added bass notes. This
4036 may result in strange chord names when chords are entered with the
4037 @code{< .. >} syntax.
4042 @node Orchestral music
4043 @section Orchestral music
4045 @cindex Writing parts
4047 Orchestral music involves some special notation, both in the full
4048 score and the individual parts. This section explains how to tackle
4049 some common problems in orchestral music.
4054 * Multiple staff contexts::
4057 * Instrument names::
4059 * Multi measure rests::
4060 * Automatic part combining::
4062 * Different editions from one source::
4063 * Sound output for transposing instruments::
4066 @node Multiple staff contexts
4067 @subsection Multiple staff contexts
4069 Polyphonic scores consist of many staves. These staves can be
4070 constructed in three different ways:
4072 @item The group is started with a brace at the left. This is done with the
4073 @internalsref{GrandStaff} context.
4074 @item The group is started with a bracket. This is done with the
4075 @internalsref{StaffGroup} context
4076 @item The group is started with a vertical line. This is the default
4080 @cindex Staff, multiple
4081 @cindex bracket, vertical
4082 @cindex brace, vertical
4089 @node Rehearsal marks
4090 @subsection Rehearsal marks
4091 @cindex Rehearsal marks
4093 @cindex @code{\mark}
4095 To print a rehearsal mark, use the @code{\mark} command:
4096 @lilypond[fragment,verbatim]
4106 The mark is incremented automatically if you use @code{\mark
4107 \default}. The value to use is stored in the property
4108 @code{rehearsalMark} is used and automatically incremented.
4110 The @code{\mark} command can also be used to put signs like coda,
4111 segno and fermatas on a barline. Use @code{\markup} to
4112 to access the appropriate symbol:
4114 @lilypond[fragment,verbatim,relative=1]
4115 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4119 In this case, during line breaks,
4120 marks must also be printed at the end of the line, and not at the
4121 beginning. Use the following to force that behavior:
4123 \property Score.RehearsalMark \override
4124 #'break-visibility = #begin-of-line-invisible
4127 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4133 @cindex barlines, putting symbols on
4137 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4138 @inputfileref{input/test,boxed-molecule.ly}.
4142 @subsection Bar numbers
4146 @cindex measure numbers
4147 @cindex currentBarNumber
4149 Bar numbers are printed by default at the start of the line. The
4150 number itself is stored in the
4151 @code{currentBarNumber} property,
4152 which is normally updated automatically for every measure.
4154 Bar numbers can be typeset at regular intervals instead of at the
4155 beginning of each line. This is illustrated in the following example,
4156 whose source is available as
4157 @inputfileref{input/test,bar-number-regular-interval.ly}:
4159 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4164 @internalsref{BarNumber},
4165 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4166 @inputfileref{input/test,bar-number-regular-interval.ly}.
4170 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4171 there is one at the top. To solve this, the
4172 @code{padding} property of @internalsref{BarNumber} can be
4173 used to position the number correctly.
4175 @node Instrument names
4176 @subsection Instrument names
4178 In an orchestral score, instrument names are printed left side of the
4181 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4182 and @internalsref{Staff}.@code{instr}. This will print a string before
4183 the start of the staff. For the first start, @code{instrument} is
4184 used, for the next ones @code{instr} is used:
4187 @lilypond[verbatim,singleline]
4188 \property Staff.instrument = "ploink " { c''4 }
4192 You can also use markup texts to construct more complicated instrument
4196 @lilypond[fragment,verbatim,singleline]
4198 \property Staff.instrument = \markup {
4199 \column < "Clarinetti"
4201 \smaller \musicglyph #"accidentals--1"
4212 @internalsref{InstrumentName}.
4216 When you put a name on a grand staff or piano staff the width of the
4217 brace is not taken into account. You must add extra spaces to the end of
4218 the name to avoid a collision.
4221 @subsection Transpose
4223 @cindex transposition of pitches
4224 @cindex @code{\transpose}
4226 A music expression can be transposed with @code{\transpose}. The syntax
4229 \transpose @var{from} @var{to} @var{musicexpr}
4232 This means that @var{musicexpr} is transposed by the interval
4233 between @var{from} and @var{to}.
4235 @code{\transpose} distinguishes between enharmonic pitches: both
4236 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4237 half a tone. The first version will print sharps and the second
4238 version will print flats:
4240 @lilypond[singleline, verbatim]
4241 mus =\notes { \key d \major cis d fis g }
4242 \score { \notes \context Staff {
4245 \transpose c g' \mus
4246 \transpose c f' \mus
4252 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4256 If you want to use both @code{\transpose} and @code{\relative}, then
4257 you must put @code{\transpose} outside of @code{\relative}, since
4258 @code{\relative} will have no effect music that appears inside a
4264 @node Multi measure rests
4265 @subsection Multi measure rests
4266 @cindex multi measure rests
4267 @cindex Rests, multi measure
4271 Multi measure rests are entered using `@code{R}'. It is specifically
4272 meant for full bar rests and for entering parts: the rest can expand
4273 to fill a score with rests, or it can be printed as a single
4274 multimeasure rest. This expansion is controlled by the property
4275 @code{Score.skipBars}. If this is set to true, empty measures will not
4276 be expanded, and the appropriate number is added automatically:
4278 @lilypond[fragment,verbatim]
4279 \time 4/4 r1 | R1 | R1*2
4280 \property Score.skipBars = ##t R1*17 R1*4
4283 The @code{1} in @code{R1} is similar to the duration notation used for
4284 notes. Hence, for time signatures other than 4/4, you must enter other
4285 durations. This can be done with augmentation dots or fractions:
4287 @lilypond[fragment,verbatim]
4288 \property Score.skipBars = ##t
4296 An @code{R} spanning a single measure is printed as either a whole rest
4297 or a breve, centered in the measure regardless of the time signature.
4299 @cindex text on multi-measure rest
4300 @cindex script on multi-measure rest
4301 @cindex fermata on multi-measure rest
4303 Texts can be added to multi-measure rests by using the
4304 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4305 replaced. If you need both texts and the number, you must add the
4306 number by hand. A variable (@code{\fermataMarkup}) is provided for
4310 @lilypond[verbatim,fragment]
4312 R2._\markup { "Ad lib" }
4316 If you want to have a text on the left end of a multi-measure rest,
4317 attach the text to a zero-length skip note, i.e.
4325 @cindex whole rests for a full measure
4329 @internalsref{MultiMeasureRestEvent},
4330 @internalsref{MultiMeasureTextEvent},
4331 @internalsref{MultiMeasureRestMusicGroup}, and
4332 @internalsref{MultiMeasureRest}.
4334 The layout object @internalsref{MultiMeasureRestNumber} is for the
4335 default number, and @internalsref{MultiMeasureRestText} for user
4340 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4341 over multi-measure rests.
4343 @cindex condensing rests
4345 There is no way to automatically condense multiple rests into a single
4346 multimeasure rest. Multi measure rests do not take part in rest
4349 Be careful when entering multimeasure rests followed by whole
4350 notes. The following will enter two notes lasting four measures each:
4354 When @code{skipBars} is set, then the result will look OK, but the
4355 bar numbering will be off.
4357 @node Automatic part combining
4358 @subsection Automatic part combining
4359 @cindex automatic part combining
4360 @cindex part combiner
4363 Automatic part combining is used to merge two parts of music onto a
4364 staff. It is aimed at typesetting orchestral scores. When the two
4365 parts are identical for a period of time, only one is shown. In
4366 places where the two parts differ, they are typeset as separate
4367 voices, and stem directions are set automatically. Also, solo and
4368 @emph{a due} parts are identified and can be marked.
4372 The syntax for part combining is
4375 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4377 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4378 combined into one context of type @var{context}. The music expressions
4379 must be interpreted by contexts whose names should start with @code{one}
4382 The following example demonstrates the basic functionality of the part
4383 combiner: putting parts on one staff, and setting stem directions and
4386 @lilypond[verbatim,singleline,fragment]
4388 \context Voice=one \partcombine Voice
4389 \context Thread=one \relative c'' {
4392 \context Thread=two \relative c'' {
4398 The first @code{g} appears only once, although it was
4399 specified twice (once in each part). Stem, slur and tie directions are
4400 set automatically, depending whether there is a solo or unisono. The
4401 first part (with context called @code{one}) always gets up stems, and
4402 `solo', while the second (called @code{two}) always gets down stems and
4405 If you just want the merging parts, and not the textual markings, you
4406 may set the property @var{soloADue} to false:
4408 @lilypond[verbatim,singleline,fragment]
4410 \property Staff.soloADue = ##f
4411 \context Voice=one \partcombine Voice
4412 \context Thread=one \relative c'' {
4415 \context Thread=two \relative c'' {
4423 @internalsref{PartCombineMusic},
4424 @internalsref{Thread_devnull_engraver}, and
4425 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4429 The syntax for naming contexts in inconsistent with the syntax for
4432 In @code{soloADue} mode, when the two voices play the same notes on and
4433 off, the part combiner may typeset @code{a2} more than once in a
4436 @lilypond[fragment,singleline]
4438 \context Voice=one \partcombine Voice
4439 \context Thread=one \relative c'' {
4442 \context Thread=two \relative c'' {
4448 The part combiner is rather buggy, and it will be replaced by a better
4449 mechanism in the near future.
4451 @cindex @code{Thread_devnull_engraver}
4452 @cindex @code{Voice_engraver}
4453 @cindex @code{A2_engraver}
4456 @subsection Hiding staves
4458 @cindex Frenched scores
4459 @cindex Hiding staves
4461 In orchestral scores, staff lines that only have rests are usually
4462 removed. This saves some space. This style is called `French Score'.
4463 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4464 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4465 switched on by default. When these line of these contexts turn out
4466 empty after the line-breaking process, they are removed.
4468 For normal staves, a specialized @internalsref{Staff} context is
4469 available, which does the same: staves containing nothing (or only
4470 multi measure rests) are removed. The context definition is stored in
4471 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4472 in this example disappears in the second line:
4477 \notes \relative c' <<
4478 \new Staff { e4 f g a \break c1 }
4479 \new Staff { c4 d e f \break R1 }
4483 \translator { \RemoveEmptyStaffContext }
4488 The first page shows all staffs in full. If they should be removed
4489 from the first page too, set @code{remove-first} to false
4490 in @internalsref{RemoveEmptyVerticalGroup}.
4492 @node Different editions from one source
4493 @subsection Different editions from one source
4495 The @code{\tag} command marks music expressions with a name. These
4496 tagged expressions can be filtered out later. With this mechanism it
4497 is possible to make different versions of the same music source.
4499 In the following example, we see two versions of a piece of music, one
4500 for the full score, and one with cue notes for the instrumental part:
4508 \property Voice.fontSize = #-1
4516 The same can be applied to articulations, texts, etc.: they are
4519 -\tag #@var{your-tag}
4521 to an articulation, for example,
4526 This defines a note with a conditional fingering indication.
4528 By applying the @code{remove-tag} function, tagged expressions can be
4529 filtered. For example,
4533 \apply #(remove-tag 'score) @var{the music}
4534 \apply #(remove-tag 'part) @var{the music}
4539 @lilypondfile[notexidoc]{tag-filter.ly}
4541 The argument of the @code{\tag} command should be a symbol, or a list
4542 of symbols, for example,
4544 \tag #'(original-part transposed-part) @dots{}
4549 @inputfileref{input/regression,tag-filter.ly}
4552 @node Sound output for transposing instruments
4553 @subsection Sound output for transposing instruments
4555 When you want to make a MIDI file from a score containing transposed
4556 and untransposed instruments, you have to instruct LilyPond the pitch
4557 offset (in semitones) for the transposed instruments. This is done
4558 using the @code{transposing} property. It does not affect printed
4561 @cindex @code{transposing}
4564 \property Staff.instrument = #"Cl. in B-flat"
4565 \property Staff.transposing = #-2
4569 @node Ancient notation
4570 @section Ancient notation
4572 @cindex Vaticana, Editio
4573 @cindex Medicaea, Editio
4578 @c [TODO: write more comprehensive introduction on ancient notation]
4580 Support for ancient notation is still under heavy development.
4581 Regardless of all of the current limitations (see the bugs section
4582 below for details), it includes features for mensural
4583 notation and Gregorian Chant notation. There is also limited support
4584 for figured bass notation.
4586 Many graphical objects provide a @code{style} property, see
4587 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4588 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4589 signatures}. By manipulating such a grob property, the typographical
4590 appearance of the affected graphical objects can be accomodated for a
4591 specific notation flavour without need for introducing any new
4595 Other aspects of ancient notation can not that easily be expressed as
4596 in terms of just changing a style property of a graphical object.
4597 Therefore, some notational concepts are introduced specifically for
4598 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4599 @ref{Ligatures}, and @ref{Figured bass}.
4603 * Ancient note heads::
4604 * Ancient accidentals::
4608 * Ancient time signatures::
4613 * Vaticana style contexts::
4616 If this all is way too much of documentation for you, and you just
4617 want to dive into typesetting without worrying too much about the
4618 details on how to customize a context, then you may have a look at the
4619 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4620 set up predefined style-specific voice and staff contexts, and
4621 directly go ahead with the note entry.
4625 Ligatures need special spacing that has not yet been implemented. As
4626 a result, there is too much space between ligatures most of the time,
4627 and line breaking often is unsatisfactory. Also, lyrics do not
4628 correctly align with ligatures.
4630 Accidentals must not be printed within a ligature, but instead need to
4631 be collected and printed in front of it.
4633 Augmentum dots within ligatures are not handled correctly.
4636 @node Ancient note heads
4637 @subsection Ancient note heads
4643 For ancient notation, a note head style other than the @code{default}
4644 style may be chosen. This is accomplished by setting the @code{style}
4645 property of the NoteHead object to the desired value (@code{baroque},
4646 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4647 differs from the @code{default} style only in using a square shape for
4648 @code{\breve} note heads. The @code{neo_mensural} style differs from
4649 the @code{baroque} style in that it uses rhomboidal heads for whole
4650 notes and all smaller durations. Stems are centered on the note
4651 heads. This style is in particular useful when transcribing mensural
4652 music, e.g. for the incipit. The @code{mensural} style finally
4653 produces note heads that mimick the look of note heads in historic
4654 printings of the 16th century.
4656 The following example demonstrates the @code{neo_mensural} style:
4658 @lilypond[fragment,singleline,verbatim]
4659 \property Voice.NoteHead \set #'style = #'neo_mensural
4660 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4663 When typesetting a piece in Gregorian Chant notation, a Gregorian
4664 ligature engraver will automatically select the proper note heads,
4665 such there is no need to explicitly set the note head style. Still,
4666 the note head style can be set e.g. to @code{vaticana_punctum} to
4667 produce punctum neumes. Similarly, a mensural ligature engraver is
4668 used to automatically assemble mensural ligatures. See
4669 @ref{Ligatures} for how ligature engravers work.
4673 @inputfileref{input/regression,note-head-style.ly} gives an overview
4674 over all available note head styles.
4676 @ref{Percussion staves} use note head styles of their own that are
4677 frequently used in contemporary music notation.
4679 @node Ancient accidentals
4680 @subsection Ancient accidentals
4686 Use the @code{style} property of grob @internalsref{Accidental} to
4687 select ancient accidentals. Supported styles are
4688 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4690 @lilypond[singleline,26pt]
4698 { " " \musicglyph #"accidentals-vaticana-1"
4699 " " \musicglyph #"accidentals-vaticana0" }
4703 { " " \musicglyph #"accidentals-medicaea-1" }
4707 { " " \musicglyph #"accidentals-hufnagel-1" }
4711 { " " \musicglyph #"accidentals-mensural-1"
4712 " " \musicglyph #"accidentals-mensural1" }
4721 \remove "Bar_number_engraver"
4725 \remove "Clef_engraver"
4726 \remove "Key_engraver"
4727 \remove "Time_signature_engraver"
4728 \remove "Staff_symbol_engraver"
4729 minimumVerticalExtent = ##f
4735 As shown, not all accidentals are supported by each style. When
4736 trying to access an unsupported accidental, LilyPond will switch to a
4737 different style, as demonstrated in
4738 @inputfileref{input/test,ancient-accidentals.ly}.
4740 Similarly to local accidentals, the style of the key signature can be
4741 controlled by the @code{style} property of the
4742 @internalsref{KeySignature} grob.
4746 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4747 a general introduction into the use of accidentals. @ref{Key
4748 signature} gives a general introduction into the use of key
4753 @subsection Ancient rests
4759 Use the @code{style} property of grob @internalsref{Rest} to select
4760 ancient accidentals. Supported styles are @code{classical},
4761 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4762 from the @code{default} style only in that the quarter rest looks like
4763 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4764 well for e.g. the incipit of a transcribed mensural piece of music.
4765 The @code{mensural} style finally mimicks the appearance of rests as
4766 in historic prints of the 16th century.
4768 The following example demonstrates the @code{neo_mensural} style:
4770 @lilypond[fragment,singleline,verbatim]
4771 \property Voice.Rest \set #'style = #'neo_mensural
4772 r\longa r\breve r1 r2 r4 r8 r16
4775 There are no 32th and 64th rests specifically for the mensural or
4776 neo-mensural style. Instead, the rests from the default style will be
4777 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4780 There are no rests in Gregorian Chant notation; instead, it uses
4785 @ref{Rests} gives a general introduction into the use of rests.
4789 @subsection Ancient clefs
4795 LilyPond supports a variety of clefs, many of them ancient.
4797 The following table shows all ancient clefs that are supported via the
4798 @code{\clef} command. Some of the clefs use the same glyph, but
4799 differ only with respect to the line they are printed on. In such
4800 cases, a trailing number in the name is used to enumerate these clefs.
4801 Still, you can manually force a clef glyph to be typeset on an
4802 arbitrary line, as described in @ref{Clef}. The note printed to the
4803 right side of each clef in the example column denotes the @code{c'}
4804 with respect to that clef.
4806 @multitable @columnfractions .3 .3 .3 .1
4810 @b{Description} @tab
4811 @b{Supported Clefs} @tab
4815 @code{clefs-neo_mensural_c} @tab
4816 modern style mensural C clef @tab
4817 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4818 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4819 @lilypond[relative 0, notime]
4820 \property Staff.TimeSignature \set #'transparent = ##t
4821 \clef "neo_mensural_c2" c
4825 @code{clefs-petrucci_c1}
4826 @code{clefs-petrucci_c2}
4827 @code{clefs-petrucci_c3}
4828 @code{clefs-petrucci_c4}
4829 @code{clefs-petrucci_c5}
4832 petrucci style mensural C clefs, for use on different stafflines
4833 (the examples shows the 2nd staffline C clef).
4843 @lilypond[relative 0, notime]
4844 \property Staff.TimeSignature \set #'transparent = ##t
4845 \clef "petrucci_c2" c
4849 @code{clefs-petrucci_f} @tab
4850 petrucci style mensural F clef @tab
4851 @code{petrucci_f} @tab
4852 @lilypond[relative 0, notime]
4853 \property Staff.TimeSignature \set #'transparent = ##t
4854 \clef "petrucci_f" c
4858 @code{clefs-petrucci_g} @tab
4859 petrucci style mensural G clef @tab
4860 @code{petrucci_g} @tab
4861 @lilypond[relative 0, notime]
4862 \property Staff.TimeSignature \set #'transparent = ##t
4863 \clef "petrucci_g" c
4867 @code{clefs-mensural_c} @tab
4868 historic style mensural C clef @tab
4869 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4870 @code{mensural_c4} @tab
4871 @lilypond[relative 0, notime]
4872 \property Staff.TimeSignature \set #'transparent = ##t
4873 \clef "mensural_c2" c
4877 @code{clefs-mensural_f} @tab
4878 historic style mensural F clef @tab
4879 @code{mensural_f} @tab
4880 @lilypond[relative 0, notime]
4881 \property Staff.TimeSignature \set #'transparent = ##t
4882 \clef "mensural_f" c
4886 @code{clefs-mensural_g} @tab
4887 historic style mensural G clef @tab
4888 @code{mensural_g} @tab
4889 @lilypond[relative 0, notime]
4890 \property Staff.TimeSignature \set #'transparent = ##t
4891 \clef "mensural_g" c
4895 @code{clefs-vaticana_do} @tab
4896 Editio Vaticana style do clef @tab
4897 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4898 @lilypond[relative 0, notime]
4900 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4901 \property Staff.TimeSignature \set #'transparent = ##t
4902 \clef "vaticana_do2" c
4906 @code{clefs-vaticana_fa} @tab
4907 Editio Vaticana style fa clef @tab
4908 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4909 @lilypond[relative 0, notime]
4911 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4912 \property Staff.TimeSignature \set #'transparent = ##t
4913 \clef "vaticana_fa2" c
4917 @code{clefs-medicaea_do} @tab
4918 Editio Medicaea style do clef @tab
4919 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4920 @lilypond[relative 0, notime]
4922 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4923 \property Staff.TimeSignature \set #'transparent = ##t
4924 \clef "medicaea_do2" c
4928 @code{clefs-medicaea_fa} @tab
4929 Editio Medicaea style fa clef @tab
4930 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4931 @lilypond[relative 0, notime]
4933 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4934 \property Staff.TimeSignature \set #'transparent = ##t
4935 \clef "medicaea_fa2" c
4939 @code{clefs-hufnagel_do} @tab
4940 historic style hufnagel do clef @tab
4941 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4942 @lilypond[relative 0, notime]
4944 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4945 \property Staff.TimeSignature \set #'transparent = ##t
4946 \clef "hufnagel_do2" c
4950 @code{clefs-hufnagel_fa} @tab
4951 historic style hufnagel fa clef @tab
4952 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4953 @lilypond[relative 0, notime]
4955 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4956 \property Staff.TimeSignature \set #'transparent = ##t
4957 \clef "hufnagel_fa2" c
4961 @code{clefs-hufnagel_do_fa} @tab
4962 historic style hufnagel combined do/fa clef @tab
4963 @code{hufnagel_do_fa} @tab
4964 @lilypond[relative 0, notime]
4965 \property Staff.TimeSignature \set #'transparent = ##t
4966 \clef "hufnagel_do_fa" c
4971 @c --- This should go somewhere else: ---
4972 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4975 @c @code{percussion}
4977 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4979 @c @item modern style tab clef (glyph: @code{clefs-tab})
4984 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4986 @emph{Modern style} means ``as is typeset in contemporary editions of
4987 transcribed mensural music''.
4989 @emph{Petrucci style} means ``inspired by printings published by the
4990 famous engraver Petrucci (1466-1539)''.
4992 @emph{Historic style} means ``as was typeset or written in historic
4993 editions (other than those of Petrucci)''.
4995 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4997 Petrucci used C clefs with differently balanced left-side vertical
4998 beams, depending on which staffline it is printed.
5002 For modern clefs, see @ref{Clef}. For the percussion clef, see
5003 @ref{Percussion staves}. For the @code{TAB} clef, see
5008 @subsection Ancient flags
5014 Use the @code{flag-style} property of grob @internalsref{Stem} to
5015 select ancient flags. Besides the @code{default} flag style,
5016 only @code{mensural} style is supported:
5018 @lilypond[fragment,singleline,verbatim]
5019 \property Voice.Stem \set #'flag-style = #'mensural
5020 \property Voice.Stem \set #'thickness = #1.0
5021 \property Voice.NoteHead \set #'style = #'mensural
5023 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
5024 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5027 Note that the innermost flare of each mensural flag always is
5028 vertically aligned with a staff line. If you do not like this
5029 behaviour, you can set the @code{adjust-if-on-staffline} property of
5030 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5031 of the end of each flare is different between notes on staff lines and
5032 notes between staff lines:
5034 @lilypond[fragment,singleline]
5035 \property Voice.Stem \set #'flag-style = #'mensural
5036 \property Voice.Stem \set #'thickness = #1.0
5037 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5038 \property Voice.NoteHead \set #'style = #'mensural
5040 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
5041 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5044 There is no particular flag style for neo-mensural notation. Hence,
5045 when typesetting e.g. the incipit of a transcibed piece of mensural
5046 music, the default flag style should be used. There are no flags in
5047 Gregorian Chant notation.
5050 @node Ancient time signatures
5051 @subsection Ancient time signatures
5053 @cindex time signatures
5057 There is limited support for mensural time signatures. The
5058 glyphs are hard-wired to particular time fractions. In other words,
5059 to get a particular mensural signature glyph with the @code{\time n/m}
5060 command, @code{n} and @code{m} have to be chosen according to the
5066 \property Score.timing = ##f
5067 \property Score.barAlways = ##t
5068 s_\markup { "$\\backslash$time 4/4" }
5069 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
5071 s_\markup { "$\\backslash$time 2/2" }
5072 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
5074 s_\markup { "$\\backslash$time 6/4" }
5075 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
5077 s_\markup { "$\\backslash$time 6/8" }
5078 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
5080 s_\markup { "$\\backslash$time 3/2" }
5081 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
5083 s_\markup { "$\\backslash$time 3/4" }
5084 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
5086 s_\markup { "$\\backslash$time 9/4" }
5087 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
5089 s_\markup { "$\\backslash$time 9/8" }
5090 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
5092 s_\markup { "$\\backslash$time 4/8" }
5093 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
5095 s_\markup { "$\\backslash$time 2/4" }
5096 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
5104 \remove Staff_symbol_engraver
5105 \remove Clef_engraver
5106 \remove Time_signature_engraver
5112 Use the @code{style} property of grob @internalsref{TimeSignature} to
5113 select ancient time signatures. Supported styles are
5114 @code{neo_mensural} and @code{mensural}. The above table uses the
5115 @code{neo_mensural} style. This style is appropriate e.g. for the
5116 incipit of transcriptions of mensural pieces. The @code{mensural}
5117 style mimicks the look of historical printings of the 16th century.
5119 @inputfileref{input/test,time.ly} gives an overview over all available
5120 ancient and modern styles.
5124 @ref{Time signature} gives a general introduction into the use of time
5129 Mensural signature glyphs are mapped to time fractions in a
5130 hard-wired way. This mapping is sensible, but still arbitrary: given
5131 a mensural time signature, the time fraction represents a modern meter
5132 that usually will be a good choice when transcribing a mensural piece
5133 of music. For a particular piece of mensural music, however, the
5134 mapping may be unsatisfactory. In particular, the mapping assumes a
5135 fixed transcription of durations (e.g. brevis = half note in 2/2,
5136 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5137 are not at all accessible through the @code{\time} command.
5139 Mensural time signatures are supported typographically, but not yet
5140 musically. The internal representation of durations is
5141 based on a purely binary system; a ternary division such as 1 brevis =
5142 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5143 prolatione maiori) is not correctly handled: event times in ternary
5144 modes will be badly computed, resulting e.g. in horizontally
5145 misaligned note heads, and bar checks are likely to erroneously fail.
5147 The syntax and semantics of the @code{\time} command for mensural
5148 music is subject to change.
5151 @subsection Custodes
5156 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5157 symbol that appears at the end of a staff. It anticipates the pitch
5158 of the first note(s) of the following line and thus helps the player
5159 or singer to manage line breaks during performance, thus enhancing
5160 readability of a score.
5162 Custodes were frequently used in music notation until the 17th
5163 century. Nowadays, they have survived only in a few particular forms
5164 of musical notation such as contemporary editions of Gregorian chant
5165 like the @emph{editio vaticana}. There are different custos glyphs
5166 used in different flavours of notational style.
5170 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5171 @internalsref{Staff} context when declaring the @code{\paper} block,
5172 as shown in the following example:
5178 \consists Custos_engraver
5179 Custos \override #'style = #'mensural
5184 The result looks like this:
5190 \property Staff.Custos \set #'style = #'mensural
5197 \consists Custos_engraver
5204 The custos glyph is selected by the @code{style} property. The styles
5205 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5206 @code{mensural}. They are demonstrated in the following fragment:
5216 { " " \musicglyph #"custodes-vaticana-u0" }
5220 { " " \musicglyph #"custodes-medicaea-u0" }
5224 { " " \musicglyph #"custodes-hufnagel-u0" }
5228 { " " \musicglyph #"custodes-mensural-u0" }
5237 \remove "Bar_number_engraver"
5241 \remove "Clef_engraver"
5242 \remove "Key_engraver"
5243 \remove "Time_signature_engraver"
5244 \remove "Staff_symbol_engraver"
5245 minimumVerticalExtent = ##f
5251 If the boolean property @code{adjust-if-on-staffline} is set to
5252 @code{#t} (which it is by default), lily typesets slightly different
5253 variants of the custos glyph, depending on whether the custos, is
5254 typeset on or between stafflines. The glyph will
5255 optically fit well into the staff, with the appendage on the right of
5256 the custos always ending at the same vertical position between two
5257 stafflines regardless of the pitch. If you set
5258 @code{adjust-if-on-staffline} to @code{#f}, then
5259 a compromise between both forms is used.
5261 Just like stems can be attached to noteheads in two directions
5262 @emph{up} and @emph{down}, each custos glyph is available with its
5263 appendage pointing either up or down. If the pitch of a custos is
5264 above a selectable position, the appendage will point downwards; if
5265 the pitch is below this position, the appendage will point upwards.
5266 Use property @code{neutral-position} to select this position. By
5267 default, it is set to @code{0}, such that the neutral position is the
5268 center of the staff. Use property @code{neutral-direction} to control
5269 what happens if a custos is typeset on the neutral position itself.
5270 By default, this property is set to @code{-1}, such that the appendage
5271 will point downwards. If set to @code{1}, the appendage will point
5272 upwards. Other values such as @code{0} are reserved for future
5273 extensions and should not be used.
5277 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5281 @subsection Divisiones
5287 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5288 `division') is a staff context symbol that is used to structure
5289 Gregorian music into phrases and sections. The musical meaning of
5290 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5291 can be characterized as short, medium and long pause, somewhat like
5292 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5293 a chant, but is also frequently used within a single
5294 antiphonal/responsorial chant to mark the end of each section.
5298 To use divisiones, include the file @code{gregorian-init.ly}. It
5299 contains definitions that you can apply by just inserting
5300 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5301 and @code{\finalis} at proper places in the input. Some editions use
5302 @emph{virgula} or @emph{caesura} instead of divisio minima.
5303 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5306 @lilypondfile[notexidoc]{divisiones.ly}
5310 @cindex @code{\virgula}
5312 @cindex @code{\caesura}
5314 @cindex @code{\divisioMinima}
5315 @code{\divisioMinima},
5316 @cindex @code{\divisioMaior}
5317 @code{\divisioMaior},
5318 @cindex @code{\divisioMaxima}
5319 @code{\divisioMaxima},
5320 @cindex @code{\finalis}
5325 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5326 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5329 @subsection Ligatures
5333 @c TODO: Should double check if I recalled things correctly when I wrote
5334 @c down the following paragraph by heart.
5336 In musical terminology, a ligature is a coherent graphical symbol that
5337 represents at least two distinct notes. Ligatures originally appeared
5338 in the manuscripts of Gregorian chant notation roughly since the 9th
5339 century as an allusion to the accent symbols of greek lyric poetry to
5340 denote ascending or descending sequences of notes. Both, the shape
5341 and the exact meaning of ligatures changed tremendously during the
5342 following centuries: In early notation, ligatures were used for
5343 monophonic tunes (Gregorian chant) and very soon denoted also the way
5344 of performance in the sense of articulation. With upcoming
5345 multiphony, the need for a metric system arised, since multiple voices
5346 of a piece have to be synchronized some way. New notation systems
5347 were invented that used the manifold shapes of ligatures to now denote
5348 rhythmical patterns (e.g. black mensural notation, mannered notation,
5349 ars nova). With the invention of the metric system of the white
5350 mensural notation, the need for ligatures to denote such patterns
5351 disappeared. Nevertheless, ligatures were still in use in the
5352 mensural system for a couple of decades until they finally disappeared
5353 during the late 16th / early 17th century. Still, ligatures have
5354 survived in contemporary editions of Gregorian chant such as the
5355 Editio Vaticana from 1905/08.
5359 Syntactically, ligatures are simply enclosed by @code{\[} and
5360 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5361 additional input syntax specific for this particular type of ligature.
5362 By default, the @internalsref{LigatureBracket} engraver just puts a
5363 square bracket above the ligature:
5365 @lilypond[singleline,verbatim]
5367 \notes \transpose c c' {
5375 To select a specific style of ligatures, a proper ligature engraver
5376 has to be added to the @internalsref{Voice} context, as explained in
5377 the following subsections. Only white mensural ligatures
5378 are supported with certain limitations. Support for Editio Vaticana
5379 will be added in the future.
5382 * White mensural ligatures::
5383 * Gregorian square neumes ligatures::
5386 @node White mensural ligatures
5387 @subsubsection White mensural ligatures
5389 @cindex Mensural ligatures
5390 @cindex White mensural ligatures
5392 There is limited support for white mensural ligatures. The
5393 implementation is still experimental; it may output strange
5394 warnings or even crash in some cases or produce weird results on more
5399 To engrave white mensural ligatures, in the paper block the
5400 @internalsref{Mensural_ligature_engraver} has to be put into the
5401 @internalsref{Voice} context, and remove the
5402 @internalsref{Ligature_bracket_engraver}:
5408 \remove Ligature_bracket_engraver
5409 \consists Mensural_ligature_engraver
5414 There is no additional input language to describe the shape of a
5415 white mensural ligature. The shape is rather determined solely from
5416 the pitch and duration of the enclosed notes. While this approach may
5417 take a new user a while to get accustomed, it has the great advantage
5418 that the full musical information of the ligature is known internally.
5419 This is not only required for correct MIDI output, but also allows for
5420 automatic transcription of the ligatures.
5425 \property Score.timing = ##f
5426 \property Score.defaultBarType = "empty"
5427 \property Voice.NoteHead \set #'style = #'neo_mensural
5428 \property Staff.TimeSignature \set #'style = #'neo_mensural
5430 \[ g\longa c\breve a\breve f\breve d'\longa \]
5432 \[ e1 f1 a\breve g\longa \]
5434 @lilypond[singleline]
5436 \notes \transpose c c' {
5437 \property Score.timing = ##f
5438 \property Score.defaultBarType = "empty"
5439 \property Voice.NoteHead \set #'style = #'neo_mensural
5440 \property Staff.TimeSignature \set #'style = #'neo_mensural
5442 \[ g\longa c\breve a\breve f\breve d'\longa \]
5444 \[ e1 f1 a\breve g\longa \]
5449 \remove Ligature_bracket_engraver
5450 \consists Mensural_ligature_engraver
5456 Without replacing @internalsref{Ligature_bracket_engraver} with
5457 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5460 @lilypond[singleline]
5462 \notes \transpose c c' {
5463 \property Score.timing = ##f
5464 \property Score.defaultBarType = "empty"
5465 \property Voice.NoteHead \set #'style = #'neo_mensural
5466 \property Staff.TimeSignature \set #'style = #'neo_mensural
5468 \[ g\longa c\breve a\breve f\breve d'\longa \]
5470 \[ e1 f1 a\breve g\longa \]
5476 @node Gregorian square neumes ligatures
5477 @subsubsection Gregorian square neumes ligatures
5479 @cindex Square neumes ligatures
5480 @cindex Gregorian square neumes ligatures
5482 Gregorian square neumes notation (following the style of the Editio
5483 Vaticana) is under heavy development, but not yet really usable for
5484 production purposes. Core ligatures can already be typeset, but
5485 essential issues for serious typesetting are still under development,
5486 such as (among others) horizontal alignment of multiple ligatures,
5487 lyrics alignment and proper accidentals handling. Still, this section
5488 gives a sneak preview of what Gregorian chant may look like once it
5491 The following table contains the extended neumes table of the 2nd
5492 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5493 1983 by the monks of Solesmes.
5495 @multitable @columnfractions .4 .2 .2 .2
5498 @b{Neuma aut@*Neumarum Elementa} @tab
5499 @b{Figurae@*Rectae} @tab
5500 @b{Figurae@*Liquescentes Auctae} @tab
5501 @b{Figurae@*Liquescentes Deminutae}
5503 @c TODO: \paper block is identical in all of the below examples.
5504 @c Therefore, it should somehow be included rather than duplicated all
5507 @c why not make identifiers in ly/engraver-init.ly? --hwn
5509 @c Because it's just used to typeset plain notes without
5510 @c a staff for demonstration purposes rather than something
5511 @c special of Gregorian chant notation. --jr
5516 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5517 \include "gregorian-init.ly"
5519 \notes \transpose c c' {
5522 \noBreak s^\markup {"a"} \noBreak
5524 % Punctum Inclinatum
5526 \noBreak s^\markup {"b"}
5532 \remove "Bar_number_engraver"
5536 \remove "Clef_engraver"
5537 \remove "Key_engraver"
5538 StaffSymbol \set #'transparent = ##t
5539 \remove "Time_signature_engraver"
5540 \remove "Bar_engraver"
5541 minimumVerticalExtent = ##f
5545 \remove Ligature_bracket_engraver
5546 \consists Vaticana_ligature_engraver
5547 NoteHead \set #'style = #'vaticana_punctum
5548 Stem \set #'transparent = ##t
5554 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5555 \include "gregorian-init.ly"
5557 \notes \transpose c c' {
5558 % Punctum Auctum Ascendens
5559 \[ \auctum \ascendens b \]
5560 \noBreak s^\markup {"c"} \noBreak
5562 % Punctum Auctum Descendens
5563 \[ \auctum \descendens b \]
5564 \noBreak s^\markup {"d"} \noBreak
5566 % Punctum Inclinatum Auctum
5567 \[ \inclinatum \auctum b \]
5568 \noBreak s^\markup {"e"}
5574 \remove "Bar_number_engraver"
5578 \remove "Clef_engraver"
5579 \remove "Key_engraver"
5580 StaffSymbol \set #'transparent = ##t
5581 \remove "Time_signature_engraver"
5582 \remove "Bar_engraver"
5583 minimumVerticalExtent = ##f
5587 \remove Ligature_bracket_engraver
5588 \consists Vaticana_ligature_engraver
5589 NoteHead \set #'style = #'vaticana_punctum
5590 Stem \set #'transparent = ##t
5596 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5597 \include "gregorian-init.ly"
5599 \notes \transpose c c' {
5600 % Punctum Inclinatum Parvum
5601 \[ \inclinatum \deminutum b \]
5602 \noBreak s^\markup {"f"}
5608 \remove "Bar_number_engraver"
5612 \remove "Clef_engraver"
5613 \remove "Key_engraver"
5614 StaffSymbol \set #'transparent = ##t
5615 \remove "Time_signature_engraver"
5616 \remove "Bar_engraver"
5617 minimumVerticalExtent = ##f
5621 \remove Ligature_bracket_engraver
5622 \consists Vaticana_ligature_engraver
5623 NoteHead \set #'style = #'vaticana_punctum
5624 Stem \set #'transparent = ##t
5633 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5634 \include "gregorian-init.ly"
5636 \notes \transpose c c' {
5639 \noBreak s^\markup {"g"}
5645 \remove "Bar_number_engraver"
5649 \remove "Clef_engraver"
5650 \remove "Key_engraver"
5651 StaffSymbol \set #'transparent = ##t
5652 \remove "Time_signature_engraver"
5653 \remove "Bar_engraver"
5654 minimumVerticalExtent = ##f
5658 \remove Ligature_bracket_engraver
5659 \consists Vaticana_ligature_engraver
5660 NoteHead \set #'style = #'vaticana_punctum
5661 Stem \set #'transparent = ##t
5670 @code{3. Apostropha vel Stropha}
5672 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5673 \include "gregorian-init.ly"
5675 \notes \transpose c c' {
5678 \noBreak s^\markup {"h"}
5684 \remove "Bar_number_engraver"
5688 \remove "Clef_engraver"
5689 \remove "Key_engraver"
5690 StaffSymbol \set #'transparent = ##t
5691 \remove "Time_signature_engraver"
5692 \remove "Bar_engraver"
5693 minimumVerticalExtent = ##f
5697 \remove Ligature_bracket_engraver
5698 \consists Vaticana_ligature_engraver
5699 NoteHead \set #'style = #'vaticana_punctum
5700 Stem \set #'transparent = ##t
5706 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5707 \include "gregorian-init.ly"
5709 \notes \transpose c c' {
5711 \[ \stropha \auctum b \]
5712 \noBreak s^\markup {"i"}
5718 \remove "Bar_number_engraver"
5722 \remove "Clef_engraver"
5723 \remove "Key_engraver"
5724 StaffSymbol \set #'transparent = ##t
5725 \remove "Time_signature_engraver"
5726 \remove "Bar_engraver"
5727 minimumVerticalExtent = ##f
5731 \remove Ligature_bracket_engraver
5732 \consists Vaticana_ligature_engraver
5733 NoteHead \set #'style = #'vaticana_punctum
5734 Stem \set #'transparent = ##t
5744 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5745 \include "gregorian-init.ly"
5747 \notes \transpose c c' {
5750 \noBreak s^\markup {"j"}
5756 \remove "Bar_number_engraver"
5760 \remove "Clef_engraver"
5761 \remove "Key_engraver"
5762 StaffSymbol \set #'transparent = ##t
5763 \remove "Time_signature_engraver"
5764 \remove "Bar_engraver"
5765 minimumVerticalExtent = ##f
5769 \remove Ligature_bracket_engraver
5770 \consists Vaticana_ligature_engraver
5771 NoteHead \set #'style = #'vaticana_punctum
5772 Stem \set #'transparent = ##t
5781 @code{5. Clivis vel Flexa}
5783 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5784 \include "gregorian-init.ly"
5786 \notes \transpose c c' {
5795 \remove "Bar_number_engraver"
5799 \remove "Clef_engraver"
5800 \remove "Key_engraver"
5801 StaffSymbol \set #'transparent = ##t
5802 \remove "Time_signature_engraver"
5803 \remove "Bar_engraver"
5804 minimumVerticalExtent = ##f
5808 \remove Ligature_bracket_engraver
5809 \consists Vaticana_ligature_engraver
5810 NoteHead \set #'style = #'vaticana_punctum
5811 Stem \set #'transparent = ##t
5817 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5818 \include "gregorian-init.ly"
5820 \notes \transpose c c' {
5821 % Clivis Aucta Descendens
5822 \[ b \flexa \auctum \descendens g \]
5823 \noBreak s^\markup {"l"} \noBreak
5825 % Clivis Aucta Ascendens
5826 \[ b \flexa \auctum \ascendens g \]
5827 \noBreak s^\markup {"m"}
5833 \remove "Bar_number_engraver"
5837 \remove "Clef_engraver"
5838 \remove "Key_engraver"
5839 StaffSymbol \set #'transparent = ##t
5840 \remove "Time_signature_engraver"
5841 \remove "Bar_engraver"
5842 minimumVerticalExtent = ##f
5846 \remove Ligature_bracket_engraver
5847 \consists Vaticana_ligature_engraver
5848 NoteHead \set #'style = #'vaticana_punctum
5849 Stem \set #'transparent = ##t
5855 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5856 \include "gregorian-init.ly"
5858 \notes \transpose c c' {
5860 \[ b \flexa \deminutum g \]
5867 \remove "Bar_number_engraver"
5871 \remove "Clef_engraver"
5872 \remove "Key_engraver"
5873 StaffSymbol \set #'transparent = ##t
5874 \remove "Time_signature_engraver"
5875 \remove "Bar_engraver"
5876 minimumVerticalExtent = ##f
5880 \remove Ligature_bracket_engraver
5881 \consists Vaticana_ligature_engraver
5882 NoteHead \set #'style = #'vaticana_punctum
5883 Stem \set #'transparent = ##t
5890 @code{6. Podatus vel Pes}
5892 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5893 \include "gregorian-init.ly"
5895 \notes \transpose c c' {
5904 \remove "Bar_number_engraver"
5908 \remove "Clef_engraver"
5909 \remove "Key_engraver"
5910 StaffSymbol \set #'transparent = ##t
5911 \remove "Time_signature_engraver"
5912 \remove "Bar_engraver"
5913 minimumVerticalExtent = ##f
5917 \remove Ligature_bracket_engraver
5918 \consists Vaticana_ligature_engraver
5919 NoteHead \set #'style = #'vaticana_punctum
5920 Stem \set #'transparent = ##t
5926 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5927 \include "gregorian-init.ly"
5929 \notes \transpose c c' {
5930 % Pes Auctus Descendens
5931 \[ g \pes \auctum \descendens b \]
5932 \noBreak s^\markup {"p"} \noBreak
5934 % Pes Auctus Ascendens
5935 \[ g \pes \auctum \ascendens b \]
5936 \noBreak s^\markup {"q"}
5942 \remove "Bar_number_engraver"
5946 \remove "Clef_engraver"
5947 \remove "Key_engraver"
5948 StaffSymbol \set #'transparent = ##t
5949 \remove "Time_signature_engraver"
5950 \remove "Bar_engraver"
5951 minimumVerticalExtent = ##f
5955 \remove Ligature_bracket_engraver
5956 \consists Vaticana_ligature_engraver
5957 NoteHead \set #'style = #'vaticana_punctum
5958 Stem \set #'transparent = ##t
5964 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5965 \include "gregorian-init.ly"
5967 \notes \transpose c c' {
5969 \[ g \pes \deminutum b \]
5976 \remove "Bar_number_engraver"
5980 \remove "Clef_engraver"
5981 \remove "Key_engraver"
5982 StaffSymbol \set #'transparent = ##t
5983 \remove "Time_signature_engraver"
5984 \remove "Bar_engraver"
5985 minimumVerticalExtent = ##f
5989 \remove Ligature_bracket_engraver
5990 \consists Vaticana_ligature_engraver
5991 NoteHead \set #'style = #'vaticana_punctum
5992 Stem \set #'transparent = ##t
5999 @code{7. Pes Quassus}
6001 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6002 \include "gregorian-init.ly"
6004 \notes \transpose c c' {
6006 \[ \oriscus g \pes \virga b \]
6013 \remove "Bar_number_engraver"
6017 \remove "Clef_engraver"
6018 \remove "Key_engraver"
6019 StaffSymbol \set #'transparent = ##t
6020 \remove "Time_signature_engraver"
6021 \remove "Bar_engraver"
6022 minimumVerticalExtent = ##f
6026 \remove Ligature_bracket_engraver
6027 \consists Vaticana_ligature_engraver
6028 NoteHead \set #'style = #'vaticana_punctum
6029 Stem \set #'transparent = ##t
6035 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6036 \include "gregorian-init.ly"
6038 \notes \transpose c c' {
6039 % Pes Quassus Auctus Descendens
6040 \[ \oriscus g \pes \auctum \descendens b \]
6047 \remove "Bar_number_engraver"
6051 \remove "Clef_engraver"
6052 \remove "Key_engraver"
6053 StaffSymbol \set #'transparent = ##t
6054 \remove "Time_signature_engraver"
6055 \remove "Bar_engraver"
6056 minimumVerticalExtent = ##f
6060 \remove Ligature_bracket_engraver
6061 \consists Vaticana_ligature_engraver
6062 NoteHead \set #'style = #'vaticana_punctum
6063 Stem \set #'transparent = ##t
6071 @code{8. Quilisma Pes}
6073 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6074 \include "gregorian-init.ly"
6076 \notes \transpose c c' {
6078 \[ \quilisma g \pes b \]
6085 \remove "Bar_number_engraver"
6089 \remove "Clef_engraver"
6090 \remove "Key_engraver"
6091 StaffSymbol \set #'transparent = ##t
6092 \remove "Time_signature_engraver"
6093 \remove "Bar_engraver"
6094 minimumVerticalExtent = ##f
6098 \remove Ligature_bracket_engraver
6099 \consists Vaticana_ligature_engraver
6100 NoteHead \set #'style = #'vaticana_punctum
6101 Stem \set #'transparent = ##t
6107 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6108 \include "gregorian-init.ly"
6110 \notes \transpose c c' {
6111 % Quilisma Pes Auctus Descendens
6112 \[ \quilisma g \pes \auctum \descendens b \]
6119 \remove "Bar_number_engraver"
6123 \remove "Clef_engraver"
6124 \remove "Key_engraver"
6125 StaffSymbol \set #'transparent = ##t
6126 \remove "Time_signature_engraver"
6127 \remove "Bar_engraver"
6128 minimumVerticalExtent = ##f
6132 \remove Ligature_bracket_engraver
6133 \consists Vaticana_ligature_engraver
6134 NoteHead \set #'style = #'vaticana_punctum
6135 Stem \set #'transparent = ##t
6143 @code{9. Podatus Initio Debilis}
6145 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6146 \include "gregorian-init.ly"
6148 \notes \transpose c c' {
6149 % Pes Initio Debilis
6150 \[ \deminutum g \pes b \]
6157 \remove "Bar_number_engraver"
6161 \remove "Clef_engraver"
6162 \remove "Key_engraver"
6163 StaffSymbol \set #'transparent = ##t
6164 \remove "Time_signature_engraver"
6165 \remove "Bar_engraver"
6166 minimumVerticalExtent = ##f
6170 \remove Ligature_bracket_engraver
6171 \consists Vaticana_ligature_engraver
6172 NoteHead \set #'style = #'vaticana_punctum
6173 Stem \set #'transparent = ##t
6179 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6180 \include "gregorian-init.ly"
6182 \notes \transpose c c' {
6183 % Pes Auctus Descendens Initio Debilis
6184 \[ \deminutum g \pes \auctum \descendens b \]
6191 \remove "Bar_number_engraver"
6195 \remove "Clef_engraver"
6196 \remove "Key_engraver"
6197 StaffSymbol \set #'transparent = ##t
6198 \remove "Time_signature_engraver"
6199 \remove "Bar_engraver"
6200 minimumVerticalExtent = ##f
6204 \remove Ligature_bracket_engraver
6205 \consists Vaticana_ligature_engraver
6206 NoteHead \set #'style = #'vaticana_punctum
6207 Stem \set #'transparent = ##t
6217 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6218 \include "gregorian-init.ly"
6220 \notes \transpose c c' {
6222 \[ a \pes b \flexa g \]
6229 \remove "Bar_number_engraver"
6233 \remove "Clef_engraver"
6234 \remove "Key_engraver"
6235 StaffSymbol \set #'transparent = ##t
6236 \remove "Time_signature_engraver"
6237 \remove "Bar_engraver"
6238 minimumVerticalExtent = ##f
6242 \remove Ligature_bracket_engraver
6243 \consists Vaticana_ligature_engraver
6244 NoteHead \set #'style = #'vaticana_punctum
6245 Stem \set #'transparent = ##t
6251 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6252 \include "gregorian-init.ly"
6254 \notes \transpose c c' {
6255 % Torculus Auctus Descendens
6256 \[ a \pes b \flexa \auctum \descendens g \]
6263 \remove "Bar_number_engraver"
6267 \remove "Clef_engraver"
6268 \remove "Key_engraver"
6269 StaffSymbol \set #'transparent = ##t
6270 \remove "Time_signature_engraver"
6271 \remove "Bar_engraver"
6272 minimumVerticalExtent = ##f
6276 \remove Ligature_bracket_engraver
6277 \consists Vaticana_ligature_engraver
6278 NoteHead \set #'style = #'vaticana_punctum
6279 Stem \set #'transparent = ##t
6285 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6286 \include "gregorian-init.ly"
6288 \notes \transpose c c' {
6289 % Torculus Deminutus
6290 \[ a \pes b \flexa \deminutum g \]
6297 \remove "Bar_number_engraver"
6301 \remove "Clef_engraver"
6302 \remove "Key_engraver"
6303 StaffSymbol \set #'transparent = ##t
6304 \remove "Time_signature_engraver"
6305 \remove "Bar_engraver"
6306 minimumVerticalExtent = ##f
6310 \remove Ligature_bracket_engraver
6311 \consists Vaticana_ligature_engraver
6312 NoteHead \set #'style = #'vaticana_punctum
6313 Stem \set #'transparent = ##t
6320 @code{11. Torculus Initio Debilis}
6322 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6323 \include "gregorian-init.ly"
6325 \notes \transpose c c' {
6326 % Torculus Initio Debilis
6327 \[ \deminutum a \pes b \flexa g \]
6334 \remove "Bar_number_engraver"
6338 \remove "Clef_engraver"
6339 \remove "Key_engraver"
6340 StaffSymbol \set #'transparent = ##t
6341 \remove "Time_signature_engraver"
6342 \remove "Bar_engraver"
6343 minimumVerticalExtent = ##f
6347 \remove Ligature_bracket_engraver
6348 \consists Vaticana_ligature_engraver
6349 NoteHead \set #'style = #'vaticana_punctum
6350 Stem \set #'transparent = ##t
6356 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6357 \include "gregorian-init.ly"
6359 \notes \transpose c c' {
6360 % Torculus Auctus Descendens Initio Debilis
6361 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6368 \remove "Bar_number_engraver"
6372 \remove "Clef_engraver"
6373 \remove "Key_engraver"
6374 StaffSymbol \set #'transparent = ##t
6375 \remove "Time_signature_engraver"
6376 \remove "Bar_engraver"
6377 minimumVerticalExtent = ##f
6381 \remove Ligature_bracket_engraver
6382 \consists Vaticana_ligature_engraver
6383 NoteHead \set #'style = #'vaticana_punctum
6384 Stem \set #'transparent = ##t
6390 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6391 \include "gregorian-init.ly"
6393 \notes \transpose c c' {
6394 % Torculus Deminutus Initio Debilis
6395 \[ \deminutum a \pes b \flexa \deminutum g \]
6402 \remove "Bar_number_engraver"
6406 \remove "Clef_engraver"
6407 \remove "Key_engraver"
6408 StaffSymbol \set #'transparent = ##t
6409 \remove "Time_signature_engraver"
6410 \remove "Bar_engraver"
6411 minimumVerticalExtent = ##f
6415 \remove Ligature_bracket_engraver
6416 \consists Vaticana_ligature_engraver
6417 NoteHead \set #'style = #'vaticana_punctum
6418 Stem \set #'transparent = ##t
6425 @code{12. Porrectus}
6427 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6428 \include "gregorian-init.ly"
6430 \notes \transpose c c' {
6432 \[ a \flexa g \pes b \]
6439 \remove "Bar_number_engraver"
6443 \remove "Clef_engraver"
6444 \remove "Key_engraver"
6445 StaffSymbol \set #'transparent = ##t
6446 \remove "Time_signature_engraver"
6447 \remove "Bar_engraver"
6448 minimumVerticalExtent = ##f
6452 \remove Ligature_bracket_engraver
6453 \consists Vaticana_ligature_engraver
6454 NoteHead \set #'style = #'vaticana_punctum
6455 Stem \set #'transparent = ##t
6461 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6462 \include "gregorian-init.ly"
6464 \notes \transpose c c' {
6465 % Porrectus Auctus Descendens
6466 \[ a \flexa g \pes \auctum \descendens b \]
6473 \remove "Bar_number_engraver"
6477 \remove "Clef_engraver"
6478 \remove "Key_engraver"
6479 StaffSymbol \set #'transparent = ##t
6480 \remove "Time_signature_engraver"
6481 \remove "Bar_engraver"
6482 minimumVerticalExtent = ##f
6486 \remove Ligature_bracket_engraver
6487 \consists Vaticana_ligature_engraver
6488 NoteHead \set #'style = #'vaticana_punctum
6489 Stem \set #'transparent = ##t
6495 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6496 \include "gregorian-init.ly"
6498 \notes \transpose c c' {
6499 % Porrectus Deminutus
6500 \[ a \flexa g \pes \deminutum b \]
6507 \remove "Bar_number_engraver"
6511 \remove "Clef_engraver"
6512 \remove "Key_engraver"
6513 StaffSymbol \set #'transparent = ##t
6514 \remove "Time_signature_engraver"
6515 \remove "Bar_engraver"
6516 minimumVerticalExtent = ##f
6520 \remove Ligature_bracket_engraver
6521 \consists Vaticana_ligature_engraver
6522 NoteHead \set #'style = #'vaticana_punctum
6523 Stem \set #'transparent = ##t
6532 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6533 \include "gregorian-init.ly"
6535 \notes \transpose c c' {
6537 \[ \virga b \inclinatum a \inclinatum g \]
6544 \remove "Bar_number_engraver"
6548 \remove "Clef_engraver"
6549 \remove "Key_engraver"
6550 StaffSymbol \set #'transparent = ##t
6551 \remove "Time_signature_engraver"
6552 \remove "Bar_engraver"
6553 minimumVerticalExtent = ##f
6557 \remove Ligature_bracket_engraver
6558 \consists Vaticana_ligature_engraver
6559 NoteHead \set #'style = #'vaticana_punctum
6560 Stem \set #'transparent = ##t
6566 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6567 \include "gregorian-init.ly"
6569 \notes \transpose c c' {
6571 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6578 \remove "Bar_number_engraver"
6582 \remove "Clef_engraver"
6583 \remove "Key_engraver"
6584 StaffSymbol \set #'transparent = ##t
6585 \remove "Time_signature_engraver"
6586 \remove "Bar_engraver"
6587 minimumVerticalExtent = ##f
6591 \remove Ligature_bracket_engraver
6592 \consists Vaticana_ligature_engraver
6593 NoteHead \set #'style = #'vaticana_punctum
6594 Stem \set #'transparent = ##t
6600 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6601 \include "gregorian-init.ly"
6603 \notes \transpose c c' {
6604 % Climacus Deminutus
6605 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6612 \remove "Bar_number_engraver"
6616 \remove "Clef_engraver"
6617 \remove "Key_engraver"
6618 StaffSymbol \set #'transparent = ##t
6619 \remove "Time_signature_engraver"
6620 \remove "Bar_engraver"
6621 minimumVerticalExtent = ##f
6625 \remove Ligature_bracket_engraver
6626 \consists Vaticana_ligature_engraver
6627 NoteHead \set #'style = #'vaticana_punctum
6628 Stem \set #'transparent = ##t
6635 @code{14. Scandicus}
6637 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6638 \include "gregorian-init.ly"
6640 \notes \transpose c c' {
6642 \[ g \pes a \virga b \]
6649 \remove "Bar_number_engraver"
6653 \remove "Clef_engraver"
6654 \remove "Key_engraver"
6655 StaffSymbol \set #'transparent = ##t
6656 \remove "Time_signature_engraver"
6657 \remove "Bar_engraver"
6658 minimumVerticalExtent = ##f
6662 \remove Ligature_bracket_engraver
6663 \consists Vaticana_ligature_engraver
6664 NoteHead \set #'style = #'vaticana_punctum
6665 Stem \set #'transparent = ##t
6671 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6672 \include "gregorian-init.ly"
6674 \notes \transpose c c' {
6675 % Scandicus Auctus Descendens
6676 \[ g \pes a \pes \auctum \descendens b \]
6683 \remove "Bar_number_engraver"
6687 \remove "Clef_engraver"
6688 \remove "Key_engraver"
6689 StaffSymbol \set #'transparent = ##t
6690 \remove "Time_signature_engraver"
6691 \remove "Bar_engraver"
6692 minimumVerticalExtent = ##f
6696 \remove Ligature_bracket_engraver
6697 \consists Vaticana_ligature_engraver
6698 NoteHead \set #'style = #'vaticana_punctum
6699 Stem \set #'transparent = ##t
6705 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6706 \include "gregorian-init.ly"
6708 \notes \transpose c c' {
6709 % Scandicus Deminutus
6710 \[ g \pes a \pes \deminutum b \]
6717 \remove "Bar_number_engraver"
6721 \remove "Clef_engraver"
6722 \remove "Key_engraver"
6723 StaffSymbol \set #'transparent = ##t
6724 \remove "Time_signature_engraver"
6725 \remove "Bar_engraver"
6726 minimumVerticalExtent = ##f
6730 \remove Ligature_bracket_engraver
6731 \consists Vaticana_ligature_engraver
6732 NoteHead \set #'style = #'vaticana_punctum
6733 Stem \set #'transparent = ##t
6742 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6743 \include "gregorian-init.ly"
6745 \notes \transpose c c' {
6747 \[ g \oriscus a \pes \virga b \]
6754 \remove "Bar_number_engraver"
6758 \remove "Clef_engraver"
6759 \remove "Key_engraver"
6760 StaffSymbol \set #'transparent = ##t
6761 \remove "Time_signature_engraver"
6762 \remove "Bar_engraver"
6763 minimumVerticalExtent = ##f
6767 \remove Ligature_bracket_engraver
6768 \consists Vaticana_ligature_engraver
6769 NoteHead \set #'style = #'vaticana_punctum
6770 Stem \set #'transparent = ##t
6776 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6777 \include "gregorian-init.ly"
6779 \notes \transpose c c' {
6780 % Salicus Auctus Descendens
6781 \[ g \oriscus a \pes \auctum \descendens b \]
6788 \remove "Bar_number_engraver"
6792 \remove "Clef_engraver"
6793 \remove "Key_engraver"
6794 StaffSymbol \set #'transparent = ##t
6795 \remove "Time_signature_engraver"
6796 \remove "Bar_engraver"
6797 minimumVerticalExtent = ##f
6801 \remove Ligature_bracket_engraver
6802 \consists Vaticana_ligature_engraver
6803 NoteHead \set #'style = #'vaticana_punctum
6804 Stem \set #'transparent = ##t
6814 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6815 \include "gregorian-init.ly"
6817 \notes \transpose c c' {
6819 \[ \stropha b \stropha b \stropha a \]
6826 \remove "Bar_number_engraver"
6830 \remove "Clef_engraver"
6831 \remove "Key_engraver"
6832 StaffSymbol \set #'transparent = ##t
6833 \remove "Time_signature_engraver"
6834 \remove "Bar_engraver"
6835 minimumVerticalExtent = ##f
6839 \remove Ligature_bracket_engraver
6840 \consists Vaticana_ligature_engraver
6841 NoteHead \set #'style = #'vaticana_punctum
6842 Stem \set #'transparent = ##t
6854 Unlike most other neumes notation systems, the input language for
6855 neumes does not necessarily reflect directly the typographical
6856 appearance, but is designed to solely focuse on musical meaning. For
6857 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6858 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6859 a Porrectus with a curved flexa shape and only a single Punctum head.
6860 There is no command to explicitly typeset the curved flexa shape; the
6861 decision of when to typeset a curved flexa shape is purely taken from
6862 the musical input. The idea of this approach is to separate the
6863 musical aspects of the input from the notation style of the output.
6864 This way, the same input can be reused to typeset the same music in a
6865 different style of Gregorian chant notation such as Hufnagel (also
6866 known as German gothic neumes) or Medicaea (kind of a very simple
6867 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6868 engraver and Medicaea ligature engraver will have been implemented, it
6869 will be as simple as replacing the ligature engraver in the
6870 @internalsref{Voice} context to get the desired notation style from
6873 The following table shows the code fragments that produce the
6874 ligatures in the above neumes table. The letter in the first column
6875 in each line of the below table indicates to which ligature in the
6876 above table it refers. The second column gives the name of the
6877 ligature. The third column shows the code fragment that produces this
6878 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6880 @multitable @columnfractions .1 .4 .5
6894 Punctum Inclinatum @tab
6895 @code{\[ \inclinatum b \]}
6899 Punctum Auctum Ascendens @tab
6900 @code{\[ \auctum \ascendens b \]}
6904 Punctum Auctum Descendens @tab
6905 @code{\[ \auctum \descendens b \]}
6909 Punctum Inclinatum Auctum @tab
6910 @code{\[ \inclinatum \auctum b \]}
6914 Punctum Inclinatum Parvum @tab
6915 @code{\[ \inclinatum \deminutum b \]}
6920 @code{\[ \virga b \]}
6925 @code{\[ \stropha b \]}
6930 @code{\[ \stropha \auctum b \]}
6935 @code{\[ \oriscus b \]}
6939 Clivis vel Flexa @tab
6940 @code{\[ b \flexa g \]}
6944 Clivis Aucta Descendens @tab
6945 @code{\[ b \flexa \auctum \descendens g \]}
6949 Clivis Aucta Ascendens @tab
6950 @code{\[ b \flexa \auctum \ascendens g \]}
6955 @code{\[ b \flexa \deminutum g \]}
6959 Podatus vel Pes @tab
6960 @code{\[ g \pes b \]}
6964 Pes Auctus Descendens @tab
6965 @code{\[ g \pes \auctum \descendens b \]}
6969 Pes Auctus Ascendens @tab
6970 @code{\[ g \pes \auctum \ascendens b \]}
6975 @code{\[ g \pes \deminutum b \]}
6980 @code{\[ \oriscus g \pes \virga b \]}
6984 Pes Quassus Auctus Descendens @tab
6985 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6990 @code{\[ \quilisma g \pes b \]}
6994 Quilisma Pes Auctus Descendens @tab
6995 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6999 Pes Initio Debilis @tab
7000 @code{\[ \deminutum g \pes b \]}
7004 Pes Auctus Descendens Initio Debilis @tab
7005 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7010 @code{\[ a \pes b \flexa g \]}
7014 Torculus Auctus Descendens @tab
7015 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7019 Torculus Deminutus @tab
7020 @code{\[ a \pes b \flexa \deminutum g \]}
7024 Torculus Initio Debilis @tab
7025 @code{\[ \deminutum a \pes b \flexa g \]}
7029 Torculus Auctus Descendens Initio Debilis @tab
7030 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7034 Torculus Deminutus Initio Debilis @tab
7035 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7040 @code{\[ a \flexa g \pes b \]}
7044 Porrectus Auctus Descendens @tab
7045 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7049 Porrectus Deminutus @tab
7050 @code{\[ a \flexa g \pes \deminutum b \]}
7055 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7059 Climacus Auctus @tab
7060 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7064 Climacus Deminutus @tab
7065 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7070 @code{\[ g \pes a \virga b \]}
7074 Scandicus Auctus Descendens @tab
7075 @code{\[ g \pes a \pes \auctum \descendens b \]}
7079 Scandicus Deminutus @tab
7080 @code{\[ g \pes a \pes \deminutum b \]}
7085 @code{\[ g \oriscus a \pes \virga b \]}
7089 Salicus Auctus Descendens @tab
7090 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7095 @code{\[ \stropha b \stropha b \stropha a \]}
7101 The following head prefixes are supported:
7103 @cindex @code{\virga}
7105 @cindex @code{\stropha}
7107 @cindex @code{\inclinatum}
7109 @cindex @code{\auctum}
7111 @cindex @code{\descendens}
7113 @cindex @code{\ascendens}
7115 @cindex @code{\oriscus}
7117 @cindex @code{\quilisma}
7119 @cindex @code{\deminutum}
7122 Head prefixes can be accumulated, though restrictions apply. For
7123 example, either @code{\descendens} or @code{\ascendens} can be applied
7124 to a head, but not both to the same head.
7127 @cindex @code{\flexa}
7128 Two adjacent heads can be tied together with the @code{\pes} and
7129 @code{\flexa} infix commands for a rising and falling line of melody,
7134 Trigonus: apply equal spacing, regardless of pitch.
7137 @subsection Figured bass
7139 @cindex Basso continuo
7141 @c TODO: musicological blurb about FB
7145 LilyPond has limited support for figured bass:
7147 @lilypond[verbatim,fragment]
7149 \context Voice \notes { \clef bass dis4 c d ais}
7150 \context FiguredBass
7152 < 6 >4 < 7 >8 < 6+ [_!] >
7158 The support for figured bass consists of two parts: there is an input
7159 mode, introduced by @code{\figures}, where you can enter bass figures
7160 as numbers, and there is a context called @internalsref{FiguredBass} that
7161 takes care of making @internalsref{BassFigure} objects.
7163 In figures input mode, a group of bass figures is delimited by
7164 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7169 \context FiguredBass
7173 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7180 \context FiguredBass
7181 \figures { <4- 6+ 7!> }
7184 Spaces or dashes may be inserted by using @code{_}. Brackets are
7185 introduced with @code{[} and @code{]}:
7191 \context FiguredBass
7192 \figures { < [4 6] 8 [_! 12]> }
7195 Although the support for figured bass may superficially resemble chord
7196 support, it works much simpler. The @code{\figures} mode simply
7197 stores the numbers , and @internalsref{FiguredBass} context prints
7198 them as entered. There is no conversion to pitches, and no
7199 realizations of the bass are played in the MIDI file.
7201 Internally, the code produces markup texts. You can use any of the
7202 markup text properties to override formatting. For example, the
7203 vertical spacing of the figures may be set with @code{baseline-skip}.
7207 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7208 and @internalsref{FiguredBass} context.
7212 Slash notation for alterations is not supported.
7215 @node Vaticana style contexts
7216 @subsection Vaticana style contexts
7218 @cindex VaticanaVoiceContext
7219 @cindex VaticanaStaffContext
7221 The predefined @code{VaticanaVoiceContext} and
7222 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7223 Gregorian Chant in the style of the Editio Vaticana. These contexts
7224 initialize all relevant context properties and grob properties to
7225 proper values. With these contexts, you can immediately go ahead
7226 entering the chant, as the following short excerpt demonstrates:
7228 @lilypond[raggedright,verbatim,noindent]
7229 \include "gregorian-init.ly"
7232 \context VaticanaVoice {
7233 \property Score.BarNumber \set #'transparent = ##t
7235 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7236 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7237 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7240 \context Lyrics \lyrics {
7241 San- ctus, San- ctus, San- ctus
7246 @node Contemporary notation
7247 @section Contemporary notation
7249 In the 20th century, composers have greatly expanded the musical
7250 vocabulary. With this expansion, many innovations in musical notation
7251 have been tried. The book by Stone (1980) gives a comprehensive
7252 overview (see @ref{Literature list}). In general, the use of new,
7253 innovative notation makes a piece harder to understand and perform and
7254 its use should therefore be avoided if possible. For this reason,
7255 support for contemporary notation in LilyPond is limited.
7264 @subsection Clusters
7268 In musical terminology, a @emph{cluster} denotes a range of
7269 simultaneously sounding pitches that may change over time. The set of
7270 available pitches to apply usually depends on the accoustic source.
7271 Thus, in piano music, a cluster typically consists of a continous range
7272 of the semitones as provided by the piano's fixed set of a chromatic
7273 scale. In choral music, each singer of the choir typically may sing an
7274 arbitrary pitch within the cluster's range that is not bound to any
7275 diatonic, chromatic or other scale. In electronic music, a cluster
7276 (theoretically) may even cover a continuous range of pitches, thus
7277 resulting in coloured noise, such as pink noise.
7279 Clusters can be denoted in the context of ordinary staff notation by
7280 engraving simple geometrical shapes that replace ordinary notation of
7281 notes. Ordinary notes as musical events specify starting time and
7282 duration of pitches; however, the duration of a note is expressed by the
7283 shape of the note head rather than by the horizontal graphical extent of
7284 the note symbol. In contrast, the shape of a cluster geometrically
7285 describes the development of a range of pitches (vertical extent) over
7286 time (horizontal extent). Still, the geometrical shape of a cluster
7287 covers the area in wich any single pitch contained in the cluster would
7288 be notated as an ordinary note. From this point of view, it is
7289 reasonable to specify a cluster as the envelope of a set of notes.
7293 A cluster is engraved as the envelope of a set of
7294 cluster-notes. Cluster notes are created by applying the function
7295 @code{notes-to-clusters} to a sequence of chords, e.g.
7297 @lilypond[relative 1,verbatim]
7298 \apply #notes-to-clusters { <c e > <b f'> }
7301 The following example (from
7302 @inputfileref{input/regression,cluster.ly}) shows what the result
7305 @lilypondfile[notexidoc]{cluster.ly}
7307 By default, @internalsref{Cluster_spanner_engraver} is in the
7308 @internalsref{Voice} context. This allows putting ordinary notes and
7309 clusters together in the same staff, even simultaneously. In such a
7310 case no attempt is made to automatically avoid collisions between
7311 ordinary notes and clusters.
7315 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7316 @inputfileref{input/regression,cluster.ly},
7317 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7321 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7322 accurately. Use @code{<g a>8 <e a>8} instead.
7327 @subsection Fermatas
7333 Contemporary music notation frequently uses special fermata symbols to
7334 indicate fermatas of differing lengths.
7338 The following are supported
7340 @lilypond[singleline]
7342 << \addlyrics \notes {
7362 \context Lyrics \lyrics {
7363 "shortfermata" "fermata" "longfermata" "verylongfermata"
7368 See @ref{Articulations} for general instructions how to apply scripts
7369 such as fermatas to a @code{\notes@{@}} block.
7372 @section Tuning output
7374 There are situations where default layout decisions are not
7375 sufficient. In this section we discuss ways to override these
7378 Formatting is internally done by manipulating so called objects
7379 (graphic objects). Each object carries with it a set of properties
7380 (object or layout properties) specific to that object. For example, a
7381 stem object has properties that specify its direction, length and
7384 The most direct way of tuning the output is by altering the values of
7385 these properties. There are two ways of doing that: first, you can
7386 temporarily change the definition of one type of object, thus
7387 affecting a whole set of objects. Second, you can select one specific
7388 object, and set a layout property in that object.
7390 Do not confuse layout properties with translation
7391 properties. Translation properties always use a mixed caps style
7392 naming, and are manipulated using @code{\property}:
7394 \property Context.propertyName = @var{value}
7396 Layout properties are use Scheme style variable naming, i.e. lower
7397 case words separated with dashes. They are symbols, and should always
7398 be quoted using @code{#'}. For example, this could be an imaginary
7399 layout property name:
7401 #'layout-property-name
7406 * Constructing a tweak::
7414 @node Tuning objects
7415 @subsection Tuning objects
7417 @cindex object description
7419 The definition of an object is a list of default object
7420 properties. For example, the definition of the Stem object (available
7421 in @file{scm/define-grobs.scm}), includes the following definitions
7422 for @internalsref{Stem}:
7426 (beamed-lengths . (0.0 2.5 2.0 1.5))
7427 (Y-extent-callback . ,Stem::height)
7432 Adding variables on top of this existing definition overrides the
7433 system default, and alters the resulting appearance of the layout
7439 Changing a variable for only one object is commonly achieved with
7443 \once \property @var{context}.@var{objectname}
7444 \override @var{symbol} = @var{value}
7446 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7447 and @var{objectname} is a string and @var{value} is a Scheme expression.
7448 This command applies a setting only during one moment in the score.
7450 In the following example, only one @internalsref{Stem} object is
7451 changed from its original setting:
7453 @lilypond[verbatim, fragment, relative=1]
7455 \once \property Voice.Stem \set #'thickness = #4
7459 @cindex @code{\once}
7461 For changing more objects, the same command, without @code{\once} can
7464 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7466 This command adds @code{@var{symbol} = @var{value}} to the definition
7467 of @var{objectname} in the context @var{context}, and this definition
7468 stays in place until it is removed.
7470 An existing definition may be removed by the following command:
7473 \property @var{context}.@var{objectname} \revert @var{symbol}
7476 All @code{\override} and @code{\revert} commands should be balanced.
7477 The @code{\set} shorthand performs a revert followed by an override,
7478 and is often more convenient to use
7481 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7485 @lilypond[verbatim,quote]
7486 c'4 \property Voice.Stem \override #'thickness = #4.0
7488 c'4 \property Voice.Stem \revert #'thickness
7492 The following example gives exactly the same result as the previous
7493 one (assuming the system default for stem thickness is 1.3):
7495 @lilypond[verbatim,quote]
7496 c'4 \property Voice.Stem \set #'thickness = #4.0
7498 c'4 \property Voice.Stem \set #'thickness = #1.3
7502 Reverting a setting which was not set in the first place has no
7503 effect. However, if the setting was set as a system default, this may
7504 remove the default value, and this may give surprising results,
7505 including crashes. In other words, @code{\override} and
7506 @code{\revert} must be carefully balanced. The following are examples
7507 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7511 a clumsy but correct form:
7513 \override \revert \override \revert \override \revert
7517 shorter version of the same:
7519 \override \set \set \revert
7523 a short form, using only @code{\set}. This requires you to know the
7526 \set \set \set \set @var{to default value}
7530 if there is no default (i.e. by default, the object property is unset),
7533 \set \set \set \revert
7537 The object description is an Scheme association
7538 list. Since a Scheme list is a singly linked list, we can treat it as
7539 a stack, and @code{\override} and @code{\revert} are push and pop
7540 operations. The association list is stored in a normal context
7543 \property Voice.NoteHead = #'()
7545 will effectively erase @internalsref{NoteHead}s from the current
7546 @internalsref{Voice}. Typically, this will blank the object. However,
7547 this mechanism should not be used: it may cause crashes or other
7552 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7553 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7554 @internalsref{All-layout-objects}.
7559 The backend is not very strict in type-checking object properties.
7560 Cyclic references in Scheme values for properties cause hangs and/or
7561 crashes. Reverting properties that are system defaults may also lead
7564 @node Constructing a tweak
7565 @subsection Constructing a tweak
7568 @cindex internal documentation
7569 @cindex finding graphical objects
7570 @cindex graphical object descriptions
7572 @cindex @code{\override}
7574 @cindex internal documentation
7578 Three pieces of information are required to use @code{\override} and
7579 @code{\set}: the name of the layout object, the context and the name
7580 of the property. We demonstrate how to glean this information from
7581 the notation manual and the generated documentation.
7583 The generated documentation is a set of HTML pages which should be
7584 included if you installed a binary distribution, typically in
7585 @file{/usr/share/doc/lilypond}. They are also available on the web:
7586 go to the @uref{http://lilypond.org,LilyPond website}, click
7587 ``Documentation'', select the correct version, and click then
7588 ``Program reference.'' It is advisable to bookmark the local HTML
7589 files. They will load faster than the ones on the web. If you use the
7590 version from the web, you must check whether the documentation matches
7591 the program version: it is generated from the definitions that the
7592 program uses, and therefore it is strongly tied to the LilyPond
7596 @c [TODO: revise for new site.]
7598 Suppose we want to move the fingering indication in the fragment below:
7600 @lilypond[relative=2,verbatim]
7606 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7607 instructions}), you will notice that there is written:
7612 @internalsref{FingerEvent} and @internalsref{Fingering}.
7619 In other words, the fingerings once entered, are internally stored as
7620 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7621 layout object is created for every @code{FingerEvent}.
7623 The Fingering object has a number of different functions, and each of
7624 those is captured in an interface. The interfaces are listed under
7625 @internalsref{Fingering} in the program reference.
7629 The @code{Fingering} object has a fixed size
7630 (@internalsref{item-interface}), the symbol is a piece of text
7631 (@internalsref{text-interface}), whose font can be set
7632 (@internalsref{font-interface}). It is centered horizontally
7633 (@internalsref{self-alignment-interface}), it is placed next to other
7634 objects (@internalsref{side-position-interface}) vertically, and its
7635 placement is coordinated with other scripts
7636 (@internalsref{text-script-interface}). It also has the standard
7637 @internalsref{grob-interface} (grob stands for Graphical object)
7639 @cindex graphical object
7640 @cindex layout object
7641 @cindex object, layout
7642 with all the variables that come with
7643 it. Finally, it denotes a fingering instruction, so it has
7644 @internalsref{finger-interface}.
7646 For the vertical placement, we have to look under
7647 @code{side-position-interface}:
7649 @code{side-position-interface}
7651 Position a victim object (this one) next to other objects (the
7652 support). In this case, the property @code{direction} signifies where to put the
7653 victim object relative to the support (left or right, up or down?)
7658 below this description, the variable @code{padding} is described as
7662 (dimension, in staff space)
7664 add this much extra space between objects that are next to each
7665 other. Default value: @code{0.6}
7669 By increasing the value of @code{padding}, we can move away the
7670 fingering. The following command inserts 3 staff spaces of white
7671 between the note and the fingering:
7673 \once \property Voice.Fingering \set #'padding = #3
7676 Inserting this command before the Fingering object is created,
7677 i.e. before @code{c2}, yields the following result:
7679 @lilypond[relative=2,fragment,verbatim]
7680 \once \property Voice.Fingering
7687 The context name @code{Voice} in the example above can be determined
7688 as follows. In the documentation for @internalsref{Fingering}, it says
7690 Fingering grobs are created by: @internalsref{Fingering_engraver}
7693 Clicking @code{Fingering_engraver} shows the documentation of
7694 the module responsible for interpreting the fingering instructions and
7695 translating them to a @code{Fingering} object. Such a module is called
7696 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7699 Fingering_engraver is part of contexts: Voice
7701 so tuning the settings for Fingering should be done with
7703 \property Voice.Fingering \set @dots{}
7706 Of course, the tweak may also done in a larger context than
7707 @code{Voice}, for example, @internalsref{Staff} or
7708 @internalsref{Score}.
7712 The program reference also contains alphabetical lists of
7713 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7714 @internalsref{Music-expressions}, so you can also find which objects to
7715 tweak by browsing the internals document.
7719 @subsection Applyoutput
7721 The most versatile way of tuning an object is @code{\applyoutput}. Its
7724 \applyoutput @var{proc}
7728 where @var{proc} is a Scheme function, taking three arguments.
7730 When interpreted, the function @var{proc} is called for every layout
7731 object found in the context, with the following arguments:
7733 @item the layout object itself,
7734 @item the context where the layout object was created, and
7735 @item the context where @code{\applyoutput} is processed.
7739 In addition, the cause of the layout object, i.e. the music
7740 expression or object that was responsible for creating it, is in the
7741 object property @code{cause}. For example, for a note head, this is a
7742 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7743 this is a @internalsref{NoteHead} object.
7745 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7748 (define (blanker grob grob-origin context)
7749 (if (and (memq (ly:get-grob-property grob 'interfaces)
7750 note-head-interface)
7751 (eq? (ly:get-grob-property grob 'staff-position) 0))
7753 (ly:set-grob-property! grob 'transparent #t)))
7758 @node Font selection
7759 @subsection Font selection
7761 The most common thing to change about the appearance of fonts is their
7762 size. The font size of any context can be easily changed by setting
7763 the @code{fontSize} property for that context. Its value is an
7764 integer: negative numbers make the font smaller, positive numbers
7765 larger. An example is given below:
7767 @lilypond[fragment,relative=1,verbatim,quote]
7768 c4 c4 \property Voice.fontSize = #-1
7771 This command will set @code{font-relative-size} (see below), and does
7772 not change the size of variable symbols, such as beams or slurs.
7775 One of the uses of @code{fontSize} is to get smaller symbol for cue
7776 notes. An elaborate example of those is in
7777 @inputfileref{input/test,cue-notes.ly}.
7779 @cindex magnification
7781 The size of the font may be scaled with the object property
7782 @code{font-magnification}. For example, @code{2.0} blows up all
7783 letters by a factor 2 in both directions.
7792 The font used for printing a object can be selected by setting
7793 @code{font-name}, e.g.
7795 \property Staff.TimeSignature
7796 \set #'font-name = #"cmr17"
7800 Any font can be used, as long as it is available to @TeX{}. Possible
7801 fonts include foreign fonts or fonts that do not belong to the
7802 Computer Modern font family.
7804 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7805 can also be adjusted with a more fine-grained mechanism. By setting
7806 the object properties described below, you can select a different font;
7807 all three mechanisms work for every object that supports
7808 @code{font-interface}:
7812 is a symbol indicating the general class of the typeface. Supported are
7813 @code{roman} (Computer Modern), @code{braces} (for piano staff
7814 braces), @code{music} (the standard music font, including ancient
7815 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7818 is a symbol indicating the shape of the font, there are typically several
7819 font shapes available for each font family. Choices are @code{italic},
7820 @code{caps} and @code{upright}.
7823 is a symbol indicating the series of the font. There are typically several
7824 font series for each font family and shape. Choices are @code{medium}
7827 @item font-relative-size
7828 is a number indicating the size relative the standard size. For example,
7829 with 20pt staff height, relative size -1 corresponds to 16pt staff
7830 height, and relative size +1 corresponds to 23 pt staff height.
7832 There are small differences in design between fonts designed for
7833 different sizes, hence @code{font-relative-size} is preferred over
7834 @code{font-magnification} for changing font sizes.
7837 @item font-design-size
7838 is a number indicating the design size of the font.
7840 This is a feature of the Computer Modern Font: each point size has a
7841 slightly different design. Smaller design sizes are relatively wider,
7842 which enhances readability.
7845 For any of these properties, the value @code{*} (i.e. the symbol
7846 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7847 to override default setting, which are always present. For example:
7849 \property Lyrics . LyricText \override #'font-series = #'bold
7850 \property Lyrics . LyricText \override #'font-family = #'typewriter
7851 \property Lyrics . LyricText \override #'font-shape = #'*
7854 @cindex @code{font-style}
7858 The following commands set @code{fontSize} for the current voice.
7860 @cindex @code{\tiny}
7862 @cindex @code{\small}
7864 @cindex @code{\normalsize}
7869 Relative size is not linked to any real size.
7871 There is no style sheet provided for other fonts besides the @TeX{}
7872 family, and the style sheet cannot be modified easily.
7874 @cindex font selection
7875 @cindex font magnification
7876 @cindex @code{font-interface}
7880 @subsection Text markup
7885 @cindex typeset text
7887 LilyPond has an internal mechanism to typeset texts. You can access it
7888 with the keyword @code{\markup}. Within markup mode, you can enter texts
7889 similar to lyrics: simply enter them, surrounded by spaces:
7892 @lilypond[verbatim,fragment,relative=1]
7893 c1^\markup { hello }
7894 c1_\markup { hi there }
7895 c1^\markup { hi \bold there, is \italic anyone home? }
7898 @cindex font switching
7900 The markup in the example demonstrates font switching commands. The
7901 command @code{\bold} and @code{\italic} only apply to the first
7902 following word; enclose a set of texts with braces to apply a command
7905 \markup @{ \bold @{ hi there @} @}
7909 For clarity, you can also do this for single arguments, e.g.
7911 \markup @{ is \italic @{ anyone @} home @}
7914 @cindex font size, texts
7916 The following size commands set absolute sizes:
7918 @cindex @code{\teeny}
7919 @cindex @code{\tiny}
7920 @cindex @code{\small}
7921 @cindex @code{\large}
7922 @cindex @code{\huge}
7932 You can also make letter larger or smaller relative to their neighbors,
7933 with the commands @code{\larger} and @code{\smaller}.
7937 @cindex font style, for texts
7938 @cindex @code{\bold}
7939 @cindex @code{\dynamic}
7940 @cindex @code{\number}
7941 @cindex @code{\italic}
7943 The following font change commands are defined:
7946 changes to the font used in dynamic signs. This font does not
7947 contain all characters of the alphabet, so when producing ``piu f'',
7948 the ``piu'' should be done in a different font.
7952 changes to the font used in time signatures. It only contains
7953 numbers and a few punctuation marks.
7955 changes @code{font-shape} to @code{italic}.
7957 changes @code{font-series} to @code{bold}.
7960 @cindex raising text
7961 @cindex lowering text
7963 @cindex translating text
7966 @cindex @code{\super}
7968 Raising and lowering texts can be done with @code{\super} and
7971 @lilypond[verbatim,fragment,relative=1]
7972 c1^\markup { E "=" mc \super "2" }
7975 @cindex @code{\raise}
7977 If you want to give an explicit amount for lowering or raising, use
7978 @code{\raise}. This command takes a Scheme valued first argument, and
7979 a markup object as second argument:
7981 @lilypond[verbatim,fragment,relative=1,quote]
7982 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7984 The argument to @code{\raise} is the vertical displacement amount,
7985 measured in (global) staff spaces. @code{\raise} and @code{\super}
7986 raise objects in relation to their surrounding markups. They cannot be
7987 used to move a single text up or down, when it is above or below a
7988 note, since the mechanism that positions it next to the note cancels
7989 any vertical shift. For vertical positioning, use the @code{padding}
7990 and/or @code{extra-offset} properties.
7992 Other commands taking single arguments include
7995 @item \bracket, \hbracket
7996 Bracket the argument markup with normal and horizontal brackets
8000 @cindex @code{\musicglyph}
8001 This is converted to a musical symbol, e.g. @code{\musicglyph
8002 #"accidentals-0"} will select the natural sign from the music font.
8003 See @ref{The Feta font} for a complete listing of the possible glyphs.
8005 This produces a single character, e.g. @code{\char #65} produces the
8008 @item \note @var{log} @var{dots} @var{dir}
8009 @cindex @code{\note}
8011 This produces a note with a stem pointing in @var{dir} direction, with
8012 duration log @var{log} and @var{dots} augmentation dots. The duration
8013 log is the negative 2-logarithm of the duration denominator. For
8014 example, a quarter note has log 2, an eighth note 3 and a breve has
8017 @item \hspace #@var{amount}
8018 @cindex @code{\hspace}
8019 This produces a invisible object taking horizontal space.
8021 \markup @{ A \hspace #2.0 B @}
8023 will put extra space between A and B, on top of the space that is
8024 normally inserted before elements on a line.
8026 @item \fontsize #@var{size}
8027 @cindex @code{\fontsize}
8028 This sets the relative font size, eg.
8030 A \fontsize #2 @{ B C @} D
8034 This will enlarge the B and the C by two steps.
8035 @item \translate #(cons @var{x} @var{y})
8037 This translates an object. Its first argument is a cons of numbers
8039 A \translate #(cons 2 -3) @{ B C @} D
8041 This moves `B C' 2 spaces to the right, and 3 down.
8043 @item \magnify #@var{mag}
8044 @cindex @code{\magnify}
8045 This sets the font magnification for the its argument. In the following
8046 example, the middle A will be 10% larger:
8048 A \magnify #1.1 @{ A @} A
8052 @item \override #(@var{key} . @var{value})
8053 @cindex @code{\override}
8054 This overrides a formatting property for its argument. The argument
8055 should be a key/value pair, e.g.
8057 m \override #'(font-family . math) m m
8061 In markup mode you can compose expressions, similar to mathematical
8062 expressions, XML documents and music expressions. The braces group
8063 notes into horizontal lines. Other types of lists also exist: you can
8064 stack expressions grouped with @code{<}, and @code{>} vertically with
8065 the command @code{\column}. Similarly, @code{\center} aligns texts by
8068 @lilypond[verbatim,fragment,relative=1]
8069 c1^\markup { \column < a bbbb c > }
8070 c1^\markup { \center < a bbbb c > }
8071 c1^\markup { \line < a b c > }
8074 The markup mechanism is extensible. Refer to
8075 @file{scm/new-markup.scm} for more information.
8081 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
8088 Text layout is ultimately done by @TeX{}, which does kerning of
8089 letters. LilyPond does not account for kerning, so texts will be
8090 spaced slightly too wide.
8092 Syntax errors for markup mode are confusing.
8094 Markup texts cannot be used in the titling of the @code{\header}
8095 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8102 @section Global layout
8104 The global layout determined by three factors: the page layout, the
8105 line breaks and the spacing. These all influence each other. The
8106 choice of spacing determines how densely each system of music is set,
8107 which influences where line breaks breaks are chosen, and thus
8108 ultimately how many pages a piece of music takes. This section
8109 explains how to tune the algorithm for spacing.
8111 Globally spoken, this procedure happens in three steps: first,
8112 flexible distances (``springs'') are chosen, based on durations. All
8113 possible line breaking combination are tried, and the one with the
8114 best results---a layout that has uniform density and requires as
8115 little stretching or cramping as possible---is chosen. When the score
8116 is processed by @TeX{}, each page is filled with systems, and page breaks
8117 are chosen whenever the page gets full.
8122 * Vertical spacing::
8123 * Horizontal spacing::
8130 @node Vertical spacing
8131 @subsection Vertical spacing
8133 @cindex vertical spacing
8134 @cindex distance between staves
8135 @cindex staff distance
8136 @cindex between staves, distance
8137 @cindex staffs per page
8138 @cindex space between staves
8140 The height of each system is determined automatically by LilyPond, to
8141 keep systems from bumping into each other, some minimum distances are
8142 set. By changing these, you can put staves closer together, and thus
8143 put more systems onto one page.
8145 Normally staves are stacked vertically. To make
8146 staves maintain a distance, their vertical size is padded. This is
8147 done with the property @code{minimumVerticalExtent}. It takes a pair
8148 of numbers, so if you want to make it smaller from its, then you could
8151 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8153 This sets the vertical size of the current staff to 4 staff spaces on
8154 either side of the center staff line. The argument of
8155 @code{minimumVerticalExtent} is interpreted as an interval, where the
8156 center line is the 0, so the first number is generally negative. The
8157 staff can be made larger at the bottom by setting it to @code{(-6
8160 The piano staves are handled a little differently: to make cross-staff
8161 beaming work correctly, it is necessary that the distance between staves
8162 is fixed beforehand. This is also done with a
8163 @internalsref{VerticalAlignment} object, created in
8164 @internalsref{PianoStaff}. In this object the distance between the
8165 staves is fixed by setting @code{forced-distance}. If you want to
8166 override this, use a @code{\translator} block as follows:
8170 VerticalAlignment \override #'forced-distance = #9
8173 This would bring the staves together at a distance of 9 staff spaces,
8174 measured from the center line of each staff.
8178 Vertical alignment of staves is handled by the
8179 @internalsref{VerticalAlignment} object.
8183 @node Horizontal spacing
8184 @subsection Horizontal Spacing
8186 The spacing engine translates differences in durations into
8187 stretchable distances (``springs'') of differing lengths. Longer
8188 durations get more space, shorter durations get less. The shortest
8189 durations get a fixed amount of space (which is controlled by
8190 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8191 /The longer the duration, the more space it gets: doubling a
8192 duration adds a fixed amount (this amount is controlled by
8193 @code{spacing-increment}) of space to the note.
8195 For example, the following piece contains lots of half, quarter and
8196 8th notes, the eighth note is followed by 1 note head width (NHW).
8197 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8198 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8202 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8203 width of a note head, and @code{shortest-duration-space} is set to
8204 2.0, meaning that the shortest note gets 2 NHW (2 times
8205 @code{shortest-duration-space}) of space. For normal notes, this space
8206 is always counted from the left edge of the symbol, so the shortest
8207 notes are generally followed by one NHW of space.
8209 If one would follow the above procedure exactly, then adding a single
8210 32th note to a score that uses 8th and 16th notes, would widen up the
8211 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8212 thus adding 1 NHW to every note. To prevent this, the
8213 shortest duration for spacing is not the shortest note in the score,
8214 but the most commonly found shortest note. Notes that are even
8215 shorter this are followed by a space that is proportional to their
8216 duration relative to the common shortest note. So if we were to add
8217 only a few 16th notes to the example above, they would be followed by
8220 @lilypond[fragment, verbatim, relative=2]
8221 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8224 The most common shortest duration is determined as follows: in every
8225 measure, the shortest duration is determined. The most common short
8226 duration, is taken as the basis for the spacing, with the stipulation
8227 that this shortest duration should always be equal to or shorter than
8228 1/8th note. The shortest duration is printed when you run lilypond
8229 with @code{--verbose}. These durations may also be customized. If you
8230 set the @code{common-shortest-duration} in
8231 @internalsref{SpacingSpanner}, then this sets the base duration for
8232 spacing. The maximum duration for this base (normally 1/8th), is set
8233 through @code{base-shortest-duration}.
8235 @cindex @code{common-shortest-duration}
8236 @cindex @code{base-shortest-duration}
8237 @cindex @code{stem-spacing-correction}
8238 @cindex @code{spacing}
8240 In the introduction it was explained that stem directions influence
8241 spacing. This is controlled with @code{stem-spacing-correction}
8242 property in @internalsref{NoteSpacing}, which are generated for every
8243 @internalsref{Voice} context. The @code{StaffSpacing} object
8244 (generated at @internalsref{Staff} context) contains the same property
8245 for controlling the stem/barline spacing. The following example
8246 shows these corrections, once with default settings, and once with
8247 exaggerated corrections:
8253 \property Staff.NoteSpacing \override #'stem-spacing-correction
8255 \property Staff.StaffSpacing \override #'stem-spacing-correction
8260 \paper { raggedright = ##t } }
8263 @cindex SpacingSpanner, overriding properties
8265 Properties of the @internalsref{SpacingSpanner} must be overridden
8266 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8267 created before any @code{\property} statements are interpreted.
8269 \paper @{ \translator @{
8271 SpacingSpanner \override #'spacing-increment = #3.0
8278 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8279 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8280 @internalsref{SeparatingGroupSpanner}.
8284 Spacing is determined on a score wide basis. If you have a score that
8285 changes its character (measured in durations) halfway during the
8286 score, the part containing the longer durations will be spaced too
8289 There is no convenient mechanism to manually override spacing.
8294 @subsection Font size
8295 @cindex font size, setting
8296 @cindex staff size, setting
8297 @cindex @code{paper} file
8299 The Feta font provides musical symbols at seven different sizes.
8300 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8301 26 point. The point size of a font is the height of the corresponding
8302 staff (excluding line thicknesses).
8304 Definitions for these sizes are the files @file{paperSZ.ly}, where
8305 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8306 of these files, the variables @code{paperEleven},
8307 @code{paperThirteen}, @code{paperSixteen},
8308 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8309 are defined respectively. The default @code{\paper} block is also
8310 set. These files should be imported at toplevel, i.e.
8312 \include "paper26.ly"
8316 The default font size settings for each staff heights are generated
8317 from the 20pt style sheet. For more details, see the file
8318 @file{scm/font.scm}.
8322 @subsection Line breaking
8325 @cindex breaking lines
8327 Line breaks are normally computed automatically. They are chosen such
8328 that lines look neither cramped nor loose, and that consecutive lines
8329 have similar density.
8331 Occasionally you might want to override the automatic breaks; you can
8332 do this by specifying @code{\break}. This will force a line break at
8333 this point. Line breaks can only occur at places where there are bar
8334 lines. If you want to have a line break where there is no bar line,
8335 you can force an invisible bar line by entering @code{\bar
8336 ""}. Similarly, @code{\noBreak} forbids a line break at a
8340 @cindex regular line breaks
8341 @cindex four bar music.
8343 For linebreaks at regular intervals use @code{\break} separated by
8344 skips and repeated with @code{\repeat}:
8346 << \repeat unfold 7 @{ s1 * 4 \break @}
8347 @emph{the real music}
8352 This makes the following 28 measures (assuming 4/4 time) be broken every
8357 @internalsref{BreakEvent}.
8361 @subsection Page layout
8364 @cindex breaking pages
8366 @cindex @code{indent}
8367 @cindex @code{linewidth}
8369 The most basic settings influencing the spacing are @code{indent} and
8370 @code{linewidth}. They are set in the @code{\paper} block. They
8371 control the indentation of the first line of music, and the lengths of
8374 If @code{raggedright} is set to true in the @code{\paper}
8375 block, then the lines are justified at their natural length. This
8376 useful for short fragments, and for checking how tight the natural
8380 @cindex vertical spacing
8382 The page layout process happens outside the LilyPond formatting
8383 engine: variables controlling page layout are passed to the output,
8384 and are further interpreted by @code{lilypond} wrapper program. It
8385 responds to the following variables in the @code{\paper} block. The
8386 variable @code{textheight} sets the total height of the music on each
8387 page. The spacing between systems is controlled with
8388 @code{interscoreline}, its default is 16pt. The distance between the
8389 score lines will stretch in order to fill the full page
8390 @code{interscorelinefill} is set to a positive number. In that case
8391 @code{interscoreline} specifies the minimum spacing.
8393 @cindex @code{textheight}
8394 @cindex @code{interscoreline}
8395 @cindex @code{interscorelinefill}
8397 If the variable @code{lastpagefill} is defined,
8398 @c fixme: this should only be done if lastpagefill == #t
8399 systems are evenly distributed vertically on the last page. This
8400 might produce ugly results in case there are not enough systems on the
8401 last page. The @command{lilypond-book} command ignores
8402 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8405 @cindex @code{lastpagefill}
8407 Page breaks are normally computed by @TeX{}, so they are not under
8408 direct control of LilyPond. However, you can insert a commands into
8409 the @file{.tex} output to instruct @TeX{} where to break pages. This
8410 is done by setting the @code{between-systems-strings} on the
8411 @internalsref{NonMusicalPaperColumn} where the system is broken.
8412 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8413 The predefined command @code{\newpage} also does this.
8417 @cindex @code{papersize}
8419 To change the paper size, you must first set the @code{papersize} paper
8420 variable variable as in the example below. Set it to
8421 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8422 specification, you must set the font as described above. If you want
8423 the default font, then use the 20 point font.
8426 \paper@{ papersize = "a4" @}
8427 \include "paper16.ly"
8430 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8431 will set the paper variables @code{hsize} and @code{vsize} (used by
8432 @code{lilypond-book} and @code{lilypond}).
8437 @cindex @code{\newpage}
8443 @ref{Invoking lilypond},
8444 @inputfileref{input/regression,between-systems.ly}, and
8445 @internalsref{NonMusicalPaperColumn}.
8449 LilyPond has no concept of page layout, which makes it difficult to
8450 reliably choose page breaks in longer pieces.
8459 Entered music can also be converted to MIDI output. The performance
8460 is good enough for proof-hearing the music for errors.
8462 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8463 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8464 marks translate to a fixed fraction of the available MIDI volume
8465 range, crescendi and decrescendi make the volume vary linearly between
8466 their two extremities. The fractions can be adjusted by
8467 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8468 For each type of MIDI instrument, a volume range can be defined. This
8469 gives a basic equalizer control, which can enhance the quality of
8470 the MIDI output remarkably. The equalizer can be controlled by
8471 setting @code{instrumentEqualizer}.
8475 Many musically interesting effects, such as swing, articulation,
8476 slurring, etc., are not translated to MIDI.
8481 * MIDI instrument names::
8486 @subsection MIDI block
8490 The MIDI block is analogous to the paper block, but it is somewhat
8491 simpler. The @code{\midi} block can contain:
8495 @item a @code{\tempo} definition, and
8496 @item context definitions.
8499 Assignments in the @code{\midi} block are not allowed.
8501 A number followed by a period is interpreted as a real number, so
8502 for setting the tempo for dotted notes, an extra space should be
8503 inserted, for example:
8506 \midi @{ \tempo 4 . = 120 @}
8510 @cindex context definition
8512 Context definitions follow precisely the same syntax as within the
8513 \paper block. Translation modules for sound are called performers.
8514 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8517 @node MIDI instrument names
8518 @subsection MIDI instrument names
8520 @cindex instrument names
8521 @cindex @code{Staff.midiInstrument}
8523 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8524 property. The instrument name should be chosen from the list in
8525 @ref{MIDI instruments}.
8529 If the selected string does not exactly match, then the default is
8530 used, which is the Grand Piano.