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}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (an accidental within parentheses) can be obtained by adding the
189 question mark `@code{?}' after the pitch:
191 @lilypond[fragment,verbatim]
192 cis' cis' cis'! cis'?
196 The automatic production of accidentals can be tuned in many
197 ways. For more information, refer to @ref{Accidentals}.
202 A chord is formed by a enclosing a set of pitches in @code{<} and
203 @code{>}. A chord may be followed by a duration, and a set of
204 articulations, just like simple notes.
214 Rests are entered like notes, with the note name @code{r}:
216 @lilypond[singleline,verbatim]
220 Whole bar rests, centered in middle of the bar,
221 must be done with multi measure rests. They are discussed in
222 @ref{Multi measure rests}.
225 A rest's vertical position may be explicitly specified by entering a
226 note with the @code{\rest} keyword appended. This makes manual
227 formatting in polyphonic music easier. Rest collision testing will
228 leave these rests alone:
230 @lilypond[singleline,verbatim]
236 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
243 @cindex Invisible rest
246 An invisible rest (also called a `skip') can be entered like a note
247 with note name `@code{s}' or with @code{\skip @var{duration}}:
249 @lilypond[singleline,verbatim]
253 The @code{s} syntax is only available in Note mode and Chord mode. In
254 other situations, you should use the @code{\skip} command:
256 @lilypond[singleline,verbatim]
259 { \time 4/8 \skip 2 \time 4/4 }
260 \notes\relative c'' { a2 a1 }
265 The skip command is merely an empty musical placeholder. It does not
266 produce any output, not even transparent output.
270 Internals: @internalsref{SkipEvent}.
275 @subsection Durations
281 In Note, Chord, and Lyrics mode, durations are designated by numbers
282 and dots: durations are entered as their reciprocal values. For example,
283 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
284 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
285 longer than a whole you must use variables:
287 @c FIXME: what is an identifier? I do not think it's been introduced yet.
288 @c and if it has, I obviously skipped that part. - Graham
292 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
294 r1 r2 r4 r8 r16 r32 r64 r64
299 \notes \relative c'' {
301 a1 a2 a4 a8 a16 a32 a64 a64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \remove "Clef_engraver"
309 \remove "Staff_symbol_engraver"
310 \remove "Time_signature_engraver"
311 \consists "Pitch_squash_engraver"
318 If the duration is omitted then it is set to the previously entered
319 duration. The default for the first note is a quarter note. The duration
320 can be followed by dots (`@code{.}') in order to obtain dotted note
324 @lilypond[fragment,verbatim,center]
325 a' b' c''8 b' a'4 a'4. b'4.. c'8.
330 You can alter the length of duration by a fraction @var{N/M}
331 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
332 will not affect the appearance of the notes or rests produced.
333 In the following example, the first three notes take up exactly two
335 @lilypond[fragment,relative 2,verbatim]
337 a4*2/3 gis4*2/3 a4*2/3
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
361 In dense chords, dots can overlap.
366 Whenever a note is found, a @internalsref{Stem} object is created
367 automatically. For whole notes and rests, they are also created but
372 @cindex @code{\stemUp}
374 @cindex @code{\stemDown}
376 @cindex @code{\stemBoth}
387 A tie connects two adjacent note heads of the same pitch. The tie in
388 effect extends the length of a note. Ties should not be confused with
389 slurs, which indicate articulation, or phrasing slurs, which indicate
390 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
392 @lilypond[fragment,verbatim,center]
393 e' ~ e' <c' e' g'> ~ <c' e' g'>
396 When a tie is applied to a chord, all note heads whose pitches match
397 are connected. When no note heads match, no ties will be created.
399 In its meaning a tie is just a way of extending a note duration, similar
400 to the augmentation dot; in the following example there are two ways of
401 notating exactly the same concept:
403 @lilypond[fragment, singleline,quote]
404 \time 3/4 c'2. c'2 ~ c'4
406 If you need to tie a lot of notes over bars, it may be easier to use automatic
407 note splitting (See @ref{Automatic note splitting}).
412 @cindex @code{\tieUp}
414 @cindex @code{\tieDown}
416 @cindex @code{\tieBoth}
418 @cindex @code{\tieDotted}
420 @cindex @code{\tieSolid}
425 In this manual: @ref{Automatic note splitting}.
427 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
430 Examples: if you want less ties created for a chord, see
431 @inputfileref{input/test,tie-sparse.ly}.
433 For tying only a subset of the note heads of a pair of chords, see
434 @inputfileref{input/regression,tie-chord-partial.ly}.
439 Switching staves when a tie is active will not produce a slanted tie.
441 Formatting of ties is a difficult subject. The results are often not
451 @cindex @code{\times}
453 Tuplets are made out of a music expression by multiplying all durations
456 @cindex @code{\times}
458 \times @var{fraction} @var{musicexpr}
462 The duration of @var{musicexpr} will be multiplied by the fraction.
463 The fraction's denominator will be printed over the notes, optionally
464 with a bracket. The most common tuplet is the triplet in which 3
465 notes have the length of 2, so the notes are 2/3 of their written
468 @lilypond[fragment,verbatim,center]
469 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
472 The property @code{tupletSpannerDuration} specifies how long each
473 bracket should last. With this, you can make lots of tuplets while
474 typing @code{\times} only once, saving lots of typing. In the next
475 example, there are two triplets shown, while @code{\times} was only
478 @lilypond[fragment, relative, singleline, verbatim]
479 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
480 \times 2/3 { c'8 c c c c c }
483 The format of the number is determined by the property
484 @code{tupletNumberFormatFunction}. The default prints only the
485 denominator, but if it is set to the Scheme function
486 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
490 @cindex @code{tupletNumberFormatFunction}
491 @cindex tuplet formatting
496 @cindex @code{\tupletUp}
498 @cindex @code{\tupletDown}
500 @cindex @code{\tupletBoth}
505 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
509 Nested tuplets are not formatted automatically. In this case, outer
510 tuplet brackets should be moved manually.
512 @node Easy Notation note heads
513 @subsection Easy Notation note heads
515 @cindex easy notation
518 The `easy play' note head includes a note name inside the head. It is
519 used in music aimed at beginners:
521 @lilypond[singleline,verbatim,26pt]
523 \notes { c'2 e'4 f' | g'1 }
524 \paper { \translator { \EasyNotation } }
528 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
529 You probably will want to print it with magnification or a
530 large font size to make it more readable. To print with
531 magnification, you must create a DVI file (with @file{lilypond}) and
532 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
533 See the @code{dvips} documentation for more details. To print with a
534 larger font, see @ref{Font Size}.
540 If you view the result with Xdvi, then staff lines will show through
541 the letters. Printing the PostScript file obtained does produce the
545 @node Easier music entry
546 @section Easier music entry
549 When entering music it is easy to introduce errors. This section deals
550 with tricks and features of the input language that were added solely
551 to help entering music, and find and correct mistakes.
553 It is also possible to use external programs, for example GUI
554 interfaces, or MIDI transcription programs, to enter or edit
555 music. Refer to the website for more information. Finally, there are
556 tools make debugging easier, by linking the input file and the output
557 shown on screen. See @ref{Point and click} for more information.
564 * Skipping corrected music::
565 * Automatic note splitting::
571 @node Relative octaves
572 @subsection Relative octaves
574 @cindex relative octave specification
576 Octaves are specified by adding @code{'} and @code{,} to pitch names.
577 When you copy existing music, it is easy to accidentally put a pitch
578 in the wrong octave and hard to find such an error. The relative
579 octave mode prevents these errors: a single error puts the rest of the
580 piece off by one octave:
582 @cindex @code{\relative}
584 \relative @var{startpitch} @var{musicexpr}
587 The octave of notes that appear in @var{musicexpr} are calculated as
588 follows: If no octave changing marks are used, the basic interval
589 between this and the last note is always taken to be a fourth or less
590 (; this distance is determined without regarding alterations: a
591 @code{fisis} following a @code{ceses} will be put above the
594 The octave changing marks @code{'} and @code{,} can be added to raise
595 or lower the pitch by an extra octave. Upon entering relative mode,
596 an absolute starting pitch must be specified that will act as the
597 predecessor of the first note of @var{musicexpr}.
599 Here is the relative mode shown in action:
600 @lilypond[fragment,singleline,verbatim,center]
606 Octave changing marks are used for intervals greater than a fourth:
607 @lilypond[fragment,verbatim,center]
612 If the preceding item is a chord, the first note of the chord is used
613 to determine the first note of the next chord:
615 @lilypond[fragment,verbatim,center]
622 @cindex @code{\notes}
624 The pitch after the @code{\relative} contains a note name. To parse
625 the pitch as a note name, you have to be in note mode, so there must
626 be a surrounding @code{\notes} keyword (which is not
629 The relative conversion will not affect @code{\transpose},
630 @code{\chords} or @code{\relative} sections in its argument. If you
631 want to use relative within transposed music, you must place an
632 additional @code{\relative} inside the @code{\transpose}.
635 @subsection Octave check
638 Octave checks make octave errors easier to correct.
644 This checks that @var{pitch} (without octave) yields @var{pitch} (with
645 octave) in \relative mode. If not, a warning is printed, and the
646 octave is corrected, for example, the first check is passed
647 successfully. The second check fails with an error message. The
648 octave is adjusted so the following notes are in the correct octave
659 The octave of a note following an octave check is determined with
660 respect to the note preceding it. In the next fragment, the last note
661 is a @code{a'}, above central C. Hence, the @code{\octave} check may
662 be deleted without changing the meaning of the piece.
664 @lilypond[verbatim,fragment]
673 @subsection Bar check
677 @cindex @code{barCheckSynchronize}
680 Bar checks help detect errors in the durations. A bar check is
681 entered using the bar symbol, `@code{|}'. Whenever it is encountered
682 during interpretation, it should fall on a measure boundary. If it
683 does not, a warning is printed. Depending on the value of
684 @code{barCheckSynchronize}, the beginning of the measure will be
687 In the next example, the second bar check will signal an error:
689 \time 3/4 c2 e4 | g2 |
692 Bar checks can also be used in lyrics, for example
697 Twin -- kle | Twin -- kle
702 @cindex skipTypesetting
704 Failed bar checks are caused by entering incorrect
705 durations. Incorrect durations often completely garble up the score,
706 especially if it is polyphonic, so you should start correcting the
707 score by scanning for failed bar checks and incorrect durations. To
708 speed up this process, you can use @code{skipTypesetting}, described
711 @node Skipping corrected music
712 @subsection Skipping corrected music
714 The property @code{Score.skipTypesetting} can be used to switch on and
715 off typesetting completely during the interpretation phase. When
716 typesetting is switched off, the music is processed much more quickly.
717 This can be used to skip over the parts of a score that have already
718 been checked for errors:
720 @lilypond[fragment,singleline,verbatim]
722 \property Score.skipTypesetting = ##t
724 \property Score.skipTypesetting = ##f
728 @node Automatic note splitting
729 @subsection Automatic note splitting
731 Long notes can be converted automatically to tied notes. This is done
732 by replacing the @internalsref{Note_heads_engraver} by the
733 @internalsref{Completion_heads_engraver}:
736 \paper @{ \translator @{
738 \remove "Note_heads_engraver"
739 \consists "Completion_heads_engraver"
743 which will make long notes tied in the following example:
746 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
753 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
755 \paper { \translator {
757 \remove "Note_heads_engraver"
758 \consists "Completion_heads_engraver"
763 This engraver splits all running notes at the bar line, and inserts
764 ties. One of its uses is to debug complex scores: if the measures are
765 not entirely filled, then the ties exactly show how much each measure
770 Not all durations (especially those containing tuplets) can be
771 represented exactly; the engraver will not insert tuplets.
777 @section Staff notation
779 This section describes music notation that occurs on staff level,
780 such as keys, clefs and time signatures.
782 @cindex Staff notation
796 @subsection Staff symbol
798 @cindex adjusting staff symbol
799 @cindex StaffSymbol, using \property
801 Notes, dynamic signs, etc. are grouped
802 with a set of horizontal lines, into a staff (plural `staves'). In our
803 system, these lines are drawn using a separate layout object called
807 @cindex staff lines, setting number of
808 @cindex staff lines, setting thickness of
809 @cindex thickness of staff lines, setting
810 @cindex number of staff lines, setting
814 Internals: @internalsref{StaffSymbol},
816 Examples: @inputfileref{input/test,staff-lines.ly},
817 @inputfileref{input/test,staff-size.ly}
821 If a staff is ended halfway a piece, the staff symbol may not end
822 exactly on the barline.
826 @subsection Key signature
827 @cindex Key signature
831 The key signature indicates the scale in which a piece is played. It
832 is denoted by a set of alterations (flats or sharps) at the start of
837 Setting or changing the key signature is done with the @code{\key}
840 @code{\key} @var{pitch} @var{type}
843 @cindex @code{\minor}
844 @cindex @code{\major}
845 @cindex @code{\minor}
846 @cindex @code{\ionian}
847 @cindex @code{\locrian}
848 @cindex @code{\aeolian}
849 @cindex @code{\mixolydian}
850 @cindex @code{\lydian}
851 @cindex @code{\phrygian}
852 @cindex @code{\dorian}
854 Here, @var{type} should be @code{\major} or @code{\minor} to get
855 @var{pitch}-major or @var{pitch}-minor, respectively.
856 The standard mode names @code{\ionian},
857 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
858 @code{\phrygian}, and @code{\dorian} are also defined.
860 This command sets the context property
861 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
862 can be specified by setting this property directly.
864 Accidentals and key signatures often confuse new users, because
865 unaltered notes get natural signs depending on the keysignature. The
866 tutorial explains why this is so in @ref{More about pitches}.
870 The ordering of a key cancellation is wrong when it is combined with
871 repeat bar lines. The cancellation is also printed after a line break.
875 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
877 @cindex @code{keySignature}
884 The clef indicates which lines of the staff correspond to which
889 The clef can be set or changed with the @code{\clef} command:
890 @lilypond[fragment,verbatim]
891 \key f\major c''2 \clef alto g'2
894 Supported clef-names include:
895 @c Moved standard clefs to the top /MB
899 @item treble, violin, G, G2
912 G clef on 1st line, so-called French violin clef
917 @cindex mezzosoprano clef
920 @cindex baritone clef
923 @cindex varbaritone clef
932 By adding @code{_8} or @code{^8} to the clef name, the clef is
933 transposed one octave down or up, respectively, and @code{_15} and
934 @code{^15} transposes by two octaves. The argument @var{clefname}
935 must be enclosed in quotes when it contains underscores or digits. For
939 @cindex choral tenor clef
940 @lilypond[verbatim,fragment,relative]
944 This command is equivalent to setting @code{clefGlyph},
945 @code{clefPosition} (which controls the Y position of the clef),
946 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
947 when any of these properties are changed.
951 Internals: the object for this symbol is @internalsref{Clef}.
955 @node Ottava brackets
956 @subsection Ottava brackets
958 ``Ottava'' brackets introduce an extra transposition of an octave for
959 the staff. They are created by invoking the function
960 @code{set-octavation}:
966 @lilypond[verbatim,fragment]
975 Internally the @code{set-octavation} function sets the properties
976 @code{ottavation} (eg. to @code{"8va"}) and
977 @code{centralCPosition}. The function also takes arguments -1 (for 8va
978 bassa) and 2 (for 15ma).
980 @internalsref{OttavaSpanner}.
984 @code{set-octavation} will get confused when clef changes happen
985 during an octavation bracket.
988 @subsection Time signature
989 @cindex Time signature
993 Time signature indicates the metrum of a piece: a regular pattern of
994 strong and weak beats. It is denoted by a fraction at the start of the
999 The time signature is set or changed by the @code{\time}
1001 @lilypond[fragment,verbatim]
1002 \time 2/4 c'2 \time 3/4 c'2.
1005 The symbol that is printed can be customized with the @code{style}
1006 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1007 2/2 time. There are many more options for its layout. See
1008 @inputfileref{input/test,time.ly} for more examples.
1011 This command sets the property @code{timeSignatureFraction},
1012 @code{beatLength} and @code{measureLength} in the @code{Timing}
1013 context, which is normally aliased to @internalsref{Score}. The
1014 property @code{measureLength} determines where bar lines should be
1015 inserted, and how automatic beams should be generated. Changing the
1016 value of @code{timeSignatureFraction} also causes the symbol to be
1019 More options are available through the Scheme function
1020 @code{set-time-signature}. In combination with the
1021 @internalsref{Measure_grouping_engraver}, it will create
1022 @internalsref{MeasureGrouping} signs. Such signs ease reading
1023 rhythmically complex modern music. In the following example, the 9/8
1024 measure is subdivided in 2, 2, 2 and 3. This is passed to
1025 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1028 \score { \notes \relative c'' {
1029 #(set-time-signature 9 8 '(2 2 2 3))
1030 g8[ g] d[ d] g[ g] a8[( bes g]) |
1031 #(set-time-signature 5 8 '(3 2))
1036 \translator { \StaffContext
1037 \consists "Measure_grouping_engraver"
1043 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1048 Automatic beaming does not use measure grouping specified with
1049 @code{set-time-signature}.
1051 @node Partial measures
1052 @subsection Partial measures
1055 @cindex partial measure
1056 @cindex measure, partial
1057 @cindex shorten measures
1058 @cindex @code{\partial}
1060 Partial measures, for example in upsteps, are entered using the
1061 @code{\partial} command:
1062 @lilypond[fragment,verbatim,relative 1]
1063 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1066 The syntax for this command is
1068 \partial @var{duration}
1070 This is internally translated into
1072 \property Timing.measurePosition = -@var{length of duration}
1075 The property @code{measurePosition} contains a rational number
1076 indicating how much of the measure has passed at this point.
1078 @node Unmetered music
1079 @subsection Unmetered music
1081 Bar lines and bar numbers are calculated automatically. For unmetered
1082 music (e.g. cadenzas), this is not desirable. By setting
1083 @code{Score.timing} to false, this automatic timing can be switched
1089 @cindex @code{\cadenzaOn}
1091 @cindex @code{\cadenzaOff}
1095 @subsection Bar lines
1099 @cindex measure lines
1103 Bar lines delimit measures, but are also used to indicate repeats.
1104 Normally, they are inserted automatically. Line breaks may only
1110 of barlines can be forced with the @code{\bar} command:
1112 @lilypond[relative=1,fragment,verbatim]
1116 The following bar types are available:
1117 @lilypond[fragment, relative, singleline, verbatim]
1129 For allowing linebreaks, there is a special command,
1133 This will insert an invisible barline, and allow linebreaks at this
1136 In scores with many staves, a @code{\bar} command in one staff is
1137 automatically applied to all staves. The resulting bar lines are
1138 connected between different staves of a @internalsref{StaffGroup}:
1140 @lilypond[fragment, verbatim]
1141 << \context StaffGroup <<
1145 \new Staff { \clef bass c4 g e g } >>
1146 \new Staff { \clef bass c2 c2 } >>
1150 The command @code{\bar @var{bartype}} is a short cut for doing
1151 @code{\property Score.whichBar = @var{bartype}} Whenever
1152 @code{whichBar} is set to a string, a bar line of that type is
1153 created. At the start of a measure it is set to
1154 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1155 to override default measure bars.
1157 Property @code{whichBar} can also be set directly, using @code{\property}
1158 or @code{\bar}. These settings take precedence over the automatic
1159 @code{whichBar} settings.
1162 @cindex repeatCommands
1163 @cindex defaultBarType
1165 You are encouraged to use @code{\repeat} for repetitions. See
1172 In this manual: @ref{Repeats}.
1175 Internals: the bar line objects that are created at
1176 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1177 lines that span staves are @internalsref{SpanBar}s.
1179 @cindex bar lines at start of system
1180 @cindex start of system
1182 The barlines at the start of each system are
1183 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1184 @internalsref{SystemStartBracket}. Only one of these types is created
1185 in every context, and that type is determined by the property
1186 @code{systemStartDelimiter}.
1188 Examples: @inputfileref{input/test,bar-lines.ly},
1194 The easiest way to enter fragments with more than one voice on a staff
1195 is to split chords using the separator @code{\\}. You can use it for
1196 small, short-lived voices or for single chords:
1198 @lilypond[verbatim,fragment]
1199 \context Staff \relative c'' {
1200 c4 << { f d e } \\ { b c2 } >>
1201 c4 << g' \\ b, \\ f' \\ d >>
1205 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1206 voices are sometimes called "layers" other notation packages}
1208 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1209 each of these contexts, vertical direction of slurs, stems, etc. is set
1212 This can also be done by instantiating @internalsref{Voice} contexts
1213 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1214 a stem directions and horizontal shift for each part:
1217 @lilypond[singleline, verbatim]
1219 \context Staff << \new Voice { \voiceOne cis2 b }
1220 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1221 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1224 Normally, note heads with a different number of dots are not merged, but
1225 when the object property @code{merge-differently-dotted} is set in
1226 the @internalsref{NoteCollision} object, they are merged:
1227 @lilypond[verbatim,fragment,singleline]
1228 \relative c'' \context Voice << {
1230 \property Staff.NoteCollision \override
1231 #'merge-differently-dotted = ##t
1233 } \\ { g8.[ f16] g8.[ f16] }
1237 Similarly, you can merge half note heads with eighth notes, by setting
1238 @code{merge-differently-headed}:
1239 @lilypond[fragment, relative=2,verbatim]
1242 \property Staff.NoteCollision
1243 \override #'merge-differently-headed = ##t
1244 c8 c4. } \\ { c2 c2 } >>
1247 LilyPond also vertically shifts rests that are opposite of a stem:
1250 @lilypond[singleline,fragment,verbatim]
1251 \context Voice << c''4 \\ r4 >>
1259 @cindex @code{\oneVoice}
1261 @cindex @code{\voiceOne}
1263 @cindex @code{\voiceTwo}
1265 @cindex @code{\voiceThree}
1267 @cindex @code{\voiceFour}
1270 The following commands specify in what chords of the current voice
1271 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1272 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1275 @cindex @code{\shiftOn}
1277 @cindex @code{\shiftOnn}
1279 @cindex @code{\shiftOnnn}
1281 @cindex @code{\shiftOff}
1288 Internals: the objects responsible for resolving collisions are
1289 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1291 Examples: See also example files
1292 @inputfileref{input/regression,collision-dots.ly},
1293 @inputfileref{input/regression,collision-head-chords.ly},
1294 @inputfileref{input/regression,collision-heads.ly},
1295 @inputfileref{input/regression,collision-mesh.ly}, and
1296 @inputfileref{input/regression,collisions.ly}.
1301 Resolving collisions is a intricate subject, and only a few situations
1302 are handled. When LilyPond cannot cope, the @code{force-hshift}
1303 property of the @internalsref{NoteColumn} object and pitched rests can
1304 be used to override typesetting decisions.
1306 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1307 note, and a downstem half note, the 8th note gets the wrong offset.
1309 There is no support for clusters where the same note occurs with
1310 different accidentals in the same chord. In this case, it is
1311 recommended to use enharmonic transcription, or to use special cluster
1312 notation (see @ref{Clusters}).
1317 Beams are used to group short notes into chunks that are aligned with
1318 the metrum. They are inserted automatically in most cases:
1320 @lilypond[fragment,verbatim, relative=2]
1321 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1324 When these automatic decisions are not good enough, beaming can be
1325 entered explicitly. It is also possible to define beaming patterns
1326 that differ from the defaults.
1330 Internals: @internalsref{Beam}.
1333 @cindex Automatic beams
1334 @subsection Manual beams
1335 @cindex beams, manual
1339 In some cases it may be necessary to override the automatic beaming
1340 algorithm. For example, the auto beamer will not put beams over rests
1341 or bar lines. Such beams are specified by manually: the begin and end
1342 point are marked with @code{[} and @code{]}:
1344 @lilypond[fragment,relative,verbatim]
1346 r4 r8[ g' a r8] r8 g[ | a] r8
1350 @cindex @code{stemLeftBeamCount}
1352 Normally, beaming patterns within a beam are determined automatically.
1353 When this mechanism fouls up, the properties
1354 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1355 be used to control the beam subdivision on a stem. If either property
1356 is set, its value will be used only once, and then it is erased.
1358 @lilypond[fragment,relative,verbatim]
1361 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1364 @cindex @code{stemRightBeamCount}
1367 The property @code{subdivideBeams} can be set in order to subdivide
1368 all 16th or shorter beams at beat positions, as defined by the
1369 @code{beatLength} property . This accomplishes the same effect as
1370 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1371 but it take less typing:
1374 @lilypond[relative=1,verbatim,noindent]
1376 \property Voice.subdivideBeams = ##t
1378 \property Score.beatLength = #(ly:make-moment 1 8)
1381 @cindex subdivideBeams
1383 Kneed beams are inserted automatically, when a large gap is detected
1384 between the note heads. This behavior can be tuned through the object
1385 property @code{auto-knee-gap}.
1387 Normally, line breaks are forbidden when beams cross bar lines. This
1388 behavior can be changed by setting @code{allowBeamBreak}.
1390 @cindex @code{allowBeamBreak}
1391 @cindex beams and line breaks
1393 @cindex beams, kneed
1395 @cindex auto-knee-gap
1401 @cindex Frenched staves
1403 Automatically kneed beams cannot be used together with hidden staves.
1408 * Setting automatic beam behavior::
1412 @no de Beam typography
1413 @sub section Beam typography
1415 One of the strong points of LilyPond is how beams are formatted. Beams
1416 are quantized, meaning that the left and right endpoints beams start
1417 exactly on staff lines. Without quantization, small wedges of white
1418 space appear between the beam and staff line, and this looks untidy.
1420 Beams are also slope-damped: melodies that go up or down should also
1421 have beams that go up or down, but the slope of the beams should be
1422 less than the slope of the notes themselves.
1424 Some beams should be horizontal. These are so-called concave beams.
1426 [TODO: some pictures.]
1430 @node Setting automatic beam behavior
1431 @subsection Setting automatic beam behavior
1433 @cindex @code{autoBeamSettings}
1434 @cindex @code{(end * * * *)}
1435 @cindex @code{(begin * * * *)}
1436 @cindex automatic beams, tuning
1437 @cindex tuning automatic beaming
1439 @c [TODO: use \applycontext]
1441 In normal time signatures, automatic beams can start on any note but can
1442 only end in a few positions within the measure: beams can end on a beat,
1443 or at durations specified by the properties in
1444 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1445 are defined in @file{scm/auto-beam.scm}.
1447 The value of @code{autoBeamSettings} is changed using
1448 @code{\override} and restored with @code{\revert}:
1450 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1451 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1453 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1454 whether the rule applies to begin or end-points. The quantity
1455 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1456 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1457 signature (wildcards, `@code{* *}' may be entered to designate all time
1460 For example, if automatic beams should end on every quarter note, use
1463 \property Voice.autoBeamSettings \override
1464 #'(end * * * *) = #(ly:make-moment 1 4)
1466 Since the duration of a quarter note is 1/4 of a whole note, it is
1467 entered as @code{(ly:make-moment 1 4)}.
1469 The same syntax can be used to specify beam starting points. In this
1470 example, automatic beams can only end on a dotted quarter note:
1472 \property Voice.autoBeamSettings \override
1473 #'(end * * * *) = #(ly:make-moment 3 8)
1475 In 4/4 time signature, this means that automatic beams could end only on
1476 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1477 3/8 has passed within the measure).
1479 Rules can also be restricted to specific time signatures. A rule that
1480 should only be applied in @var{N}/@var{M} time signature is formed by
1481 replacing the second asterisks by @var{N} and @var{M}. For example, a
1482 rule for 6/8 time exclusively looks like
1484 \property Voice.autoBeamSettings \override
1485 #'(begin * * 6 8) = ...
1488 If a rule should be to applied only to certain types of beams, use the
1489 first pair of asterisks. Beams are classified according to the
1490 shortest note they contain. For a beam ending rule that only applies
1491 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1494 If a score ends while an automatic beam has not been ended and is still
1495 accepting notes, this last beam will not be typeset at all.
1497 @cindex automatic beam generation
1499 @cindex @code{Voice.autoBeaming}
1502 For melodies that have lyrics, you may want to switch off
1503 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1508 @cindex @code{\autoBeamOff}
1509 @code{\autoBeamOff},
1510 @cindex @code{\autoBeamOn}
1516 The rules for ending a beam depend on the shortest note in a beam.
1517 So, while it is possible to have different ending rules for eight
1518 beams and sixteenth beams, a beam that contains both eight and
1519 sixteenth notes will use the rules for the sixteenth beam.
1521 In the example below, the autobeamer makes eight beams and sixteenth
1522 end at 3 eights; the third beam can only be corrected by specifying
1525 @lilypond[singleline,fragment,relative,noverbatim,quote]
1526 \property Voice.autoBeamSettings
1527 \override #'(end * * * *) = #(ly:make-moment 3 8)
1528 % rather show case where it goes wrong
1529 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1530 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1532 It is not possible to specify beaming parameters that act differently in
1533 different parts of a measure. This means that it is not possible to use
1534 automatic beaming in irregular meters such as @code{5/8}.
1537 @section Accidentals
1540 This section describes how to change the way that accidentals are
1541 inserted automatically before the running notes.
1545 * Using the predefined accidental variables::
1546 * Customized accidental rules::
1549 @node Using the predefined accidental variables
1550 @subsection Using the predefined accidental variables
1552 The constructs for describing the accidental typesetting rules are
1553 quite hairy, so non-experts should stick to the variables
1554 defined in @file{ly/property-init.ly}.
1555 @cindex @file{property-init.ly}
1557 The variables set properties in the ``@code{Current}'' context (see
1558 @ref{Context properties}). This means that the variables should
1559 normally be added right after the creation of the context in which the
1560 accidental typesetting described by the variable is to take
1561 effect. For example, if you want to use piano-accidentals in a piano
1562 staff then issue @code{\pianoAccidentals} first thing after the
1563 creation of the piano staff:
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 @}
1577 @lilypond[singleline]
1579 \notes \relative c'' <<
1580 \new Staff { cis4 d e2 }
1581 \context GrandStaff <<
1583 \new Staff { cis4 d e2 }
1584 \new Staff { es2 c }
1586 \new Staff { es2 c }
1591 minimumVerticalExtent = #'(-4.0 . 4.0)
1599 @item \defaultAccidentals
1600 @cindex @code{\defaultAccidentals}
1601 This is the default typesetting behaviour. It should correspond
1602 to 18th century common practice: Accidentals are
1603 remembered to the end of the measure in which they occur and
1604 only on their own octave.
1606 @item \voiceAccidentals
1607 @cindex @code{\voiceAccidentals}
1609 The normal behaviour is to
1610 remember the accidentals on Staff-level. This variable, however,
1611 typesets accidentals individually for each voice. Apart from that the
1612 rule is similar to @code{\defaultAccidentals}.
1614 This leads to some weird and often unwanted results
1615 because accidentals from one voice do not get cancelled in other
1617 @lilypond[singleline,relative,fragment,verbatim,quote]
1625 Hence you should only use @code{\voiceAccidentals} if the voices
1626 are to be read solely by individual musicians. If the staff is to be
1627 used by one musician (e.g. a conductor) then you use
1628 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1631 @item \modernAccidentals
1632 @cindex @code{\modernAccidentals}
1633 This rule corresponds to the common practice in the 20th
1635 The rule is more complex than @code{\defaultAccidentals}.
1636 You get all the same accidentals, but temporary
1637 accidentals also get cancelled in other octaves. Furthermore,
1638 in the same octave, they also get cancelled in the following measure:
1639 @lilypond[singleline,fragment,verbatim]
1641 cis' c'' cis'2 | c'' c'
1644 @item \modernCautionaries
1645 @cindex @code{\modernCautionaries}
1646 This rule is similar to @code{\modernAccidentals}, but the
1647 ``extra'' accidentals (the ones not typeset by
1648 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1649 They are printed in reduced size or with parentheses:
1650 @lilypond[singleline,fragment,verbatim]
1652 cis' c'' cis'2 | c'' c'
1655 @cindex @code{\modernVoiceAccidentals}
1656 @item \modernVoiceAccidentals
1657 is used for multivoice accidentals to be read both by musicians
1658 playing one voice and musicians playing all voices. Accidentals are
1659 typeset for each voice, but they @emph{are} cancelled across voices in
1660 the same @internalsref{Staff}.
1662 @cindex @code{\modernVoiceCautionaries}
1663 @item \modernVoiceCautionaries
1664 is the same as @code{\modernVoiceAccidentals}, but with the extra
1665 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1666 as cautionaries. Even though all accidentals typeset by
1667 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1668 some of them are typeset as cautionaries.
1670 @item \pianoAccidentals
1671 @cindex @code{\pianoAccidentals}
1672 20th century practice for piano notation. Very similar to
1673 @code{\modernAccidentals} but accidentals also get cancelled
1674 across the staves in the same @internalsref{GrandStaff} or
1675 @internalsref{PianoStaff}.
1677 @item \pianoCautionaries
1678 @cindex @code{\pianoCautionaries}
1679 As @code{\pianoAccidentals} but with the extra accidentals
1680 typeset as cautionaries.
1683 @cindex @code{\noResetKey}
1684 Same as @code{\defaultAccidentals} but with accidentals lasting
1685 ``forever'' and not only until the next measure:
1686 @lilypond[singleline,fragment,verbatim,relative]
1691 @item \forgetAccidentals
1692 @cindex @code{\forgetAccidentals}
1693 This is sort of the opposite of @code{\noResetKey}: Accidentals
1694 are not remembered at all---and hence all accidentals are
1695 typeset relative to the key signature, regardless of what was
1696 before in the music:
1697 @lilypond[singleline,fragment,verbatim,relative]
1699 \key d\major c4 c cis cis d d dis dis
1703 @node Customized accidental rules
1704 @subsection Customized accidental rules
1706 For determining when to print an accidental, several different rules
1707 are tried. The rule that gives the highest number of accidentals is
1708 used. Each rule consists of
1711 In which context is the rule applied. For example, if
1712 @var{context} is @internalsref{Score} then all staves share
1713 accidentals, and if @var{context} is @internalsref{Staff} then all
1714 voices in the same staff share accidentals, but staves do not.
1716 Whether the accidental changes all octaves or only the current
1719 Over how many barlines the accidental lasts.
1720 If @var{lazyness} is @code{-1} then the accidental is forget
1721 immediately, and if @var{lazyness} is @code{#t} then the accidental
1724 @c [TODO: should use +infinity for this case?]
1730 @cindex @code{\defaultAccidentals}
1731 @code{\defaultAccidentals},
1732 @cindex @code{\voiceAccidentals}
1733 @code{\voiceAccidentals},
1734 @cindex @code{\modernAccidentals}
1735 @code{\modernAccidentals},
1736 @cindex @code{\modernCautionaries}
1737 @code{\modernCautionaries},
1738 @cindex @code{\modernVoiceAccidentals}
1739 @code{\modernVoiceAccidentals},
1740 @cindex @code{\modernVoiceCautionaries}
1741 @code{\modernVoiceCautionaries},
1742 @cindex @code{\pianoAccidentals}
1743 @code{\pianoAccidentals},
1744 @cindex @code{\pianoCautionaries}
1745 @code{\pianoCautionaries},
1746 @cindex @code{\noResetKey}
1748 @cindex @code{\forgetAccidentals}
1749 @code{\forgetAccidentals}.
1753 Internals: @internalsref{Accidental_engraver},
1754 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1759 Currently the simultaneous notes are considered to be entered in
1760 sequential mode. This means that in a chord the accidentals are
1761 typeset as if the notes in the chord happened once at a time - in the
1762 order in which they appear in the input file.
1764 This is only a problem when there are simultaneous notes whose
1765 accidentals depend on each other. The problem only occurs when using
1766 non-default accidentals. In the default scheme, accidentals only
1767 depend on other accidentals with the same pitch on the same staff, so
1768 no conflicts possible.
1770 This example shows two examples of the same music giving different
1771 accidentals depending on the order in which the notes occur in the
1774 @lilypond[singleline,fragment,verbatim]
1775 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1776 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1777 | <cis' c''> r | <c'' cis'> r |
1780 This problem can be solved by manually inserting @code{!} and @code{?}
1781 for the problematic notes.
1783 @node Expressive marks
1784 @section Expressive marks
1787 @c todo: should change ordering
1788 @c where to put text spanners, metronome marks,
1797 * Analysis brackets::
1799 * Fingering instructions::
1810 A slur indicates that notes are to be played bound or @emph{legato}.
1814 They are entered using parentheses:
1815 @lilypond[relative 1,fragment,verbatim,center]
1816 f( g)( a) a8 b( a4 g2 f4)
1821 @c TODO: should explain that ^( and _( set directions
1822 @c should set attachments with ^ and _ ?
1824 Slurs avoid crossing stems, and are generally attached to note heads.
1825 However, in some situations with beams, slurs may be attached to stem
1826 ends. If you want to override this layout you can do this through the
1827 object property @code{attachment} of @internalsref{Slur} in
1828 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1829 the attachment type of the left and right end points:
1831 @lilypond[fragment,relative,verbatim]
1833 \property Voice.Stem \set #'length = #5.5
1835 \property Voice.Slur \set #'attachment = #'(stem . stem)
1839 If a slur would strike through a stem or beam, the slur will be moved
1840 away upward or downward. If this happens, attaching the slur to the
1841 stems might look better:
1843 @lilypond[fragment,relative,verbatim]
1846 \property Voice.Slur \set #'attachment = #'(stem . stem)
1853 @cindex @code{\slurUp}
1855 @cindex @code{\slurDown}
1857 @cindex @code{\slurBoth}
1859 @cindex @code{\slurDotted}
1861 @cindex @code{\slurSolid}
1866 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1871 Producing nice slurs is a difficult problem, and LilyPond currently
1872 uses a simple, empiric method to produce slurs. In some cases, its
1876 @cindex Adjusting slurs
1878 @node Phrasing slurs
1879 @subsection Phrasing slurs
1881 @cindex phrasing slurs
1882 @cindex phrasing marks
1884 A phrasing slur (or phrasing mark) connects chords and is used to
1885 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1888 @lilypond[fragment,verbatim,center,relative]
1889 \time 6/4 c'\( d( e) f( e) d\)
1892 Typographically, the phrasing slur behaves almost exactly like a
1893 normal slur. However, they are treated as different objects. A
1894 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1895 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1896 @code{\phrasingSlurBoth}.
1898 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1899 will only affect normal slurs and not phrasing slurs.
1903 @cindex @code{\phrasingSlurUp}
1904 @code{\phrasingSlurUp},
1905 @cindex @code{\phrasingSlurDown}
1906 @code{\phrasingSlurDown},
1907 @cindex @code{\phrasingSlurBoth}
1908 @code{\phrasingSlurBoth},
1912 Internals: see also @internalsref{PhrasingSlur}, and
1913 @internalsref{PhrasingSlurEvent}.
1917 Phrasing slurs have the same limitations in their formatting as normal
1918 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1921 @subsection Breath marks
1923 Breath marks are entered using @code{\breathe}:
1926 @lilypond[fragment,relative,verbatim]
1930 The glyph of the breath mark can be tweaked by overriding the
1931 @code{text} property of the @code{BreathingSign} layout object with
1932 any markup text. For example,
1933 @lilypond[fragment,verbatim,relative]
1935 \property Voice.BreathingSign \override #'text
1936 = #(make-musicglyph-markup "scripts-rvarcomma")
1943 Internals: @internalsref{BreathingSign},
1944 @internalsref{BreathingSignEvent}
1946 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1949 @node Metronome marks
1950 @subsection Metronome marks
1953 @cindex beats per minute
1954 @cindex metronome marking
1956 Metronome settings can be entered as follows:
1958 \tempo @var{duration} = @var{perminute}
1961 In the MIDI output, they are interpreted as a tempo change, and in the
1962 paper output, a metronome marking is printed:
1963 @cindex @code{\tempo}
1964 @lilypond[fragment,verbatim]
1970 Internals: @internalsref{MetronomeChangeEvent}.
1975 @subsection Text spanners
1976 @cindex Text spanners
1978 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1979 are written as texts, and extended over many measures with dotted
1980 lines. You can create such texts using text spanners: attach
1981 @code{\startTextSpan} and @code{\stopTextSpan} to the
1982 start and ending note of the spanner.
1984 The string to be printed, as well as the style, is set through object
1987 @lilypond[fragment,relative,verbatim]
1989 \property Voice.TextSpanner \set #'direction = #-1
1990 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1991 c2\startTextSpan b c\stopTextSpan a }
1997 Internals @internalsref{TextSpanEvent},
1998 @internalsref{TextSpanner}.
2000 Examples: @inputfileref{input/regression,text-spanner.ly}.
2003 @node Analysis brackets
2004 @subsection Analysis brackets
2006 @cindex phrasing brackets
2007 @cindex musicological analysis
2008 @cindex note grouping bracket
2010 Brackets are used in musical analysis to indicate structure in musical
2011 pieces. LilyPond supports a simple form of nested horizontal brackets.
2012 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2013 @internalsref{Staff} context. A bracket is started with
2014 @code{\startGroup} and closed with @code{\stopGroup}:
2016 @lilypond[singleline,verbatim]
2017 \score { \notes \relative c'' {
2018 c4\startGroup\startGroup
2021 c4\stopGroup\stopGroup
2023 \paper { \translator {
2024 \StaffContext \consists "Horizontal_bracket_engraver"
2030 Internals: @internalsref{HorizontalBracket},
2031 @internalsref{NoteGroupingEvent}
2033 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2037 @subsection Articulations
2038 @cindex Articulations
2040 @cindex articulations
2044 A variety of symbols can appear above and below notes to indicate
2045 different characteristics of the performance. They are added to a note
2046 by adding a dash and the character signifying the
2047 articulation. They are demonstrated here:
2049 @lilypondfile[notexidoc]{script-abbreviations.ly}
2051 The meanings of these shorthands can be changed: see
2052 @file{ly/script-init.ly} for examples.
2055 The script is automatically placed, but if you need to force
2056 directions, you can use @code{_} to force them down, or @code{^} to
2058 @lilypond[fragment, verbatim]
2062 Other symbols can be added using the syntax
2063 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2064 can be forced up or down using @code{^} and @code{_},
2067 @lilypond[verbatim,fragment,relative 2]
2068 c\fermata c^\fermata c_\fermata
2075 @cindex staccatissimo
2084 @cindex organ pedal marks
2093 @cindex prallmordent
2097 @cindex thumb marking
2102 @lilypondfile[notexidoc]{script-chart.ly}
2107 @cindex @code{\scriptUp}
2109 @cindex @code{\scriptDown}
2111 @cindex @code{\scriptBoth}
2116 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2120 These note ornaments appear in the printed output but have no
2121 effect on the MIDI rendering of the music.
2124 @node Fingering instructions
2125 @subsection Fingering instructions
2129 Fingering instructions can be entered using
2131 @var{note}-@var{digit}
2133 For finger changes, use markup texts:
2135 @lilypond[verbatim, singleline, fragment]
2136 c'4-1 c'4-2 c'4-3 c'4-4
2137 c'^\markup { \fontsize #-3 \number "2-3" }
2140 @cindex finger change
2145 You can use the thumb-script to indicate that a note should be
2146 played with your thumb (used in cello music):
2148 @lilypond[verbatim, singleline, fragment]
2149 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2150 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2153 Fingerings for chords can also be added to individual notes
2154 of the chord by adding them after the pitches:
2155 @lilypond[verbatim,singleline,fragment,relative=1]
2156 < c-1 e-2 g-3 b-5 > 4
2159 Setting @code{fingeringOrientations} will put fingerings next
2162 @lilypond[verbatim,singleline,fragment,relative=1]
2163 \property Voice.fingeringOrientations = #'(left down)
2164 <c-1 es-2 g-4 bes-5 > 4
2165 \property Voice.fingeringOrientations = #'(up right down)
2166 <c-1 es-2 g-4 bes-5 > 4
2171 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2175 @subsection Text scripts
2176 @cindex Text scripts
2178 @cindex text items, non-empty
2179 @cindex non-empty texts
2181 It is possible to place arbitrary strings of text or markup text (see
2182 @ref{Text markup}) above or below notes by using a string:
2183 @code{c^"text"}. By default, these indications do not influence the
2184 note spacing, but by using the command @code{\fatText}, the widths
2185 will be taken into account:
2187 @lilypond[fragment,singleline,verbatim] \relative c' {
2188 c4^"longtext" \fatText c4_"longlongtext" c4 }
2191 It is possible to use @TeX{} commands in the strings, but this should
2192 be avoided because the exact dimensions of the string can then no
2197 @refcommand{fatText}, @refcommand{emptyText}.
2202 In this manual: @ref{Text markup}.
2204 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2210 @subsection Grace notes
2213 @c should have blurb about accaciatura / appogiatura
2215 @cindex @code{\grace}
2219 Grace notes are ornaments that are written out. The most common ones
2220 are acciaccatura, which should be played as very short. It is denoted
2221 by a slurred small note with a slashed stem. The appoggiatura is a
2222 grace note that takes a fixed fraction of the main note, is and
2223 denoted as a slurred note in small print without a slash.
2224 They are entered with the commands @code{\acciaccatura} and
2225 @code{\appoggiatura}, as demonstrated in the following example:
2228 @cindex appoggiatura
2229 @cindex acciaccatura
2231 @lilypond[relative=2,verbatim,fragment]
2232 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2233 \acciaccatura { g16[ f] } e4
2236 Both are special forms of the @code{\grace} command. By prefixing this
2237 keyword to a music expression, a new one is formed, which will be
2238 printed in a smaller font and takes up no logical time in a measure.
2239 @lilypond[relative=2,verbatim,fragment]
2241 \grace { c16[ d16] } c2 c4
2245 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2246 @code{\grace} command does not start a slur.
2248 Internally, timing for grace notes is done using a second, `grace'
2249 time. Every point in time consists of two rational numbers: one
2250 denotes the logical time, one denotes the grace timing. The above
2251 example is shown here with timing tuples:
2253 @lilypond[singleline]
2256 c4 \grace c16 c4 \grace {
2259 \new Lyrics \lyrics {
2262 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2263 \markup { (\fraction 1 4 , 0 ) } 4
2265 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2266 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2268 \markup { ( \fraction 2 4 , 0 ) }
2273 The placement of grace notes is synchronized between different staves.
2274 In the following example, there are two sixteenth graces notes for
2275 every eighth grace note:
2277 @lilypond[relative=2,verbatim,fragment]
2278 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2279 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2284 If you want to end a note with a grace, then the standard trick
2285 is to put the grace notes after a ``space note'', e.g.
2286 @lilypond[fragment,verbatim, relative=2]
2289 { s2 \grace { c16[ d] } } >>
2295 By adjusting the duration of the skip note (here it is a half-note),
2296 the space between the main-note and the grace is adjusted.
2299 A @code{\grace} section will introduce special typesetting settings,
2300 for example, to produce smaller type, and set directions. Hence, when
2301 introducing layout tweaks, they should be inside the grace section,
2303 @lilypond[fragment,verbatim,relative 1]
2306 \property Voice.Stem \override #'direction = #-1
2308 \property Voice.Stem \revert #'direction
2315 The overrides should also be reverted inside the grace section.
2317 If the layout of grace sections must be changed throughout the music,
2318 then this can be accomplished through the function
2319 @code{add-grace-property}. The following example
2320 undefines the Stem direction grace section, so stems do not always
2325 #(add-grace-property "Voice" Stem direction '())
2331 Another option is to change the variables @code{startGraceMusic},
2332 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2333 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2334 @code{stopAppoggiaturaMstuic}. More information is in the file
2335 @file{ly/grace-init.ly}
2340 Internals: @internalsref{GraceMusic}.
2344 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2346 A score that starts with an @code{\grace} section needs an explicit
2347 @code{\context Voice} declaration, otherwise the main note and grace
2348 note end up on different staves.
2350 Grace note synchronization can also lead to surprises. Staff notation,
2351 such as key signatures, barlines, etc. are also synchronized. Take
2352 care when you mix staves with grace notes and staves without, for example,
2354 @lilypond[relative=2,verbatim,fragment]
2355 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2356 \new Staff { c4 \bar "|:" d4 } >>
2359 Grace sections should only be used within sequential music
2360 expressions. Nesting or juxtaposing grace sections is not supported,
2361 and might produce crashes or other errors.
2363 Overriding settings cannot be done in separate styles for appoggiatura
2368 @subsection Glissando
2371 @cindex @code{\glissando}
2373 A glissando is a smooth change in pitch. It is denoted by a line or a
2374 wavy line between two notes.
2378 A glissando line can be requested by attaching a @code{\glissando} to
2381 @lilypond[fragment,relative,verbatim]
2387 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2392 Adding additional texts (such as @emph{gliss.}) is not supported.
2396 @subsection Dynamics
2409 @cindex @code{\ffff}
2419 Absolute dynamic marks are specified using an variable after a
2420 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2421 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2422 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2423 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2425 @lilypond[verbatim,singleline,fragment,relative]
2426 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2432 @cindex @code{\decr}
2433 @cindex @code{\rced}
2440 A crescendo mark is started with @code{\<} and terminated with
2441 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2442 with @code{\!}. Because these marks are bound to notes, if you must
2443 use spacer notes if multiple marks during one note are needed:
2445 @lilypond[fragment,verbatim,center,quote]
2446 c''\< c''\! d''\decr e''\rced
2447 << f''1 { s4 s4\< s4\! \> s4\! } >>
2449 This may give rise to very short hairpins. Use @code{minimum-length}
2450 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2454 \property Staff.Hairpin \override #'minimum-length = #5
2457 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2458 is an example how to do it:
2460 @lilypond[fragment,relative=2,verbatim]
2461 c4 \cresc c4 c c c \endcresc c4
2467 You can also supply your own texts:
2468 @lilypond[fragment,relative,verbatim]
2470 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2471 \property Voice.crescendoSpanner = #'dashed-line
2481 @cindex @code{\dynamicUp}
2483 @cindex @code{\dynamicDown}
2484 @code{\dynamicDown},
2485 @cindex @code{\dynamicBoth}
2486 @code{\dynamicBoth}.
2488 @cindex direction, of dynamics
2492 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2493 @internalsref{AbsoluteDynamicEvent}.
2495 Dynamics are objects of @internalsref{DynamicText} and
2496 @internalsref{Hairpin}. Vertical positioning of these symbols is
2497 handled by the @internalsref{DynamicLineSpanner} object.
2499 If you want to adjust padding or vertical direction of the dynamics, you
2500 must set properties for the @internalsref{DynamicLineSpanner} object.
2508 @cindex @code{\repeat}
2511 Repetition is a central concept in music, and multiple notations exist
2512 for repetitions. In LilyPond, most of these notations can be captured
2513 in a uniform syntax. One of the advantages is that they can be
2514 rendered in MIDI accurately.
2516 The following types of repetition are supported:
2520 Repeated music is fully written (played) out. Useful for MIDI
2521 output, and entering repetitive music.
2524 This is the normal notation: Repeats are not written out, but
2525 alternative endings (voltas) are printed, left to right.
2529 Alternative endings are written stacked. This has limited use but may be
2530 used to typeset two lines of lyrics in songs with repeats, see
2531 @inputfileref{input,star-spangled-banner.ly}.
2539 Make beat or measure repeats. These look like percent signs.
2545 * Repeats and MIDI::
2546 * Manual repeat commands::
2548 * Tremolo subdivisions::
2553 @subsection Repeat syntax
2557 LilyPond has one syntactic construct for specifying different types of
2558 repeats. The syntax is
2561 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2564 If you have alternative endings, you may add
2565 @cindex @code{\alternative}
2567 \alternative @code{@{} @var{alternative1}
2569 @var{alternative3} @dots{} @code{@}}
2571 where each @var{alternative} is a music expression. If you do not
2572 give enough alternatives for all of the repeats, then the first
2573 alternative is assumed to be played more than once.
2575 Normal notation repeats are used like this:
2576 @lilypond[fragment,verbatim,relative 1]
2578 \repeat volta 2 { c4 d e f }
2579 \repeat volta 2 { f e d c }
2582 With alternative endings:
2583 @lilypond[fragment,verbatim,relative 1]
2585 \repeat volta 2 {c4 d e f}
2586 \alternative { {d2 d} {f f,} }
2590 @lilypond[fragment,verbatim,relative 1]
2593 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2594 \alternative { { g4 g g } { a | a a a a | b2. } }
2600 If you do a nested repeat like
2609 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2610 belongs. This ambiguity is resolved by always having the
2611 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2612 it is advisable to use braces in such situations.
2615 @node Repeats and MIDI
2616 @subsection Repeats and MIDI
2618 @cindex expanding repeats
2620 For instructions on how to unfold repeats for MIDI output, see the
2621 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2626 Timing information is not remembered at the start of an alternative,
2627 so after a repeat timing information must be reset by hand, for
2628 example by setting @code{Score.measurePosition} or entering
2629 @code{\partial}. Similarly, slurs or ties are also not repeated.
2632 @node Manual repeat commands
2633 @subsection Manual repeat commands
2635 @cindex @code{repeatCommands}
2637 The property @code{repeatCommands} can be used to control the layout of
2638 repeats. Its value is a Scheme list of repeat commands, where each repeat
2642 @item the symbol @code{start-repeat},
2643 which prints a @code{|:} bar line,
2644 @item the symbol @code{end-repeat},
2645 which prints a @code{:|} bar line,
2646 @item the list @code{(volta @var{text})},
2647 which prints a volta bracket saying @var{text}: The text can be specified as
2648 a text string or as a markup text, see @ref{Text markup}. Do not
2649 forget to change the font, as the default number font does not contain
2650 alphabetic characters. Or,
2651 @item the list @code{(volta #f)}, which
2652 stops a running volta bracket:
2655 @lilypond[verbatim, fragment,relative 2]
2657 \property Score.repeatCommands = #'((volta "93") end-repeat)
2659 \property Score.repeatCommands = #'((volta #f))
2666 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2667 @internalsref{VoltaRepeatedMusic},
2668 @internalsref{UnfoldedRepeatedMusic}, and
2669 @internalsref{FoldedRepeatedMusic}.
2671 @node Tremolo repeats
2672 @subsection Tremolo repeats
2673 @cindex tremolo beams
2675 To place tremolo marks between notes, use @code{\repeat} with tremolo
2677 @lilypond[verbatim,singleline]
2679 \context Voice \notes\relative c' {
2680 \repeat "tremolo" 8 { c16 d16 }
2681 \repeat "tremolo" 4 { c16 d16 }
2682 \repeat "tremolo" 2 { c16 d16 }
2687 Tremolo marks can also be put on a single note. In this case, the
2688 note should not be surrounded by braces.
2689 @lilypond[verbatim,singleline]
2690 \repeat "tremolo" 4 c16
2693 A similar mechanism is the tremolo subdivision, described in
2694 @ref{Tremolo subdivisions}.
2698 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2700 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2701 tremolos are @internalsref{StemTremolo}s. The music expression is
2702 @internalsref{TremoloEvent},
2704 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2705 @inputfileref{input/regression,stem-tremolo.ly}.
2707 @node Tremolo subdivisions
2708 @subsection Tremolo subdivisions
2709 @cindex tremolo marks
2710 @cindex @code{tremoloFlags}
2712 Tremolo marks can be printed on a single note by adding
2713 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2714 A @var{length} value of 8 gives one line across the note stem. If the
2715 length is omitted, then then the last value (stored in
2716 @code{Voice.tremoloFlags}) is used:
2718 @lilypond[verbatim,fragment,center]
2719 c'2:8 c':32 | c': c': |
2722 @c [TODO : stok is te kort bij 32en]
2726 Tremolos in this style do not carry over into the MIDI output.
2730 In this manual: @ref{Tremolo repeats}.
2732 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2734 @node Measure repeats
2735 @subsection Measure repeats
2737 @cindex percent repeats
2738 @cindex measure repeats
2740 In the @code{percent} style, a note pattern can be repeated. It is
2741 printed once, and then the pattern is replaced with a special sign.
2742 Patterns of a one and two measures are replaced by percent-like signs,
2743 patterns that divide the measure length are replaced by slashes:
2745 @lilypond[verbatim,singleline]
2746 \context Voice { \repeat "percent" 4 { c'4 }
2747 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2753 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2754 @internalsref{PercentRepeatedMusic}, and
2755 @internalsref{DoublePercentRepeat}.
2759 @node Rhythmic music
2760 @section Rhythmic music
2762 Sometimes you might want to show only the rhythm of a melody. This
2763 can be done with the rhythmic staff. All pitches of notes on such a
2764 staff are squashed, and the staff itself has a single line:
2766 @lilypond[fragment,relative,verbatim]
2767 \context RhythmicStaff {
2769 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2775 Internals: @internalsref{RhythmicStaff}.
2777 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2781 * Percussion staves::
2782 * Percussion MIDI output::
2785 @node Percussion staves
2786 @subsection Percussion staves
2790 A percussion part for more than one instrument typically uses a
2791 multiline staff where each position in the staff refers to one piece
2796 Percussion staves are typeset with help of a set of Scheme
2797 functions. The system is based on the general MIDI drum-pitches.
2798 Include @file{drumpitch-init.ly} to use drum pitches. This file
2799 defines the pitches from the Scheme variable @code{drum-pitch-names},
2800 the definition of which can be read in @file{scm/drums.scm}. Each
2801 piece of percussion has a full name and an abbreviated name, and either
2802 the full name or the abbreviation may be used in input files.
2804 To typeset the music on a staff apply the function @code{drums->paper}
2805 to the percussion music. This function takes a list of percussion
2806 instrument names, notehead scripts and staff positions (that is:
2807 pitches relative to the C-clef) and transforms the input
2808 music by moving the pitch, changing the notehead and (optionally)
2811 @lilypond[singleline,verbatim,quote]
2812 \include "drumpitch-init.ly"
2813 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2814 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2816 \apply #(drums->paper 'drums) \context Staff <<
2818 \new Voice { \voiceOne \up }
2819 \new Voice { \voiceTwo \down }
2824 In the above example the music was transformed using the list @code{'drums}.
2825 The following lists are defined in @file{scm/drums.scm}:
2828 to typeset a typical drum kit on a five-line staff:
2831 \include "drumpitch-init.ly"
2832 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2833 bd sn ss tomh tommh tomml toml tomfh tomfl }
2834 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2835 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2838 \apply #(drums->paper 'drums) \context Staff <<
2842 \context Lyrics \nam
2845 linewidth = 100.0\mm
2848 \remove Bar_engraver
2849 \remove Time_signature_engraver
2850 minimumVerticalExtent = #'(-4.0 . 5.0)
2854 \remove Stem_engraver
2860 The drum scheme supports six different toms. When there fewer toms, simply
2861 select the toms that produce the desired result, i.e. to get toms on
2862 the three middle lines you use @code{tommh}, @code{tomml} and
2865 Because general MIDI does not contain rimshots the sidestick is used
2866 for this purpose instead.
2868 to typeset timbales on a two line staff:
2870 @lilypond[singleline]
2871 \include "drumpitch-init.ly"
2872 nam = \lyrics { timh ssh timl ssl cb }
2873 mus = \notes { timh ssh timl ssl cb s16 }
2876 \apply #(drums->paper 'timbales) \context Staff <<
2880 \context Lyrics \nam
2885 \remove Bar_engraver
2886 \remove Time_signature_engraver
2887 StaffSymbol \override #'line-count = #2
2888 StaffSymbol \override #'staff-space = #2
2889 minimumVerticalExtent = #'(-3.0 . 4.0)
2893 \remove Stem_engraver
2900 to typeset congas on a two line staff:
2902 @lilypond[singleline]
2903 \include "drumpitch-init.ly"
2904 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2905 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2908 \apply #(drums->paper 'congas) \context Staff <<
2912 \context Lyrics \nam
2917 \remove Bar_engraver
2918 \remove Time_signature_engraver
2919 StaffSymbol \override #'line-count = #2
2920 StaffSymbol \override #'staff-space = #2
2921 minimumVerticalExtent = #'(-3.0 . 4.0)
2925 \remove Stem_engraver
2931 to typeset bongos on a two line staff:
2933 @lilypond[singleline]
2934 \include "drumpitch-init.ly"
2935 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2936 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2939 \apply #(drums->paper 'bongos) \context Staff <<
2943 \context Lyrics \nam
2948 \remove Bar_engraver
2949 \remove Time_signature_engraver
2950 StaffSymbol \override #'line-count = #2
2951 StaffSymbol \override #'staff-space = #2
2952 minimumVerticalExtent = #'(-3.0 . 4.0)
2956 \remove Stem_engraver
2962 to typeset all kinds of simple percussion on one line staves:
2963 @lilypond[singleline]
2964 \include "drumpitch-init.ly"
2965 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2966 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2969 \apply #(drums->paper 'percussion) \context Staff <<
2973 \context Lyrics \nam
2978 \remove Bar_engraver
2979 \remove Time_signature_engraver
2980 StaffSymbol \override #'line-count = #1
2981 minimumVerticalExtent = #'(-2.0 . 3.0)
2985 \remove Stem_engraver
2992 If you do not like any of the predefined lists you can define your own
2993 list at the top of your file:
2995 @lilypond[singleline, verbatim]
2996 #(set-drum-kit 'mydrums `(
2997 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2998 (snare default #f ,(ly:make-pitch 0 1 0))
2999 (hihat cross #f ,(ly:make-pitch 0 5 0))
3000 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
3001 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3003 \include "drumpitch-init.ly"
3004 up = \notes { hh8 hh hh hh hhp4 hhp }
3005 down = \notes { bd4 sn bd toml8 toml }
3007 \apply #(drums->paper 'mydrums) \context Staff <<
3009 \new Voice { \voiceOne \up }
3010 \new Voice { \voiceTwo \down }
3015 To use a modified existing list, one can prepend modifications to the
3019 #(set-drum-kit 'mydrums (append `(
3020 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3021 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3022 ) (get-drum-kit 'drums)))
3025 You can easily combine percussion notation with pitched notation.
3026 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
3027 names, so you will have to reinclude @file{nederlands.ly} after the
3028 drum-pattern-definitions to enter normal notes:
3030 @lilypond[singleline,verbatim]
3031 \include "drumpitch-init.ly"
3032 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3033 down = \notes { bassdrum4 snare8 bd r bd sn4 }
3034 \include "nederlands.ly"
3035 bass = \notes \transpose c c,, { a4. e8 r e g e }
3038 \apply #(drums->paper 'drums) \new Staff <<
3040 \new Voice { \voiceOne \up }
3041 \new Voice { \voiceTwo \down }
3043 \new Staff { \clef "F_8" \bass }
3048 @node Percussion MIDI output
3049 @subsection Percussion MIDI output
3051 In order to produce correct MIDI output you need to produce two score
3052 blocks---one for the paper and one for the MIDI output. To use the
3053 percussion channel you set the property @code{instrument} to
3054 @code{'drums}. Because the drum-pitches themselves are similar to the
3055 general MIDI pitches all you have to do is to insert the voices with
3056 none of the scheme functions to get the correct MIDI output:
3060 \apply #(drums->paper 'mydrums) \context Staff <<
3069 \property Staff.instrument = #'drums
3079 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3080 temporary implementation.
3084 @section Piano music
3086 Piano staves are two normal staves coupled with a brace. The staves
3087 are largely independent, but sometimes voices can cross between the
3088 two staves. The same notation is also used for harps and other key
3089 instruments. The @internalsref{PianoStaff} is especially built to
3090 handle this cross-staffing behavior. In this section we discuss the
3091 @internalsref{PianoStaff} and some other pianistic peculiarities.
3095 * Automatic staff changes::
3096 * Manual staff switches::
3099 * Staff switch lines::
3104 There is no support for putting chords across staves. You can get
3105 this result by increasing the length of the stem in the lower stave so
3106 it reaches the stem in the upper stave, or vice versa. An example is
3107 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3109 Dynamics are not centered, but kludges do exist. See
3110 @inputfileref{input/template,piano-dynamics.ly}.
3112 @cindex cross staff stem
3113 @cindex stem, cross staff
3116 @c fixme: should have hyperlinks as well.
3122 @node Automatic staff changes
3123 @subsection Automatic staff changes
3124 @cindex Automatic staff changes
3126 Voices can switch automatically between the top and the bottom
3127 staff. The syntax for this is
3129 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3131 The two staffs of the piano staff must be named @code{up} and
3134 The autochanger switches on basis of pitch (central C is the turning
3135 point), and it looks ahead skipping over rests to switch in
3136 advance. Here is a practical example:
3138 @lilypond[verbatim,singleline,quote]
3139 \score { \notes \context PianoStaff <<
3140 \context Staff = "up" {
3141 \autochange Staff \context Voice = VA << \relative c' {
3142 g4 a b c d r4 a g } >> }
3143 \context Staff = "down" {
3150 In this example, spacer rests are used to prevent the bottom staff from
3151 terminating too soon.
3156 In this manual: @ref{Manual staff switches}
3158 Internals: @internalsref{AutoChangeMusic}.
3164 The staff switches often do not end up in optimal places. For high
3165 quality output, staff switches should be specified manually.
3168 @node Manual staff switches
3169 @subsection Manual staff switches
3171 @cindex manual staff switches
3172 @cindex staff switch, manual
3174 Voices can be switched between staves manually, using the following command:
3176 \change Staff = @var{staffname} @var{music}
3180 The string @var{staffname} is the name of the staff. It switches the
3181 current voice from its current staff to the Staff called
3182 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3191 Pianos have pedals that alter the way sound are produced. Generally, a
3192 piano has three pedals, sustain, una corda, and sostenuto.
3196 Piano pedal instruction can be expressed by attaching
3197 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3198 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3201 @lilypond[fragment,verbatim]
3202 c'4\sustainDown c'4\sustainUp
3205 What is printed can be modified by setting @code{pedal@var{X}Strings},
3206 where @var{X} is one of the pedal types: @code{Sustain},
3207 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3208 documentation of @internalsref{SustainPedal} for more information.
3210 Pedals can also be indicated by a sequence of brackets, by setting the
3211 @code{pedalSustainStyle} property to @code{bracket} objects:
3213 @lilypond[fragment,verbatim]
3214 \property Staff.pedalSustainStyle = #'bracket
3215 c''4\sustainDown d''4 e''4
3216 a'4\sustainUp\sustainDown
3217 f'4 g'4 a'4\sustainUp
3220 A third style of pedal notation is a mixture of text and brackets,
3221 obtained by setting @code{pedal-type} to @code{mixed}:
3223 @lilypond[fragment,verbatim]
3224 \property Staff.pedalSustainStyle = #'mixed
3225 c''4\sustainDown d''4 e''4
3226 c'4\sustainUp\sustainDown
3227 f'4 g'4 a'4\sustainUp
3230 The default `*Ped' style for sustain and damper pedals corresponds to
3231 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3232 for a sostenuto pedal:
3234 @lilypond[fragment,verbatim]
3235 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3238 For fine-tuning of the appearance of a pedal bracket, the properties
3239 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3240 @code{PianoPedalBracket} objects (see
3241 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3242 bracket may be extended to the end of the note head:
3244 @lilypond[fragment,verbatim]
3245 \property Staff.PianoPedalBracket \override
3246 #'shorten-pair = #'(0 . -1.0)
3247 c''4\sostenutoDown d''4 e''4 c'4
3248 f'4 g'4 a'4\sostenutoUp
3252 @subsection Arpeggio
3255 @cindex broken arpeggio
3256 @cindex @code{\arpeggio}
3258 You can specify an arpeggio sign on a chord by attaching an
3259 @code{\arpeggio} to a chord:
3262 @lilypond[fragment,relative,verbatim]
3266 When an arpeggio crosses staves, you attach an arpeggio to the chords
3267 in both staves, and set
3268 @internalsref{PianoStaff}.@code{connectArpeggios}:
3270 @lilypond[fragment,relative,verbatim]
3271 \context PianoStaff <<
3272 \property PianoStaff.connectArpeggios = ##t
3273 \new Staff { <c' e g c>\arpeggio }
3274 \new Staff { \clef bass <c,, e g>\arpeggio }
3278 The direction of the arpeggio is sometimes denoted by adding an
3279 arrowhead to the wiggly line. This can be typeset by setting
3280 @code{arpeggio-direction}:
3282 @lilypond[fragment,relative,verbatim]
3284 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3286 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3291 A square bracket on the left indicates that the player should not
3292 arpeggiate the chord. To draw these brackets, set the
3293 @code{molecule-callback} property of @code{Arpeggio} or
3294 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3295 @code{\arpeggio} statements within the chords as before:
3297 @lilypond[fragment,relative,verbatim]
3298 \property PianoStaff.Arpeggio \override
3299 #'molecule-callback = \arpeggioBracket
3305 @cindex @code{\arpeggioBracket}
3306 @code{\arpeggioBracket},
3307 @cindex @code{\arpeggio}
3312 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3313 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3314 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3318 It is not possible to mix connected arpeggios and unconnected
3319 arpeggios in one @internalsref{PianoStaff} at the same time.
3321 @node Staff switch lines
3322 @subsection Staff switch lines
3325 @cindex follow voice
3326 @cindex staff switching
3329 @cindex @code{followVoice}
3331 Whenever a voice switches to another staff a line connecting the notes
3332 can be printed automatically. This is enabled if the property
3333 @code{PianoStaff.followVoice} is set to true:
3335 @lilypond[fragment,relative,verbatim]
3336 \context PianoStaff <<
3337 \property PianoStaff.followVoice = ##t
3338 \context Staff \context Voice {
3343 \context Staff=two { \clef bass \skip 1*2 }
3347 The associated object is @internalsref{VoiceFollower}.
3351 @cindex @code{\showStaffSwitch}
3352 @code{\showStaffSwitch},
3353 @cindex @code{\hideStaffSwitch}
3354 @code{\hideStaffSwitch}.
3358 @section Vocal music
3360 This section discusses how to enter and print lyrics.
3364 * The Lyrics context::
3369 @node Entering lyrics
3370 @subsection Entering lyrics
3374 @cindex @code{\lyrics}
3377 Lyrics are entered in a special input mode. This mode is is introduced
3378 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3379 punctuation and accents without any hassle. Syllables are entered like
3380 notes, but with pitches replaced by text. For example,
3382 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3385 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3386 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3387 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3388 any 8-bit character with ASCII code over 127, or a two-character
3389 combination of a backslash followed by one of @code{`}, @code{'},
3390 @code{"}, or @code{^}.
3392 Subsequent characters of a word can be any character that is not a digit
3393 and not white space. One important consequence of this is that a word
3394 can end with @code{@}}. The following example is usually a bug. The
3395 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3397 \lyrics @{ twinkle@}
3400 @cindex @code{\property}, in @code{\lyrics}
3401 Similarly, a period following a alphabetic sequence, is included in the
3402 resulting string. As a consequence, spaces must be inserted around
3403 @code{\property} commands:
3405 \property Lyrics . LyricText \set #'font-shape = #'italic
3409 @cindex spaces, in lyrics
3410 @cindex quotes, in lyrics
3412 Any @code{_} character which appears in an unquoted word is converted
3413 to a space. This provides a mechanism for introducing spaces into words
3414 without using quotes. Quoted words can also be used in Lyrics mode to
3415 specify words that cannot be written with the above rules:
3418 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3422 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3427 These will be attached to the end of the first syllable.
3429 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3430 as a separate word between syllables. The hyphen will have variable
3431 length depending on the space between the syllables and it will be
3432 centered between the syllables.
3437 When a lyric is sung over many notes (this is called a melisma), this is
3438 indicated with a horizontal line centered between a syllable and the
3439 next one. Such a line is called an extender line, and it is entered as
3444 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3445 @internalsref{ExtenderEvent}.
3449 The definition of lyrics mode is too complex.
3451 @node The Lyrics context
3452 @subsection The Lyrics context
3454 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3456 \context Lyrics \lyrics @dots{}
3459 @cindex automatic syllable durations
3460 @cindex @code{\addlyrics}
3461 @cindex lyrics and melodies
3463 This will place the lyrics according to the durations that were
3464 entered. The lyrics can also be aligned under a given melody
3465 automatically. In this case, it is no longer necessary to enter the
3466 correct duration for each syllable. This is achieved by combining the
3467 melody and the lyrics with the @code{\addlyrics} expression:
3471 \context Lyrics @dots{}
3474 @cindex staff order, with @code{\addlyrics}
3476 Normally, this will put the lyrics below the staff. For different or
3477 more complex orderings, the best way is to setup the hierarchy of
3478 staves and lyrics first, e.g.
3480 \context ChoirStaff \notes <<
3481 \context Lyrics = sopr @{ s1 @}
3482 \context Staff = soprStaff @{ s1 @}
3483 \context Lyrics = tenor @{ s1 @}
3484 \context Staff = tenorStaff @{ s1 @}
3487 and then combine the appropriate melodies and lyric lines:
3490 \context Staff = soprStaff @emph{the music}
3491 \context Lyrics = sopr @emph{the lyrics}
3494 putting both together, you would get
3496 \context ChoirStaff \notes <<
3497 \context Lyrics = @dots{}
3498 \context Staff = @dots{}
3504 @cindex choral score
3506 A complete example of a SATB score setup is in the file
3507 @inputfileref{input/template,satb.ly}.
3511 Internals: @internalsref{LyricCombineMusic}, @internalsref{Lyrics}
3513 Examples: @inputfileref{input/template,satb.ly}.
3517 @code{\addlyrics} is not automatic enough: melismata are not detected
3518 automatically, and melismata are not stopped when they hit a rest. A
3519 melisma on the last note in a melody is not printed.
3523 @subsection More stanzas
3526 @cindex phrasing, in lyrics
3529 The lyrics should be aligned with the note heads of the melody. To
3530 achieve this, each line of lyrics should be marked to correspond with
3533 To this end, give the @internalsref{Voice} context an identity:
3535 \context Voice = duet @{
3540 Then set the @internalsref{LyricsVoice} contexts to names starting with
3541 that identity followed by a dash. In the preceding example, the
3542 @internalsref{Voice} identity is @code{duet}, so the identities of the
3543 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3545 \context LyricsVoice = "duet-1" @{
3546 Hi, my name is bert. @}
3547 \context LyricsVoice = "duet-2" @{
3548 Ooooo, ch\'e -- ri, je t'aime. @}
3551 The complete example is shown here:
3552 @lilypond[singleline,verbatim]
3555 \notes \relative c'' \context Voice = duet { \time 3/4
3557 \lyrics \context Lyrics <<
3558 \context LyricsVoice = "duet-1" {
3559 \property LyricsVoice . stanza = "Bert"
3560 Hi, my name is bert. }
3561 \context LyricsVoice = "duet-2" {
3562 \property LyricsVoice . stanza = "Ernie"
3563 Ooooo, ch\'e -- ri, je t'aime. }
3568 @cindex stanza number
3569 @cindex singer's names
3570 @cindex name of singer
3572 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3575 \property LyricsVoice . stanza = "Bert"
3577 \property LyricsVoice . stanza = "Ernie"
3580 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3581 prevent @code{LyricsVoice.stanza} being interpreted as a single
3584 Names of the singers should be added using @code{LyricsVoice
3585 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3586 annotations for staves.
3588 To make empty spaces in lyrics, use @code{\skip}.
3596 Input for lyrics introduces a syntactical ambiguity:
3603 is interpreted as assigning a string identifier @code{\foo} such that
3604 it contains @code{"bar"}. However, it could also be interpreted as
3605 making or a music identifier @code{\foo} containing the syllable
3606 `bar'. The force the latter interpretation, use
3616 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3617 for a given voice in a part of music. It also may denote the pitch
3618 range that a musical instrument is capable of playing. Most musical
3619 instruments have their ambitus standardized (or at least there is
3620 agreement upon the minimal ambitus of a particular type of
3621 instrument), such that a composer or arranger of a piece of music can
3622 easily meet the ambitus constraints of the targeted instrument.
3623 However, the ambitus of the human voice depends on individual
3624 physiological state, including education and training of the voice.
3625 Therefore, a singer potentially has to check for each piece of music
3626 if the ambitus of that piece meets his individual capabilities. This
3627 is why the ambitus of a piece may be of particular value to vocal
3630 The ambitus is typically notated on a per-voice basis at the very
3631 beginning of a piece, e.g. nearby the initial clef or time signature of
3632 each staff. The range is graphically specified by two noteheads, that
3633 represent the minimum and maximum pitch. Some publishers use a textual
3634 notation: they put the range in words in front of the corresponding
3635 staff. LilyPond only supports the graphical ambitus notation.
3637 To apply, add the @internalsref{Ambitus_engraver} to the
3638 @internalsref{Voice} context, i.e.
3644 \consists Ambitus_engraver
3649 This results in the following output:
3650 @lilypond[singleline]
3651 upper = \notes \relative c {
3654 as'' c e2 bes f cis d4 e f2 g
3656 lower = \notes \relative c {
3659 e'4 b g a c es fis a cis b a g f e d2
3662 \context ChoirStaff {
3664 \new Staff { \upper }
3665 \new Staff { \lower }
3671 \consists Ambitus_engraver
3677 If you have multiple voices in a single staff, and you want a single
3678 ambitus per staff rather than per each voice, then add the
3679 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3680 rather than to the @internalsref{Voice} context.
3682 It is possible to tune individual ambituses for multiple voices on a
3683 single staff, for example by erasing or shifting them horizontally. An
3684 example is in @inputfileref{input/test,ambitus-mixed.ly}
3688 Internals: @internalsref{Ambitus}
3690 Examples: @inputfileref{input/regression,ambitus.ly},
3691 @inputfileref{input/test,ambitus-mixed.ly}.
3695 There is no collision handling in the case of multiple per-voice
3701 Tablature notation is used for notating music for plucked string
3702 instruments. It notates pitches not by using note heads, but by
3703 indicating on which string and fret a note must be played. LilyPond
3704 offers limited support for tablature.
3707 * Tablatures basic::
3708 * Non-guitar tablatures::
3711 @node Tablatures basic
3712 @subsection Tablatures basic
3713 @cindex Tablatures basic
3715 The string number associated to a note is given as a backslash
3716 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3717 string. By default, string 1 is the highest one, and the tuning
3718 defaults to the standard guitar tuning (with 6 strings). The notes
3719 are printed as tablature, by using @internalsref{TabStaff} and
3720 @internalsref{TabVoice} contexts:
3722 @lilypond[fragment,verbatim]
3723 \notes \context TabStaff {
3731 When no string is specified, the first string that does not give a
3732 fret number less than @code{minimumFret} is selected. The default
3733 value for @code{minimumFret} is 0:
3737 e8 fis gis a b cis' dis' e'
3738 \property TabStaff.minimumFret = #8
3739 e8 fis gis a b cis' dis' e'
3744 e8 fis gis a b cis' dis' e'
3745 \property TabStaff.minimumFret = #8
3746 e8 fis gis a b cis' dis' e'
3749 \context StaffGroup <<
3750 \context Staff { \clef "G_8" \frag }
3751 \context TabStaff { \frag }
3758 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3759 @internalsref{StringNumberEvent}.
3763 Chords are not handled in a special way, and hence the automatic
3764 string selector may easily select the same string to two notes in a
3768 @node Non-guitar tablatures
3769 @subsection Non-guitar tablatures
3770 @cindex Non-guitar tablatures
3772 You can change the number of strings, by setting the number of lines
3773 in the @internalsref{TabStaff}.
3775 You can change the tuning of the strings. A string tuning is given as
3776 a Scheme list with one integer number for each string, the number
3777 being the pitch (measured in semitones relative to central C) of an
3778 open string. The numbers specified for @code{stringTuning} are the
3779 numbers of semitones to subtract or add, starting the specified pitch
3780 by default middle C, in string order. Thus, the notes are e, a, d, and
3783 @lilypond[fragment,verbatim]
3784 \context TabStaff <<
3785 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3788 a,4 c' a e' e c' a e'
3793 It is possible to change the Scheme function to format the tablature
3794 note text. The default is @code{fret-number-tablature-format}, which
3795 uses the fret number. For instruments that do not use this notation,
3796 you can create a special tablature formatting function. This function
3797 takes three argument: string number, string tuning and note pitch.
3801 No guitar special effects have been implemented.
3806 @section Chord names
3809 LilyPond has support for both printing chord names. Chords may be
3810 entered in musical chord notation, i.e. @code{< .. >}, but they can
3811 also be entered by name. Internally, the chords are represented as a
3812 set of pitches, so they can be transposed:
3815 @lilypond[verbatim,singleline]
3816 twoWays = \notes \transpose c c' {
3826 << \context ChordNames \twoWays
3827 \context Voice \twoWays >> }
3830 This example also shows that the chord printing routines do not try to
3831 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3837 * Printing chord names::
3842 @subsection Chords mode
3845 Chord mode is a mode where you can input sets of pitches using common
3846 names. It is introduced by the keyword @code{\chords}.
3847 In chords mode, a chord is entered by the root, which is entered
3848 like a common pitch:
3849 @lilypond[fragment,verbatim,quote, relative=1]
3850 \chords { es4. d8 c2 }
3855 Other chords may be entered by suffixing a colon, and introducing a
3856 modifier, and optionally, a number:
3858 @lilypond[fragment,verbatim,quote]
3859 \chords { e1:m e1:7 e1:m7 }
3861 The first number following the root is taken to be the `type' of the
3862 chord, thirds are added to the root until it reaches the specified
3864 @lilypond[fragment,verbatim]
3865 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3868 @cindex root of chord
3869 @cindex additions, in chords
3870 @cindex removals, in chords
3872 More complex chords may also be constructed adding separate steps
3873 to a chord. Additions are added after the number following
3874 the colon, and are separated by dots:
3876 @lilypond[verbatim,fragment,quote]
3877 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3879 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3881 @lilypond[verbatim,fragment,quote]
3882 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3884 Removals are specified similarly, and are introduced by a caret. They
3885 must come after the additions:
3886 @lilypond[verbatim,fragment]
3887 \chords { c^3 c:7^5 c:9^3.5 }
3890 Modifiers can be used to change pitches. The following modifiers are
3894 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3896 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3899 is the augmented chord. This modifier raises the 5th step.
3901 is the major 7th chord. This modifier raises the 7th step if present.
3903 is the suspended 4th or 2nd. This modifier removes the 3rd
3904 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3907 Modifiers can be mixed with additions:
3908 @lilypond[verbatim,fragment]
3909 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3912 @cindex modifiers, in chords.
3919 Since an unaltered 11 does not sound good when combined with an
3920 unaltered 13, the 11 is removed in this case (unless it is added
3923 @lilypond[fragment,verbatim]
3924 \chords { c:13 c:13.11 c:m13 }
3929 An inversion (putting one pitch of the chord on the bottom), as well
3930 as bass notes, can be specified by appending
3931 @code{/}@var{pitch} to the chord:
3932 @lilypond[fragment,verbatim,center]
3933 \chords { c1 c/g c/f }
3937 A bass note can be added instead of transposed out of the chord,
3938 by using @code{/+}@var{pitch}.
3940 @lilypond[fragment,verbatim,center]
3941 \chords { c1 c/+g c/+f }
3944 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3945 of the commands continue to work, for example, @code{r} and
3946 @code{\skip} can be used to insert rests and spaces, and
3947 @code{\property} may be used to change various settings.
3953 Each step can only be present in a chord once. The following
3954 simply produces the augmented chord, since @code{5+} is interpreted
3957 @lilypond[verbatim,fragment]
3958 \chords { c:5.5-.5+ }
3962 @node Printing chord names
3963 @subsection Printing chord names
3965 @cindex printing chord names
3969 For displaying printed chord names, use the @internalsref{ChordNames} context.
3970 The chords may be entered either using the notation
3971 described above, or directly using @code{<} and @code{>}:
3973 @lilypond[verbatim,singleline]
3975 \chords {a1 b c} <d' f' a'> <e' g' b'>
3979 \context ChordNames \scheme
3980 \context Staff \scheme
3985 You can make the chord changes stand out by setting
3986 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3987 display chord names when there is a change in the chords scheme and at
3988 the start of a new line:
3990 @lilypond[verbatim, linewidth=9cm]
3992 c1:m c:m \break c:m c:m d
3996 \context ChordNames {
3997 \property ChordNames.chordChanges = ##t
3999 \context Staff \transpose c c' \scheme
4004 The default chord name layout is a system for Jazz music, proposed by
4005 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4006 following properties:
4009 @cindex chordNameExceptions
4010 @item chordNameExceptions
4011 This is a list that contains the chords that have special formatting.
4013 @inputfileref{input/regression,chord-name-exceptions.ly}.
4014 @cindex exceptions, chord names.
4017 @cindex majorSevenSymbol
4018 @item majorSevenSymbol
4019 This property contains the markup object used for the 7th step, when
4020 it is major. Predefined options are @code{whiteTriangleMarkup} and
4021 @code{blackTriangleMarkup}. See
4022 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4024 @cindex chordNameSeparator
4025 @item chordNameSeparator
4026 Different parts of a chord name are normally separated by a
4027 slash. By setting @code{chordNameSeparator}, you can specify other
4029 @lilypond[fragment,verbatim]
4030 \context ChordNames \chords {
4032 \property ChordNames.chordNameSeparator
4033 = \markup { \typewriter "|" }
4037 @cindex chordRootNamer
4038 @item chordRootNamer
4039 The root of a chord is usually printed as a letter with an optional
4040 alteration. The transformation from pitch to letter is done by this
4041 function. Special note names (for example, the German ``H'' for a
4042 B-chord) can be produced by storing a new function in this property.
4044 The pre-defined variables @code{\germanChords},
4045 @code{\semiGermanChords} set these variables.
4048 @cindex chordNoteNamer
4049 @item chordNoteNamer
4050 The default is to print single pitch, e.g. the bass note, using the
4051 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4052 to a specialized function to change this behavior. For example, the
4053 base can be printed in lower case.
4058 There are also two other chord name schemes implemented: an alternate
4059 Jazz chord notation, and a systematic scheme called Banter chords. The
4060 alternate jazz notation is also shown on the chart in @ref{Chord name
4061 chart}. Turning on these styles is described in the input file
4062 @inputfileref{input/test,chord-names-jazz.ly}.
4066 @cindex chords, jazz
4071 @cindex @code{\germanChords}
4072 @code{\germanChords},
4073 @cindex @code{\semiGermanChords}
4074 @code{\semiGermanChords}.
4081 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4082 @inputfileref{input/regression,chord-name-exceptions.ly},
4083 @inputfileref{input/test,chord-names-jazz.ly},
4084 @inputfileref{input/test,chord-names-german.ly}.
4086 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4091 Chord names are determined solely from the list of pitches. Chord
4092 inversions are not identified, and neither are added bass notes. This
4093 may result in strange chord names when chords are entered with the
4094 @code{< .. >} syntax.
4099 @node Orchestral music
4100 @section Orchestral music
4102 @cindex Writing parts
4104 Orchestral music involves some special notation, both in the full
4105 score and the individual parts. This section explains how to tackle
4106 some common problems in orchestral music.
4111 * Multiple staff contexts::
4114 * Instrument names::
4116 * Multi measure rests::
4117 * Automatic part combining::
4119 * Different editions from one source::
4120 * Sound output for transposing instruments::
4123 @node Multiple staff contexts
4124 @subsection Multiple staff contexts
4126 Polyphonic scores consist of many staves. These staves can be
4127 constructed in three different ways:
4129 @item The group is started with a brace at the left. This is done with the
4130 @internalsref{GrandStaff} context.
4131 @item The group is started with a bracket. This is done with the
4132 @internalsref{StaffGroup} context
4133 @item The group is started with a vertical line. This is the default
4137 @cindex Staff, multiple
4138 @cindex bracket, vertical
4139 @cindex brace, vertical
4146 @node Rehearsal marks
4147 @subsection Rehearsal marks
4148 @cindex Rehearsal marks
4150 @cindex @code{\mark}
4152 To print a rehearsal mark, use the @code{\mark} command:
4153 @lilypond[fragment,verbatim]
4163 The mark is incremented automatically if you use @code{\mark
4164 \default}. The value to use is stored in the property
4165 @code{rehearsalMark} is used and automatically incremented.
4167 The @code{\mark} command can also be used to put signs like coda,
4168 segno and fermatas on a barline. Use @code{\markup} to
4169 to access the appropriate symbol:
4171 @lilypond[fragment,verbatim,relative=1]
4172 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4176 In this case, during line breaks,
4177 marks must also be printed at the end of the line, and not at the
4178 beginning. Use the following to force that behavior:
4180 \property Score.RehearsalMark \override
4181 #'break-visibility = #begin-of-line-invisible
4184 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4190 @cindex barlines, putting symbols on
4194 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4196 Examples: @inputfileref{input/test,boxed-molecule.ly}.
4200 @subsection Bar numbers
4204 @cindex measure numbers
4205 @cindex currentBarNumber
4207 Bar numbers are printed by default at the start of the line. The
4208 number itself is stored in the
4209 @code{currentBarNumber} property,
4210 which is normally updated automatically for every measure.
4212 Bar numbers can be typeset at regular intervals instead of at the
4213 beginning of each line. This is illustrated in the following example,
4214 whose source is available as
4215 @inputfileref{input/test,bar-number-regular-interval.ly}:
4217 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4222 Internals: @internalsref{BarNumber}.
4224 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4225 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4229 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4230 there is one at the top. To solve this, the
4231 @code{padding} property of @internalsref{BarNumber} can be
4232 used to position the number correctly.
4234 @node Instrument names
4235 @subsection Instrument names
4237 In an orchestral score, instrument names are printed left side of the
4240 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4241 and @internalsref{Staff}.@code{instr}. This will print a string before
4242 the start of the staff. For the first start, @code{instrument} is
4243 used, for the next ones @code{instr} is used:
4246 @lilypond[verbatim,singleline]
4247 \property Staff.instrument = "ploink " { c''4 }
4251 You can also use markup texts to construct more complicated instrument
4255 @lilypond[fragment,verbatim,singleline]
4257 \property Staff.instrument = \markup {
4258 \column < "Clarinetti"
4260 \smaller \musicglyph #"accidentals--1"
4271 Internals: @internalsref{InstrumentName}.
4275 When you put a name on a grand staff or piano staff the width of the
4276 brace is not taken into account. You must add extra spaces to the end of
4277 the name to avoid a collision.
4280 @subsection Transpose
4282 @cindex transposition of pitches
4283 @cindex @code{\transpose}
4285 A music expression can be transposed with @code{\transpose}. The syntax
4288 \transpose @var{from} @var{to} @var{musicexpr}
4291 This means that @var{musicexpr} is transposed by the interval
4292 between the pitches @var{from} and @var{to}.
4293 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4294 inside a @code{\notes} section.
4296 @code{\transpose} distinguishes between enharmonic pitches: both
4297 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4298 half a tone. The first version will print sharps and the second
4299 version will print flats:
4301 @lilypond[singleline, verbatim]
4302 mus =\notes { \key d \major cis d fis g }
4303 \score { \notes \context Staff {
4306 \transpose c g' \mus
4307 \transpose c f' \mus
4314 Internals: @internalsref{TransposedMusic}, and
4315 @internalsref{UntransposableMusic}.
4319 If you want to use both @code{\transpose} and @code{\relative}, then
4320 you must put @code{\transpose} outside of @code{\relative}, since
4321 @code{\relative} will have no effect music that appears inside a
4327 @node Multi measure rests
4328 @subsection Multi measure rests
4329 @cindex multi measure rests
4330 @cindex Rests, multi measure
4334 Multi measure rests are entered using `@code{R}'. It is specifically
4335 meant for full bar rests and for entering parts: the rest can expand
4336 to fill a score with rests, or it can be printed as a single
4337 multimeasure rest. This expansion is controlled by the property
4338 @code{Score.skipBars}. If this is set to true, empty measures will not
4339 be expanded, and the appropriate number is added automatically:
4341 @lilypond[fragment,verbatim]
4342 \time 4/4 r1 | R1 | R1*2
4343 \property Score.skipBars = ##t R1*17 R1*4
4346 The @code{1} in @code{R1} is similar to the duration notation used for
4347 notes. Hence, for time signatures other than 4/4, you must enter other
4348 durations. This can be done with augmentation dots or fractions:
4350 @lilypond[fragment,verbatim]
4351 \property Score.skipBars = ##t
4359 An @code{R} spanning a single measure is printed as either a whole rest
4360 or a breve, centered in the measure regardless of the time signature.
4362 @cindex text on multi-measure rest
4363 @cindex script on multi-measure rest
4364 @cindex fermata on multi-measure rest
4366 Texts can be added to multi-measure rests by using the
4367 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4368 replaced. If you need both texts and the number, you must add the
4369 number by hand. A variable (@code{\fermataMarkup}) is provided for
4373 @lilypond[verbatim,fragment]
4375 R2._\markup { "Ad lib" }
4379 If you want to have a text on the left end of a multi-measure rest,
4380 attach the text to a zero-length skip note, i.e.
4388 @cindex whole rests for a full measure
4392 Internals: @internalsref{MultiMeasureRestEvent},
4393 @internalsref{MultiMeasureTextEvent},
4394 @internalsref{MultiMeasureRestMusicGroup}, and
4395 @internalsref{MultiMeasureRest}.
4397 The layout object @internalsref{MultiMeasureRestNumber} is for the
4398 default number, and @internalsref{MultiMeasureRestText} for user
4403 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4404 over multi-measure rests.
4406 @cindex condensing rests
4408 There is no way to automatically condense multiple rests into a single
4409 multimeasure rest. Multi measure rests do not take part in rest
4412 Be careful when entering multimeasure rests followed by whole
4413 notes. The following will enter two notes lasting four measures each:
4417 When @code{skipBars} is set, then the result will look OK, but the
4418 bar numbering will be off.
4420 @node Automatic part combining
4421 @subsection Automatic part combining
4422 @cindex automatic part combining
4423 @cindex part combiner
4426 Automatic part combining is used to merge two parts of music onto a
4427 staff. It is aimed at typesetting orchestral scores. When the two
4428 parts are identical for a period of time, only one is shown. In
4429 places where the two parts differ, they are typeset as separate
4430 voices, and stem directions are set automatically. Also, solo and
4431 @emph{a due} parts are identified and can be marked.
4435 The syntax for part combining is
4438 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4440 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4441 combined into one context of type @var{context}. The music expressions
4442 must be interpreted by contexts whose names should start with @code{one}
4445 The following example demonstrates the basic functionality of the part
4446 combiner: putting parts on one staff, and setting stem directions and
4449 @lilypond[verbatim,singleline,fragment]
4451 \context Voice=one \partcombine Voice
4452 \context Thread=one \relative c'' {
4455 \context Thread=two \relative c'' {
4461 The first @code{g} appears only once, although it was
4462 specified twice (once in each part). Stem, slur and tie directions are
4463 set automatically, depending whether there is a solo or unisono. The
4464 first part (with context called @code{one}) always gets up stems, and
4465 `solo', while the second (called @code{two}) always gets down stems and
4468 If you just want the merging parts, and not the textual markings, you
4469 may set the property @var{soloADue} to false:
4471 @lilypond[verbatim,singleline,fragment]
4473 \property Staff.soloADue = ##f
4474 \context Voice=one \partcombine Voice
4475 \context Thread=one \relative c'' {
4478 \context Thread=two \relative c'' {
4486 Internals: @internalsref{PartCombineMusic},
4487 @internalsref{Thread_devnull_engraver}, and
4488 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4492 The syntax for naming contexts in inconsistent with the syntax for
4495 In @code{soloADue} mode, when the two voices play the same notes on and
4496 off, the part combiner may typeset @code{a2} more than once in a
4499 @lilypond[fragment,singleline]
4501 \context Voice=one \partcombine Voice
4502 \context Thread=one \relative c'' {
4505 \context Thread=two \relative c'' {
4511 The part combiner is rather buggy, and it will be replaced by a better
4512 mechanism in the near future.
4514 @cindex @code{Thread_devnull_engraver}
4515 @cindex @code{Voice_engraver}
4516 @cindex @code{A2_engraver}
4519 @subsection Hiding staves
4521 @cindex Frenched scores
4522 @cindex Hiding staves
4524 In orchestral scores, staff lines that only have rests are usually
4525 removed. This saves some space. This style is called `French Score'.
4526 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4527 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4528 switched on by default. When these line of these contexts turn out
4529 empty after the line-breaking process, they are removed.
4531 For normal staves, a specialized @internalsref{Staff} context is
4532 available, which does the same: staves containing nothing (or only
4533 multi measure rests) are removed. The context definition is stored in
4534 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4535 in this example disappears in the second line:
4540 \notes \relative c' <<
4541 \new Staff { e4 f g a \break c1 }
4542 \new Staff { c4 d e f \break R1 }
4546 \translator { \RemoveEmptyStaffContext }
4551 The first page shows all staffs in full. If they should be removed
4552 from the first page too, set @code{remove-first} to false
4553 in @internalsref{RemoveEmptyVerticalGroup}.
4555 @node Different editions from one source
4556 @subsection Different editions from one source
4558 The @code{\tag} command marks music expressions with a name. These
4559 tagged expressions can be filtered out later. With this mechanism it
4560 is possible to make different versions of the same music source.
4562 In the following example, we see two versions of a piece of music, one
4563 for the full score, and one with cue notes for the instrumental part:
4571 \property Voice.fontSize = #-1
4579 The same can be applied to articulations, texts, etc.: they are
4582 -\tag #@var{your-tag}
4584 to an articulation, for example,
4589 This defines a note with a conditional fingering indication.
4591 By applying the @code{remove-tag} function, tagged expressions can be
4592 filtered. For example,
4596 \apply #(remove-tag 'score) @var{the music}
4597 \apply #(remove-tag 'part) @var{the music}
4602 @lilypondfile[notexidoc]{tag-filter.ly}
4604 The argument of the @code{\tag} command should be a symbol, or a list
4605 of symbols, for example,
4607 \tag #'(original-part transposed-part) @dots{}
4612 Examples: @inputfileref{input/regression,tag-filter.ly}
4615 @node Sound output for transposing instruments
4616 @subsection Sound output for transposing instruments
4618 When you want to make a MIDI file from a score containing transposed
4619 and untransposed instruments, you have to instruct LilyPond the pitch
4620 offset (in semitones) for the transposed instruments. This is done
4621 using the @code{transposing} property. It does not affect printed
4624 @cindex @code{transposing}
4627 \property Staff.instrument = #"Cl. in B-flat"
4628 \property Staff.transposing = #-2
4632 @node Ancient notation
4633 @section Ancient notation
4635 @cindex Vaticana, Editio
4636 @cindex Medicaea, Editio
4641 @c [TODO: write more comprehensive introduction on ancient notation]
4643 Support for ancient notation is still under heavy development.
4644 Regardless of all of the current limitations (see the bugs section
4645 below for details), it includes features for mensural
4646 notation and Gregorian Chant notation. There is also limited support
4647 for figured bass notation.
4649 Many graphical objects provide a @code{style} property, see
4650 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4651 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4652 signatures}. By manipulating such a grob property, the typographical
4653 appearance of the affected graphical objects can be accomodated for a
4654 specific notation flavour without need for introducing any new
4658 Other aspects of ancient notation can not that easily be expressed as
4659 in terms of just changing a style property of a graphical object.
4660 Therefore, some notational concepts are introduced specifically for
4661 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4662 @ref{Ligatures}, and @ref{Figured bass}.
4666 * Ancient note heads::
4667 * Ancient accidentals::
4671 * Ancient time signatures::
4676 * Vaticana style contexts::
4679 If this all is way too much of documentation for you, and you just
4680 want to dive into typesetting without worrying too much about the
4681 details on how to customize a context, then you may have a look at the
4682 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4683 set up predefined style-specific voice and staff contexts, and
4684 directly go ahead with the note entry.
4688 Ligatures need special spacing that has not yet been implemented. As
4689 a result, there is too much space between ligatures most of the time,
4690 and line breaking often is unsatisfactory. Also, lyrics do not
4691 correctly align with ligatures.
4693 Accidentals must not be printed within a ligature, but instead need to
4694 be collected and printed in front of it.
4696 Augmentum dots within ligatures are not handled correctly.
4699 @node Ancient note heads
4700 @subsection Ancient note heads
4706 For ancient notation, a note head style other than the @code{default}
4707 style may be chosen. This is accomplished by setting the @code{style}
4708 property of the NoteHead object to the desired value (@code{baroque},
4709 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4710 differs from the @code{default} style only in using a square shape for
4711 @code{\breve} note heads. The @code{neo_mensural} style differs from
4712 the @code{baroque} style in that it uses rhomboidal heads for whole
4713 notes and all smaller durations. Stems are centered on the note
4714 heads. This style is in particular useful when transcribing mensural
4715 music, e.g. for the incipit. The @code{mensural} style finally
4716 produces note heads that mimick the look of note heads in historic
4717 printings of the 16th century.
4719 The following example demonstrates the @code{neo_mensural} style:
4721 @lilypond[fragment,singleline,verbatim]
4722 \property Voice.NoteHead \set #'style = #'neo_mensural
4723 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4726 When typesetting a piece in Gregorian Chant notation, a Gregorian
4727 ligature engraver will automatically select the proper note heads,
4728 such there is no need to explicitly set the note head style. Still,
4729 the note head style can be set e.g. to @code{vaticana_punctum} to
4730 produce punctum neumes. Similarly, a mensural ligature engraver is
4731 used to automatically assemble mensural ligatures. See
4732 @ref{Ligatures} for how ligature engravers work.
4737 @ref{Percussion staves} use note head styles of their own that are
4738 frequently used in contemporary music notation.
4740 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4741 overview over all available note head styles.
4744 @node Ancient accidentals
4745 @subsection Ancient accidentals
4751 Use the @code{style} property of grob @internalsref{Accidental} to
4752 select ancient accidentals. Supported styles are
4753 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4755 @lilypond[singleline,26pt]
4763 { " " \musicglyph #"accidentals-vaticana-1"
4764 " " \musicglyph #"accidentals-vaticana0" }
4768 { " " \musicglyph #"accidentals-medicaea-1" }
4772 { " " \musicglyph #"accidentals-hufnagel-1" }
4776 { " " \musicglyph #"accidentals-mensural-1"
4777 " " \musicglyph #"accidentals-mensural1" }
4786 \remove "Bar_number_engraver"
4790 \remove "Clef_engraver"
4791 \remove "Key_engraver"
4792 \remove "Time_signature_engraver"
4793 \remove "Staff_symbol_engraver"
4794 minimumVerticalExtent = ##f
4800 As shown, not all accidentals are supported by each style. When
4801 trying to access an unsupported accidental, LilyPond will switch to a
4802 different style, as demonstrated in
4803 @inputfileref{input/test,ancient-accidentals.ly}.
4805 Similarly to local accidentals, the style of the key signature can be
4806 controlled by the @code{style} property of the
4807 @internalsref{KeySignature} grob.
4811 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4812 @ref{Accidentals} give a general introduction into the use of
4813 accidentals. @ref{Key signature} gives a general introduction into
4814 the use of key signatures.
4816 Internals: @internalsref{KeySignature}
4818 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4821 @subsection Ancient rests
4827 Use the @code{style} property of grob @internalsref{Rest} to select
4828 ancient accidentals. Supported styles are @code{classical},
4829 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4830 from the @code{default} style only in that the quarter rest looks like
4831 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4832 well for e.g. the incipit of a transcribed mensural piece of music.
4833 The @code{mensural} style finally mimicks the appearance of rests as
4834 in historic prints of the 16th century.
4836 The following example demonstrates the @code{neo_mensural} style:
4838 @lilypond[fragment,singleline,verbatim]
4839 \property Voice.Rest \set #'style = #'neo_mensural
4840 r\longa r\breve r1 r2 r4 r8 r16
4843 There are no 32th and 64th rests specifically for the mensural or
4844 neo-mensural style. Instead, the rests from the default style will be
4845 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4848 There are no rests in Gregorian Chant notation; instead, it uses
4853 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4857 @subsection Ancient clefs
4863 LilyPond supports a variety of clefs, many of them ancient.
4865 The following table shows all ancient clefs that are supported via the
4866 @code{\clef} command. Some of the clefs use the same glyph, but
4867 differ only with respect to the line they are printed on. In such
4868 cases, a trailing number in the name is used to enumerate these clefs.
4869 Still, you can manually force a clef glyph to be typeset on an
4870 arbitrary line, as described in @ref{Clef}. The note printed to the
4871 right side of each clef in the example column denotes the @code{c'}
4872 with respect to that clef.
4874 @multitable @columnfractions .3 .3 .3 .1
4878 @b{Description} @tab
4879 @b{Supported Clefs} @tab
4883 @code{clefs-neo_mensural_c} @tab
4884 modern style mensural C clef @tab
4885 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4886 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4887 @lilypond[relative 0, notime]
4888 \property Staff.TimeSignature \set #'transparent = ##t
4889 \clef "neo_mensural_c2" c
4893 @code{clefs-petrucci_c1}
4894 @code{clefs-petrucci_c2}
4895 @code{clefs-petrucci_c3}
4896 @code{clefs-petrucci_c4}
4897 @code{clefs-petrucci_c5}
4900 petrucci style mensural C clefs, for use on different stafflines
4901 (the examples shows the 2nd staffline C clef).
4911 @lilypond[relative 0, notime]
4912 \property Staff.TimeSignature \set #'transparent = ##t
4913 \clef "petrucci_c2" c
4917 @code{clefs-petrucci_f} @tab
4918 petrucci style mensural F clef @tab
4919 @code{petrucci_f} @tab
4920 @lilypond[relative 0, notime]
4921 \property Staff.TimeSignature \set #'transparent = ##t
4922 \clef "petrucci_f" c
4926 @code{clefs-petrucci_g} @tab
4927 petrucci style mensural G clef @tab
4928 @code{petrucci_g} @tab
4929 @lilypond[relative 0, notime]
4930 \property Staff.TimeSignature \set #'transparent = ##t
4931 \clef "petrucci_g" c
4935 @code{clefs-mensural_c} @tab
4936 historic style mensural C clef @tab
4937 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4938 @code{mensural_c4} @tab
4939 @lilypond[relative 0, notime]
4940 \property Staff.TimeSignature \set #'transparent = ##t
4941 \clef "mensural_c2" c
4945 @code{clefs-mensural_f} @tab
4946 historic style mensural F clef @tab
4947 @code{mensural_f} @tab
4948 @lilypond[relative 0, notime]
4949 \property Staff.TimeSignature \set #'transparent = ##t
4950 \clef "mensural_f" c
4954 @code{clefs-mensural_g} @tab
4955 historic style mensural G clef @tab
4956 @code{mensural_g} @tab
4957 @lilypond[relative 0, notime]
4958 \property Staff.TimeSignature \set #'transparent = ##t
4959 \clef "mensural_g" c
4963 @code{clefs-vaticana_do} @tab
4964 Editio Vaticana style do clef @tab
4965 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4966 @lilypond[relative 0, notime]
4967 \property Staff.StaffSymbol \set #'line-count = #4
4968 \property Staff.TimeSignature \set #'transparent = ##t
4969 \clef "vaticana_do2" c
4973 @code{clefs-vaticana_fa} @tab
4974 Editio Vaticana style fa clef @tab
4975 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4976 @lilypond[relative 0, notime]
4977 \property Staff.StaffSymbol \set #'line-count = #4
4978 \property Staff.TimeSignature \set #'transparent = ##t
4979 \clef "vaticana_fa2" c
4983 @code{clefs-medicaea_do} @tab
4984 Editio Medicaea style do clef @tab
4985 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4986 @lilypond[relative 0, notime]
4987 \property Staff.StaffSymbol \set #'line-count = #4
4988 \property Staff.TimeSignature \set #'transparent = ##t
4989 \clef "medicaea_do2" c
4993 @code{clefs-medicaea_fa} @tab
4994 Editio Medicaea style fa clef @tab
4995 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4996 @lilypond[relative 0, notime]
4997 \property Staff.StaffSymbol \set #'line-count = #4
4998 \property Staff.TimeSignature \set #'transparent = ##t
4999 \clef "medicaea_fa2" c
5003 @code{clefs-hufnagel_do} @tab
5004 historic style hufnagel do clef @tab
5005 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5006 @lilypond[relative 0, notime]
5007 \property Staff.StaffSymbol \set #'line-count = #4
5008 \property Staff.TimeSignature \set #'transparent = ##t
5009 \clef "hufnagel_do2" c
5013 @code{clefs-hufnagel_fa} @tab
5014 historic style hufnagel fa clef @tab
5015 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5016 @lilypond[relative 0, notime]
5017 \property Staff.StaffSymbol \set #'line-count = #4
5018 \property Staff.TimeSignature \set #'transparent = ##t
5019 \clef "hufnagel_fa2" c
5023 @code{clefs-hufnagel_do_fa} @tab
5024 historic style hufnagel combined do/fa clef @tab
5025 @code{hufnagel_do_fa} @tab
5026 @lilypond[relative 0, notime]
5027 \property Staff.TimeSignature \set #'transparent = ##t
5028 \clef "hufnagel_do_fa" c
5033 @c --- This should go somewhere else: ---
5034 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5037 @c @code{percussion}
5039 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5041 @c @item modern style tab clef (glyph: @code{clefs-tab})
5046 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5048 @emph{Modern style} means ``as is typeset in contemporary editions of
5049 transcribed mensural music''.
5051 @emph{Petrucci style} means ``inspired by printings published by the
5052 famous engraver Petrucci (1466-1539)''.
5054 @emph{Historic style} means ``as was typeset or written in historic
5055 editions (other than those of Petrucci)''.
5057 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5059 Petrucci used C clefs with differently balanced left-side vertical
5060 beams, depending on which staffline it is printed.
5064 In this manual: for the percussion clef, see @ref{Percussion staves}.
5065 For the @code{TAB} clef, see @ref{Tablatures}.
5067 Internals: for modern clefs, see @ref{Clef}.
5072 @subsection Ancient flags
5078 Use the @code{flag-style} property of grob @internalsref{Stem} to
5079 select ancient flags. Besides the @code{default} flag style,
5080 only @code{mensural} style is supported:
5082 @lilypond[fragment,singleline,verbatim]
5083 \property Voice.Stem \set #'flag-style = #'mensural
5084 \property Voice.Stem \set #'thickness = #1.0
5085 \property Voice.NoteHead \set #'style = #'mensural
5087 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
5088 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5091 Note that the innermost flare of each mensural flag always is
5092 vertically aligned with a staff line. If you do not like this
5093 behaviour, you can set the @code{adjust-if-on-staffline} property of
5094 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5095 of the end of each flare is different between notes on staff lines and
5096 notes between staff lines:
5098 @lilypond[fragment,singleline]
5099 \property Voice.Stem \set #'flag-style = #'mensural
5100 \property Voice.Stem \set #'thickness = #1.0
5101 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5102 \property Voice.NoteHead \set #'style = #'mensural
5104 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
5105 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5108 There is no particular flag style for neo-mensural notation. Hence,
5109 when typesetting e.g. the incipit of a transcibed piece of mensural
5110 music, the default flag style should be used. There are no flags in
5111 Gregorian Chant notation.
5114 @node Ancient time signatures
5115 @subsection Ancient time signatures
5117 @cindex time signatures
5121 There is limited support for mensural time signatures. The
5122 glyphs are hard-wired to particular time fractions. In other words,
5123 to get a particular mensural signature glyph with the @code{\time n/m}
5124 command, @code{n} and @code{m} have to be chosen according to the
5130 \property Score.timing = ##f
5131 \property Score.barAlways = ##t
5132 s_\markup { "$\\backslash$time 4/4" }
5133 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5135 s_\markup { "$\\backslash$time 2/2" }
5136 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5138 s_\markup { "$\\backslash$time 6/4" }
5139 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5141 s_\markup { "$\\backslash$time 6/8" }
5142 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5144 s_\markup { "$\\backslash$time 3/2" }
5145 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5147 s_\markup { "$\\backslash$time 3/4" }
5148 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5150 s_\markup { "$\\backslash$time 9/4" }
5151 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5153 s_\markup { "$\\backslash$time 9/8" }
5154 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5156 s_\markup { "$\\backslash$time 4/8" }
5157 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5159 s_\markup { "$\\backslash$time 2/4" }
5160 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5168 \remove Staff_symbol_engraver
5169 \remove Clef_engraver
5170 \remove Time_signature_engraver
5176 Use the @code{style} property of grob @internalsref{TimeSignature} to
5177 select ancient time signatures. Supported styles are
5178 @code{neo_mensural} and @code{mensural}. The above table uses the
5179 @code{neo_mensural} style. This style is appropriate e.g. for the
5180 incipit of transcriptions of mensural pieces. The @code{mensural}
5181 style mimicks the look of historical printings of the 16th century.
5183 @inputfileref{input/test,time.ly} gives an overview over all available
5184 ancient and modern styles.
5188 Internals: @ref{Time signature} gives a general introduction into the use of time
5193 Mensural signature glyphs are mapped to time fractions in a
5194 hard-wired way. This mapping is sensible, but still arbitrary: given
5195 a mensural time signature, the time fraction represents a modern meter
5196 that usually will be a good choice when transcribing a mensural piece
5197 of music. For a particular piece of mensural music, however, the
5198 mapping may be unsatisfactory. In particular, the mapping assumes a
5199 fixed transcription of durations (e.g. brevis = half note in 2/2,
5200 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5201 are not at all accessible through the @code{\time} command.
5203 Mensural time signatures are supported typographically, but not yet
5204 musically. The internal representation of durations is
5205 based on a purely binary system; a ternary division such as 1 brevis =
5206 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5207 prolatione maiori) is not correctly handled: event times in ternary
5208 modes will be badly computed, resulting e.g. in horizontally
5209 misaligned note heads, and bar checks are likely to erroneously fail.
5211 The syntax and semantics of the @code{\time} command for mensural
5212 music is subject to change.
5215 @subsection Custodes
5220 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5221 symbol that appears at the end of a staff. It anticipates the pitch
5222 of the first note(s) of the following line and thus helps the player
5223 or singer to manage line breaks during performance, thus enhancing
5224 readability of a score.
5226 Custodes were frequently used in music notation until the 17th
5227 century. Nowadays, they have survived only in a few particular forms
5228 of musical notation such as contemporary editions of Gregorian chant
5229 like the @emph{editio vaticana}. There are different custos glyphs
5230 used in different flavours of notational style.
5234 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5235 @internalsref{Staff} context when declaring the @code{\paper} block,
5236 as shown in the following example:
5242 \consists Custos_engraver
5243 Custos \override #'style = #'mensural
5248 The result looks like this:
5254 \property Staff.Custos \set #'style = #'mensural
5261 \consists Custos_engraver
5268 The custos glyph is selected by the @code{style} property. The styles
5269 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5270 @code{mensural}. They are demonstrated in the following fragment:
5280 { " " \musicglyph #"custodes-vaticana-u0" }
5284 { " " \musicglyph #"custodes-medicaea-u0" }
5288 { " " \musicglyph #"custodes-hufnagel-u0" }
5292 { " " \musicglyph #"custodes-mensural-u0" }
5301 \remove "Bar_number_engraver"
5305 \remove "Clef_engraver"
5306 \remove "Key_engraver"
5307 \remove "Time_signature_engraver"
5308 \remove "Staff_symbol_engraver"
5309 minimumVerticalExtent = ##f
5315 If the boolean property @code{adjust-if-on-staffline} is set to
5316 @code{#t} (which it is by default), lily typesets slightly different
5317 variants of the custos glyph, depending on whether the custos, is
5318 typeset on or between stafflines. The glyph will
5319 optically fit well into the staff, with the appendage on the right of
5320 the custos always ending at the same vertical position between two
5321 stafflines regardless of the pitch. If you set
5322 @code{adjust-if-on-staffline} to @code{#f}, then
5323 a compromise between both forms is used.
5325 Just like stems can be attached to noteheads in two directions
5326 @emph{up} and @emph{down}, each custos glyph is available with its
5327 appendage pointing either up or down. If the pitch of a custos is
5328 above a selectable position, the appendage will point downwards; if
5329 the pitch is below this position, the appendage will point upwards.
5330 Use property @code{neutral-position} to select this position. By
5331 default, it is set to @code{0}, such that the neutral position is the
5332 center of the staff. Use property @code{neutral-direction} to control
5333 what happens if a custos is typeset on the neutral position itself.
5334 By default, this property is set to @code{-1}, such that the appendage
5335 will point downwards. If set to @code{1}, the appendage will point
5336 upwards. Other values such as @code{0} are reserved for future
5337 extensions and should not be used.
5341 Internals: @internalsref{Custos}
5343 Examples: @inputfileref{input/regression,custos.ly}.
5347 @subsection Divisiones
5353 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5354 `division') is a staff context symbol that is used to structure
5355 Gregorian music into phrases and sections. The musical meaning of
5356 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5357 can be characterized as short, medium and long pause, somewhat like
5358 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5359 a chant, but is also frequently used within a single
5360 antiphonal/responsorial chant to mark the end of each section.
5364 To use divisiones, include the file @code{gregorian-init.ly}. It
5365 contains definitions that you can apply by just inserting
5366 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5367 and @code{\finalis} at proper places in the input. Some editions use
5368 @emph{virgula} or @emph{caesura} instead of divisio minima.
5369 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5372 @lilypondfile[notexidoc]{divisiones.ly}
5376 @cindex @code{\virgula}
5378 @cindex @code{\caesura}
5380 @cindex @code{\divisioMinima}
5381 @code{\divisioMinima},
5382 @cindex @code{\divisioMaior}
5383 @code{\divisioMaior},
5384 @cindex @code{\divisioMaxima}
5385 @code{\divisioMaxima},
5386 @cindex @code{\finalis}
5391 In this manual: @ref{Breath marks}.
5393 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5395 Examples: @inputfileref{input/test,divisiones.ly}
5398 @subsection Ligatures
5402 @c TODO: Should double check if I recalled things correctly when I wrote
5403 @c down the following paragraph by heart.
5405 In musical terminology, a ligature is a coherent graphical symbol that
5406 represents at least two distinct notes. Ligatures originally appeared
5407 in the manuscripts of Gregorian chant notation roughly since the 9th
5408 century as an allusion to the accent symbols of greek lyric poetry to
5409 denote ascending or descending sequences of notes. Both, the shape
5410 and the exact meaning of ligatures changed tremendously during the
5411 following centuries: In early notation, ligatures were used for
5412 monophonic tunes (Gregorian chant) and very soon denoted also the way
5413 of performance in the sense of articulation. With upcoming
5414 multiphony, the need for a metric system arised, since multiple voices
5415 of a piece have to be synchronized some way. New notation systems
5416 were invented that used the manifold shapes of ligatures to now denote
5417 rhythmical patterns (e.g. black mensural notation, mannered notation,
5418 ars nova). With the invention of the metric system of the white
5419 mensural notation, the need for ligatures to denote such patterns
5420 disappeared. Nevertheless, ligatures were still in use in the
5421 mensural system for a couple of decades until they finally disappeared
5422 during the late 16th / early 17th century. Still, ligatures have
5423 survived in contemporary editions of Gregorian chant such as the
5424 Editio Vaticana from 1905/08.
5428 Syntactically, ligatures are simply enclosed by @code{\[} and
5429 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5430 additional input syntax specific for this particular type of ligature.
5431 By default, the @internalsref{LigatureBracket} engraver just puts a
5432 square bracket above the ligature:
5434 @lilypond[singleline,verbatim]
5436 \notes \transpose c c' {
5444 To select a specific style of ligatures, a proper ligature engraver
5445 has to be added to the @internalsref{Voice} context, as explained in
5446 the following subsections. Only white mensural ligatures
5447 are supported with certain limitations. Support for Editio Vaticana
5448 will be added in the future.
5451 * White mensural ligatures::
5452 * Gregorian square neumes ligatures::
5455 @node White mensural ligatures
5456 @subsubsection White mensural ligatures
5458 @cindex Mensural ligatures
5459 @cindex White mensural ligatures
5461 There is limited support for white mensural ligatures. The
5462 implementation is still experimental; it may output strange
5463 warnings or even crash in some cases or produce weird results on more
5468 To engrave white mensural ligatures, in the paper block the
5469 @internalsref{Mensural_ligature_engraver} has to be put into the
5470 @internalsref{Voice} context, and remove the
5471 @internalsref{Ligature_bracket_engraver}:
5477 \remove Ligature_bracket_engraver
5478 \consists Mensural_ligature_engraver
5483 There is no additional input language to describe the shape of a
5484 white mensural ligature. The shape is rather determined solely from
5485 the pitch and duration of the enclosed notes. While this approach may
5486 take a new user a while to get accustomed, it has the great advantage
5487 that the full musical information of the ligature is known internally.
5488 This is not only required for correct MIDI output, but also allows for
5489 automatic transcription of the ligatures.
5494 \property Score.timing = ##f
5495 \property Score.defaultBarType = "empty"
5496 \property Voice.NoteHead \set #'style = #'neo_mensural
5497 \property Staff.TimeSignature \set #'style = #'neo_mensural
5499 \[ g\longa c\breve a\breve f\breve d'\longa \]
5501 \[ e1 f1 a\breve g\longa \]
5503 @lilypond[singleline]
5505 \notes \transpose c c' {
5506 \property Score.timing = ##f
5507 \property Score.defaultBarType = "empty"
5508 \property Voice.NoteHead \set #'style = #'neo_mensural
5509 \property Staff.TimeSignature \set #'style = #'neo_mensural
5511 \[ g\longa c\breve a\breve f\breve d'\longa \]
5513 \[ e1 f1 a\breve g\longa \]
5518 \remove Ligature_bracket_engraver
5519 \consists Mensural_ligature_engraver
5525 Without replacing @internalsref{Ligature_bracket_engraver} with
5526 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5529 @lilypond[singleline]
5531 \notes \transpose c c' {
5532 \property Score.timing = ##f
5533 \property Score.defaultBarType = "empty"
5534 \property Voice.NoteHead \set #'style = #'neo_mensural
5535 \property Staff.TimeSignature \set #'style = #'neo_mensural
5537 \[ g\longa c\breve a\breve f\breve d'\longa \]
5539 \[ e1 f1 a\breve g\longa \]
5545 @node Gregorian square neumes ligatures
5546 @subsubsection Gregorian square neumes ligatures
5548 @cindex Square neumes ligatures
5549 @cindex Gregorian square neumes ligatures
5551 Gregorian square neumes notation (following the style of the Editio
5552 Vaticana) is under heavy development, but not yet really usable for
5553 production purposes. Core ligatures can already be typeset, but
5554 essential issues for serious typesetting are still under development,
5555 such as (among others) horizontal alignment of multiple ligatures,
5556 lyrics alignment and proper accidentals handling. Still, this section
5557 gives a sneak preview of what Gregorian chant may look like once it
5560 The following table contains the extended neumes table of the 2nd
5561 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5562 1983 by the monks of Solesmes.
5564 @multitable @columnfractions .4 .2 .2 .2
5567 @b{Neuma aut@*Neumarum Elementa} @tab
5568 @b{Figurae@*Rectae} @tab
5569 @b{Figurae@*Liquescentes Auctae} @tab
5570 @b{Figurae@*Liquescentes Deminutae}
5572 @c TODO: \paper block is identical in all of the below examples.
5573 @c Therefore, it should somehow be included rather than duplicated all
5576 @c why not make identifiers in ly/engraver-init.ly? --hwn
5578 @c Because it's just used to typeset plain notes without
5579 @c a staff for demonstration purposes rather than something
5580 @c special of Gregorian chant notation. --jr
5585 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5586 \include "gregorian-init.ly"
5588 \notes \transpose c c' {
5591 \noBreak s^\markup {"a"} \noBreak
5593 % Punctum Inclinatum
5595 \noBreak s^\markup {"b"}
5601 \remove "Bar_number_engraver"
5605 \remove "Clef_engraver"
5606 \remove "Key_engraver"
5607 StaffSymbol \set #'transparent = ##t
5608 \remove "Time_signature_engraver"
5609 \remove "Bar_engraver"
5610 minimumVerticalExtent = ##f
5614 \remove Ligature_bracket_engraver
5615 \consists Vaticana_ligature_engraver
5616 NoteHead \set #'style = #'vaticana_punctum
5617 Stem \set #'transparent = ##t
5623 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5624 \include "gregorian-init.ly"
5626 \notes \transpose c c' {
5627 % Punctum Auctum Ascendens
5628 \[ \auctum \ascendens b \]
5629 \noBreak s^\markup {"c"} \noBreak
5631 % Punctum Auctum Descendens
5632 \[ \auctum \descendens b \]
5633 \noBreak s^\markup {"d"} \noBreak
5635 % Punctum Inclinatum Auctum
5636 \[ \inclinatum \auctum b \]
5637 \noBreak s^\markup {"e"}
5643 \remove "Bar_number_engraver"
5647 \remove "Clef_engraver"
5648 \remove "Key_engraver"
5649 StaffSymbol \set #'transparent = ##t
5650 \remove "Time_signature_engraver"
5651 \remove "Bar_engraver"
5652 minimumVerticalExtent = ##f
5656 \remove Ligature_bracket_engraver
5657 \consists Vaticana_ligature_engraver
5658 NoteHead \set #'style = #'vaticana_punctum
5659 Stem \set #'transparent = ##t
5665 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5666 \include "gregorian-init.ly"
5668 \notes \transpose c c' {
5669 % Punctum Inclinatum Parvum
5670 \[ \inclinatum \deminutum b \]
5671 \noBreak s^\markup {"f"}
5677 \remove "Bar_number_engraver"
5681 \remove "Clef_engraver"
5682 \remove "Key_engraver"
5683 StaffSymbol \set #'transparent = ##t
5684 \remove "Time_signature_engraver"
5685 \remove "Bar_engraver"
5686 minimumVerticalExtent = ##f
5690 \remove Ligature_bracket_engraver
5691 \consists Vaticana_ligature_engraver
5692 NoteHead \set #'style = #'vaticana_punctum
5693 Stem \set #'transparent = ##t
5702 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5703 \include "gregorian-init.ly"
5705 \notes \transpose c c' {
5708 \noBreak s^\markup {"g"}
5714 \remove "Bar_number_engraver"
5718 \remove "Clef_engraver"
5719 \remove "Key_engraver"
5720 StaffSymbol \set #'transparent = ##t
5721 \remove "Time_signature_engraver"
5722 \remove "Bar_engraver"
5723 minimumVerticalExtent = ##f
5727 \remove Ligature_bracket_engraver
5728 \consists Vaticana_ligature_engraver
5729 NoteHead \set #'style = #'vaticana_punctum
5730 Stem \set #'transparent = ##t
5739 @code{3. Apostropha vel Stropha}
5741 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5742 \include "gregorian-init.ly"
5744 \notes \transpose c c' {
5747 \noBreak s^\markup {"h"}
5753 \remove "Bar_number_engraver"
5757 \remove "Clef_engraver"
5758 \remove "Key_engraver"
5759 StaffSymbol \set #'transparent = ##t
5760 \remove "Time_signature_engraver"
5761 \remove "Bar_engraver"
5762 minimumVerticalExtent = ##f
5766 \remove Ligature_bracket_engraver
5767 \consists Vaticana_ligature_engraver
5768 NoteHead \set #'style = #'vaticana_punctum
5769 Stem \set #'transparent = ##t
5775 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5776 \include "gregorian-init.ly"
5778 \notes \transpose c c' {
5780 \[ \stropha \auctum b \]
5781 \noBreak s^\markup {"i"}
5787 \remove "Bar_number_engraver"
5791 \remove "Clef_engraver"
5792 \remove "Key_engraver"
5793 StaffSymbol \set #'transparent = ##t
5794 \remove "Time_signature_engraver"
5795 \remove "Bar_engraver"
5796 minimumVerticalExtent = ##f
5800 \remove Ligature_bracket_engraver
5801 \consists Vaticana_ligature_engraver
5802 NoteHead \set #'style = #'vaticana_punctum
5803 Stem \set #'transparent = ##t
5813 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5814 \include "gregorian-init.ly"
5816 \notes \transpose c c' {
5819 \noBreak s^\markup {"j"}
5825 \remove "Bar_number_engraver"
5829 \remove "Clef_engraver"
5830 \remove "Key_engraver"
5831 StaffSymbol \set #'transparent = ##t
5832 \remove "Time_signature_engraver"
5833 \remove "Bar_engraver"
5834 minimumVerticalExtent = ##f
5838 \remove Ligature_bracket_engraver
5839 \consists Vaticana_ligature_engraver
5840 NoteHead \set #'style = #'vaticana_punctum
5841 Stem \set #'transparent = ##t
5850 @code{5. Clivis vel Flexa}
5852 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5853 \include "gregorian-init.ly"
5855 \notes \transpose c c' {
5864 \remove "Bar_number_engraver"
5868 \remove "Clef_engraver"
5869 \remove "Key_engraver"
5870 StaffSymbol \set #'transparent = ##t
5871 \remove "Time_signature_engraver"
5872 \remove "Bar_engraver"
5873 minimumVerticalExtent = ##f
5877 \remove Ligature_bracket_engraver
5878 \consists Vaticana_ligature_engraver
5879 NoteHead \set #'style = #'vaticana_punctum
5880 Stem \set #'transparent = ##t
5886 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5887 \include "gregorian-init.ly"
5889 \notes \transpose c c' {
5890 % Clivis Aucta Descendens
5891 \[ b \flexa \auctum \descendens g \]
5892 \noBreak s^\markup {"l"} \noBreak
5894 % Clivis Aucta Ascendens
5895 \[ b \flexa \auctum \ascendens g \]
5896 \noBreak s^\markup {"m"}
5902 \remove "Bar_number_engraver"
5906 \remove "Clef_engraver"
5907 \remove "Key_engraver"
5908 StaffSymbol \set #'transparent = ##t
5909 \remove "Time_signature_engraver"
5910 \remove "Bar_engraver"
5911 minimumVerticalExtent = ##f
5915 \remove Ligature_bracket_engraver
5916 \consists Vaticana_ligature_engraver
5917 NoteHead \set #'style = #'vaticana_punctum
5918 Stem \set #'transparent = ##t
5924 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5925 \include "gregorian-init.ly"
5927 \notes \transpose c c' {
5929 \[ b \flexa \deminutum g \]
5936 \remove "Bar_number_engraver"
5940 \remove "Clef_engraver"
5941 \remove "Key_engraver"
5942 StaffSymbol \set #'transparent = ##t
5943 \remove "Time_signature_engraver"
5944 \remove "Bar_engraver"
5945 minimumVerticalExtent = ##f
5949 \remove Ligature_bracket_engraver
5950 \consists Vaticana_ligature_engraver
5951 NoteHead \set #'style = #'vaticana_punctum
5952 Stem \set #'transparent = ##t
5959 @code{6. Podatus vel Pes}
5961 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5962 \include "gregorian-init.ly"
5964 \notes \transpose c c' {
5973 \remove "Bar_number_engraver"
5977 \remove "Clef_engraver"
5978 \remove "Key_engraver"
5979 StaffSymbol \set #'transparent = ##t
5980 \remove "Time_signature_engraver"
5981 \remove "Bar_engraver"
5982 minimumVerticalExtent = ##f
5986 \remove Ligature_bracket_engraver
5987 \consists Vaticana_ligature_engraver
5988 NoteHead \set #'style = #'vaticana_punctum
5989 Stem \set #'transparent = ##t
5995 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5996 \include "gregorian-init.ly"
5998 \notes \transpose c c' {
5999 % Pes Auctus Descendens
6000 \[ g \pes \auctum \descendens b \]
6001 \noBreak s^\markup {"p"} \noBreak
6003 % Pes Auctus Ascendens
6004 \[ g \pes \auctum \ascendens b \]
6005 \noBreak s^\markup {"q"}
6011 \remove "Bar_number_engraver"
6015 \remove "Clef_engraver"
6016 \remove "Key_engraver"
6017 StaffSymbol \set #'transparent = ##t
6018 \remove "Time_signature_engraver"
6019 \remove "Bar_engraver"
6020 minimumVerticalExtent = ##f
6024 \remove Ligature_bracket_engraver
6025 \consists Vaticana_ligature_engraver
6026 NoteHead \set #'style = #'vaticana_punctum
6027 Stem \set #'transparent = ##t
6033 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6034 \include "gregorian-init.ly"
6036 \notes \transpose c c' {
6038 \[ g \pes \deminutum b \]
6045 \remove "Bar_number_engraver"
6049 \remove "Clef_engraver"
6050 \remove "Key_engraver"
6051 StaffSymbol \set #'transparent = ##t
6052 \remove "Time_signature_engraver"
6053 \remove "Bar_engraver"
6054 minimumVerticalExtent = ##f
6058 \remove Ligature_bracket_engraver
6059 \consists Vaticana_ligature_engraver
6060 NoteHead \set #'style = #'vaticana_punctum
6061 Stem \set #'transparent = ##t
6068 @code{7. Pes Quassus}
6070 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6071 \include "gregorian-init.ly"
6073 \notes \transpose c c' {
6075 \[ \oriscus g \pes \virga b \]
6082 \remove "Bar_number_engraver"
6086 \remove "Clef_engraver"
6087 \remove "Key_engraver"
6088 StaffSymbol \set #'transparent = ##t
6089 \remove "Time_signature_engraver"
6090 \remove "Bar_engraver"
6091 minimumVerticalExtent = ##f
6095 \remove Ligature_bracket_engraver
6096 \consists Vaticana_ligature_engraver
6097 NoteHead \set #'style = #'vaticana_punctum
6098 Stem \set #'transparent = ##t
6104 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6105 \include "gregorian-init.ly"
6107 \notes \transpose c c' {
6108 % Pes Quassus Auctus Descendens
6109 \[ \oriscus g \pes \auctum \descendens b \]
6116 \remove "Bar_number_engraver"
6120 \remove "Clef_engraver"
6121 \remove "Key_engraver"
6122 StaffSymbol \set #'transparent = ##t
6123 \remove "Time_signature_engraver"
6124 \remove "Bar_engraver"
6125 minimumVerticalExtent = ##f
6129 \remove Ligature_bracket_engraver
6130 \consists Vaticana_ligature_engraver
6131 NoteHead \set #'style = #'vaticana_punctum
6132 Stem \set #'transparent = ##t
6140 @code{8. Quilisma Pes}
6142 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6143 \include "gregorian-init.ly"
6145 \notes \transpose c c' {
6147 \[ \quilisma g \pes b \]
6154 \remove "Bar_number_engraver"
6158 \remove "Clef_engraver"
6159 \remove "Key_engraver"
6160 StaffSymbol \set #'transparent = ##t
6161 \remove "Time_signature_engraver"
6162 \remove "Bar_engraver"
6163 minimumVerticalExtent = ##f
6167 \remove Ligature_bracket_engraver
6168 \consists Vaticana_ligature_engraver
6169 NoteHead \set #'style = #'vaticana_punctum
6170 Stem \set #'transparent = ##t
6176 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6177 \include "gregorian-init.ly"
6179 \notes \transpose c c' {
6180 % Quilisma Pes Auctus Descendens
6181 \[ \quilisma g \pes \auctum \descendens b \]
6188 \remove "Bar_number_engraver"
6192 \remove "Clef_engraver"
6193 \remove "Key_engraver"
6194 StaffSymbol \set #'transparent = ##t
6195 \remove "Time_signature_engraver"
6196 \remove "Bar_engraver"
6197 minimumVerticalExtent = ##f
6201 \remove Ligature_bracket_engraver
6202 \consists Vaticana_ligature_engraver
6203 NoteHead \set #'style = #'vaticana_punctum
6204 Stem \set #'transparent = ##t
6212 @code{9. Podatus Initio Debilis}
6214 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6215 \include "gregorian-init.ly"
6217 \notes \transpose c c' {
6218 % Pes Initio Debilis
6219 \[ \deminutum g \pes b \]
6226 \remove "Bar_number_engraver"
6230 \remove "Clef_engraver"
6231 \remove "Key_engraver"
6232 StaffSymbol \set #'transparent = ##t
6233 \remove "Time_signature_engraver"
6234 \remove "Bar_engraver"
6235 minimumVerticalExtent = ##f
6239 \remove Ligature_bracket_engraver
6240 \consists Vaticana_ligature_engraver
6241 NoteHead \set #'style = #'vaticana_punctum
6242 Stem \set #'transparent = ##t
6248 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6249 \include "gregorian-init.ly"
6251 \notes \transpose c c' {
6252 % Pes Auctus Descendens Initio Debilis
6253 \[ \deminutum g \pes \auctum \descendens b \]
6260 \remove "Bar_number_engraver"
6264 \remove "Clef_engraver"
6265 \remove "Key_engraver"
6266 StaffSymbol \set #'transparent = ##t
6267 \remove "Time_signature_engraver"
6268 \remove "Bar_engraver"
6269 minimumVerticalExtent = ##f
6273 \remove Ligature_bracket_engraver
6274 \consists Vaticana_ligature_engraver
6275 NoteHead \set #'style = #'vaticana_punctum
6276 Stem \set #'transparent = ##t
6286 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6287 \include "gregorian-init.ly"
6289 \notes \transpose c c' {
6291 \[ a \pes b \flexa g \]
6298 \remove "Bar_number_engraver"
6302 \remove "Clef_engraver"
6303 \remove "Key_engraver"
6304 StaffSymbol \set #'transparent = ##t
6305 \remove "Time_signature_engraver"
6306 \remove "Bar_engraver"
6307 minimumVerticalExtent = ##f
6311 \remove Ligature_bracket_engraver
6312 \consists Vaticana_ligature_engraver
6313 NoteHead \set #'style = #'vaticana_punctum
6314 Stem \set #'transparent = ##t
6320 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6321 \include "gregorian-init.ly"
6323 \notes \transpose c c' {
6324 % Torculus Auctus Descendens
6325 \[ a \pes b \flexa \auctum \descendens g \]
6332 \remove "Bar_number_engraver"
6336 \remove "Clef_engraver"
6337 \remove "Key_engraver"
6338 StaffSymbol \set #'transparent = ##t
6339 \remove "Time_signature_engraver"
6340 \remove "Bar_engraver"
6341 minimumVerticalExtent = ##f
6345 \remove Ligature_bracket_engraver
6346 \consists Vaticana_ligature_engraver
6347 NoteHead \set #'style = #'vaticana_punctum
6348 Stem \set #'transparent = ##t
6354 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6355 \include "gregorian-init.ly"
6357 \notes \transpose c c' {
6358 % Torculus Deminutus
6359 \[ a \pes b \flexa \deminutum g \]
6366 \remove "Bar_number_engraver"
6370 \remove "Clef_engraver"
6371 \remove "Key_engraver"
6372 StaffSymbol \set #'transparent = ##t
6373 \remove "Time_signature_engraver"
6374 \remove "Bar_engraver"
6375 minimumVerticalExtent = ##f
6379 \remove Ligature_bracket_engraver
6380 \consists Vaticana_ligature_engraver
6381 NoteHead \set #'style = #'vaticana_punctum
6382 Stem \set #'transparent = ##t
6389 @code{11. Torculus Initio Debilis}
6391 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6392 \include "gregorian-init.ly"
6394 \notes \transpose c c' {
6395 % Torculus Initio Debilis
6396 \[ \deminutum a \pes b \flexa g \]
6403 \remove "Bar_number_engraver"
6407 \remove "Clef_engraver"
6408 \remove "Key_engraver"
6409 StaffSymbol \set #'transparent = ##t
6410 \remove "Time_signature_engraver"
6411 \remove "Bar_engraver"
6412 minimumVerticalExtent = ##f
6416 \remove Ligature_bracket_engraver
6417 \consists Vaticana_ligature_engraver
6418 NoteHead \set #'style = #'vaticana_punctum
6419 Stem \set #'transparent = ##t
6425 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6426 \include "gregorian-init.ly"
6428 \notes \transpose c c' {
6429 % Torculus Auctus Descendens Initio Debilis
6430 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6437 \remove "Bar_number_engraver"
6441 \remove "Clef_engraver"
6442 \remove "Key_engraver"
6443 StaffSymbol \set #'transparent = ##t
6444 \remove "Time_signature_engraver"
6445 \remove "Bar_engraver"
6446 minimumVerticalExtent = ##f
6450 \remove Ligature_bracket_engraver
6451 \consists Vaticana_ligature_engraver
6452 NoteHead \set #'style = #'vaticana_punctum
6453 Stem \set #'transparent = ##t
6459 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6460 \include "gregorian-init.ly"
6462 \notes \transpose c c' {
6463 % Torculus Deminutus Initio Debilis
6464 \[ \deminutum a \pes b \flexa \deminutum g \]
6471 \remove "Bar_number_engraver"
6475 \remove "Clef_engraver"
6476 \remove "Key_engraver"
6477 StaffSymbol \set #'transparent = ##t
6478 \remove "Time_signature_engraver"
6479 \remove "Bar_engraver"
6480 minimumVerticalExtent = ##f
6484 \remove Ligature_bracket_engraver
6485 \consists Vaticana_ligature_engraver
6486 NoteHead \set #'style = #'vaticana_punctum
6487 Stem \set #'transparent = ##t
6494 @code{12. Porrectus}
6496 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6497 \include "gregorian-init.ly"
6499 \notes \transpose c c' {
6501 \[ a \flexa g \pes b \]
6508 \remove "Bar_number_engraver"
6512 \remove "Clef_engraver"
6513 \remove "Key_engraver"
6514 StaffSymbol \set #'transparent = ##t
6515 \remove "Time_signature_engraver"
6516 \remove "Bar_engraver"
6517 minimumVerticalExtent = ##f
6521 \remove Ligature_bracket_engraver
6522 \consists Vaticana_ligature_engraver
6523 NoteHead \set #'style = #'vaticana_punctum
6524 Stem \set #'transparent = ##t
6530 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6531 \include "gregorian-init.ly"
6533 \notes \transpose c c' {
6534 % Porrectus Auctus Descendens
6535 \[ a \flexa g \pes \auctum \descendens b \]
6542 \remove "Bar_number_engraver"
6546 \remove "Clef_engraver"
6547 \remove "Key_engraver"
6548 StaffSymbol \set #'transparent = ##t
6549 \remove "Time_signature_engraver"
6550 \remove "Bar_engraver"
6551 minimumVerticalExtent = ##f
6555 \remove Ligature_bracket_engraver
6556 \consists Vaticana_ligature_engraver
6557 NoteHead \set #'style = #'vaticana_punctum
6558 Stem \set #'transparent = ##t
6564 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6565 \include "gregorian-init.ly"
6567 \notes \transpose c c' {
6568 % Porrectus Deminutus
6569 \[ a \flexa g \pes \deminutum b \]
6576 \remove "Bar_number_engraver"
6580 \remove "Clef_engraver"
6581 \remove "Key_engraver"
6582 StaffSymbol \set #'transparent = ##t
6583 \remove "Time_signature_engraver"
6584 \remove "Bar_engraver"
6585 minimumVerticalExtent = ##f
6589 \remove Ligature_bracket_engraver
6590 \consists Vaticana_ligature_engraver
6591 NoteHead \set #'style = #'vaticana_punctum
6592 Stem \set #'transparent = ##t
6601 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6602 \include "gregorian-init.ly"
6604 \notes \transpose c c' {
6606 \[ \virga b \inclinatum a \inclinatum g \]
6613 \remove "Bar_number_engraver"
6617 \remove "Clef_engraver"
6618 \remove "Key_engraver"
6619 StaffSymbol \set #'transparent = ##t
6620 \remove "Time_signature_engraver"
6621 \remove "Bar_engraver"
6622 minimumVerticalExtent = ##f
6626 \remove Ligature_bracket_engraver
6627 \consists Vaticana_ligature_engraver
6628 NoteHead \set #'style = #'vaticana_punctum
6629 Stem \set #'transparent = ##t
6635 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6636 \include "gregorian-init.ly"
6638 \notes \transpose c c' {
6640 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6647 \remove "Bar_number_engraver"
6651 \remove "Clef_engraver"
6652 \remove "Key_engraver"
6653 StaffSymbol \set #'transparent = ##t
6654 \remove "Time_signature_engraver"
6655 \remove "Bar_engraver"
6656 minimumVerticalExtent = ##f
6660 \remove Ligature_bracket_engraver
6661 \consists Vaticana_ligature_engraver
6662 NoteHead \set #'style = #'vaticana_punctum
6663 Stem \set #'transparent = ##t
6669 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6670 \include "gregorian-init.ly"
6672 \notes \transpose c c' {
6673 % Climacus Deminutus
6674 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6681 \remove "Bar_number_engraver"
6685 \remove "Clef_engraver"
6686 \remove "Key_engraver"
6687 StaffSymbol \set #'transparent = ##t
6688 \remove "Time_signature_engraver"
6689 \remove "Bar_engraver"
6690 minimumVerticalExtent = ##f
6694 \remove Ligature_bracket_engraver
6695 \consists Vaticana_ligature_engraver
6696 NoteHead \set #'style = #'vaticana_punctum
6697 Stem \set #'transparent = ##t
6704 @code{14. Scandicus}
6706 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6707 \include "gregorian-init.ly"
6709 \notes \transpose c c' {
6711 \[ g \pes a \virga b \]
6718 \remove "Bar_number_engraver"
6722 \remove "Clef_engraver"
6723 \remove "Key_engraver"
6724 StaffSymbol \set #'transparent = ##t
6725 \remove "Time_signature_engraver"
6726 \remove "Bar_engraver"
6727 minimumVerticalExtent = ##f
6731 \remove Ligature_bracket_engraver
6732 \consists Vaticana_ligature_engraver
6733 NoteHead \set #'style = #'vaticana_punctum
6734 Stem \set #'transparent = ##t
6740 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6741 \include "gregorian-init.ly"
6743 \notes \transpose c c' {
6744 % Scandicus Auctus Descendens
6745 \[ g \pes a \pes \auctum \descendens b \]
6752 \remove "Bar_number_engraver"
6756 \remove "Clef_engraver"
6757 \remove "Key_engraver"
6758 StaffSymbol \set #'transparent = ##t
6759 \remove "Time_signature_engraver"
6760 \remove "Bar_engraver"
6761 minimumVerticalExtent = ##f
6765 \remove Ligature_bracket_engraver
6766 \consists Vaticana_ligature_engraver
6767 NoteHead \set #'style = #'vaticana_punctum
6768 Stem \set #'transparent = ##t
6774 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6775 \include "gregorian-init.ly"
6777 \notes \transpose c c' {
6778 % Scandicus Deminutus
6779 \[ g \pes a \pes \deminutum b \]
6786 \remove "Bar_number_engraver"
6790 \remove "Clef_engraver"
6791 \remove "Key_engraver"
6792 StaffSymbol \set #'transparent = ##t
6793 \remove "Time_signature_engraver"
6794 \remove "Bar_engraver"
6795 minimumVerticalExtent = ##f
6799 \remove Ligature_bracket_engraver
6800 \consists Vaticana_ligature_engraver
6801 NoteHead \set #'style = #'vaticana_punctum
6802 Stem \set #'transparent = ##t
6811 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6812 \include "gregorian-init.ly"
6814 \notes \transpose c c' {
6816 \[ g \oriscus a \pes \virga b \]
6823 \remove "Bar_number_engraver"
6827 \remove "Clef_engraver"
6828 \remove "Key_engraver"
6829 StaffSymbol \set #'transparent = ##t
6830 \remove "Time_signature_engraver"
6831 \remove "Bar_engraver"
6832 minimumVerticalExtent = ##f
6836 \remove Ligature_bracket_engraver
6837 \consists Vaticana_ligature_engraver
6838 NoteHead \set #'style = #'vaticana_punctum
6839 Stem \set #'transparent = ##t
6845 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6846 \include "gregorian-init.ly"
6848 \notes \transpose c c' {
6849 % Salicus Auctus Descendens
6850 \[ g \oriscus a \pes \auctum \descendens b \]
6857 \remove "Bar_number_engraver"
6861 \remove "Clef_engraver"
6862 \remove "Key_engraver"
6863 StaffSymbol \set #'transparent = ##t
6864 \remove "Time_signature_engraver"
6865 \remove "Bar_engraver"
6866 minimumVerticalExtent = ##f
6870 \remove Ligature_bracket_engraver
6871 \consists Vaticana_ligature_engraver
6872 NoteHead \set #'style = #'vaticana_punctum
6873 Stem \set #'transparent = ##t
6883 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6884 \include "gregorian-init.ly"
6886 \notes \transpose c c' {
6888 \[ \stropha b \stropha b \stropha a \]
6895 \remove "Bar_number_engraver"
6899 \remove "Clef_engraver"
6900 \remove "Key_engraver"
6901 StaffSymbol \set #'transparent = ##t
6902 \remove "Time_signature_engraver"
6903 \remove "Bar_engraver"
6904 minimumVerticalExtent = ##f
6908 \remove Ligature_bracket_engraver
6909 \consists Vaticana_ligature_engraver
6910 NoteHead \set #'style = #'vaticana_punctum
6911 Stem \set #'transparent = ##t
6923 Unlike most other neumes notation systems, the input language for
6924 neumes does not necessarily reflect directly the typographical
6925 appearance, but is designed to solely focuse on musical meaning. For
6926 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6927 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6928 a Porrectus with a curved flexa shape and only a single Punctum head.
6929 There is no command to explicitly typeset the curved flexa shape; the
6930 decision of when to typeset a curved flexa shape is purely taken from
6931 the musical input. The idea of this approach is to separate the
6932 musical aspects of the input from the notation style of the output.
6933 This way, the same input can be reused to typeset the same music in a
6934 different style of Gregorian chant notation such as Hufnagel (also
6935 known as German gothic neumes) or Medicaea (kind of a very simple
6936 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6937 engraver and Medicaea ligature engraver will have been implemented, it
6938 will be as simple as replacing the ligature engraver in the
6939 @internalsref{Voice} context to get the desired notation style from
6942 The following table shows the code fragments that produce the
6943 ligatures in the above neumes table. The letter in the first column
6944 in each line of the below table indicates to which ligature in the
6945 above table it refers. The second column gives the name of the
6946 ligature. The third column shows the code fragment that produces this
6947 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6949 @multitable @columnfractions .1 .4 .5
6963 Punctum Inclinatum @tab
6964 @code{\[ \inclinatum b \]}
6968 Punctum Auctum Ascendens @tab
6969 @code{\[ \auctum \ascendens b \]}
6973 Punctum Auctum Descendens @tab
6974 @code{\[ \auctum \descendens b \]}
6978 Punctum Inclinatum Auctum @tab
6979 @code{\[ \inclinatum \auctum b \]}
6983 Punctum Inclinatum Parvum @tab
6984 @code{\[ \inclinatum \deminutum b \]}
6989 @code{\[ \virga b \]}
6994 @code{\[ \stropha b \]}
6999 @code{\[ \stropha \auctum b \]}
7004 @code{\[ \oriscus b \]}
7008 Clivis vel Flexa @tab
7009 @code{\[ b \flexa g \]}
7013 Clivis Aucta Descendens @tab
7014 @code{\[ b \flexa \auctum \descendens g \]}
7018 Clivis Aucta Ascendens @tab
7019 @code{\[ b \flexa \auctum \ascendens g \]}
7024 @code{\[ b \flexa \deminutum g \]}
7028 Podatus vel Pes @tab
7029 @code{\[ g \pes b \]}
7033 Pes Auctus Descendens @tab
7034 @code{\[ g \pes \auctum \descendens b \]}
7038 Pes Auctus Ascendens @tab
7039 @code{\[ g \pes \auctum \ascendens b \]}
7044 @code{\[ g \pes \deminutum b \]}
7049 @code{\[ \oriscus g \pes \virga b \]}
7053 Pes Quassus Auctus Descendens @tab
7054 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7059 @code{\[ \quilisma g \pes b \]}
7063 Quilisma Pes Auctus Descendens @tab
7064 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7068 Pes Initio Debilis @tab
7069 @code{\[ \deminutum g \pes b \]}
7073 Pes Auctus Descendens Initio Debilis @tab
7074 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7079 @code{\[ a \pes b \flexa g \]}
7083 Torculus Auctus Descendens @tab
7084 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7088 Torculus Deminutus @tab
7089 @code{\[ a \pes b \flexa \deminutum g \]}
7093 Torculus Initio Debilis @tab
7094 @code{\[ \deminutum a \pes b \flexa g \]}
7098 Torculus Auctus Descendens Initio Debilis @tab
7099 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7103 Torculus Deminutus Initio Debilis @tab
7104 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7109 @code{\[ a \flexa g \pes b \]}
7113 Porrectus Auctus Descendens @tab
7114 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7118 Porrectus Deminutus @tab
7119 @code{\[ a \flexa g \pes \deminutum b \]}
7124 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7128 Climacus Auctus @tab
7129 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7133 Climacus Deminutus @tab
7134 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7139 @code{\[ g \pes a \virga b \]}
7143 Scandicus Auctus Descendens @tab
7144 @code{\[ g \pes a \pes \auctum \descendens b \]}
7148 Scandicus Deminutus @tab
7149 @code{\[ g \pes a \pes \deminutum b \]}
7154 @code{\[ g \oriscus a \pes \virga b \]}
7158 Salicus Auctus Descendens @tab
7159 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7164 @code{\[ \stropha b \stropha b \stropha a \]}
7170 The following head prefixes are supported:
7172 @cindex @code{\virga}
7174 @cindex @code{\stropha}
7176 @cindex @code{\inclinatum}
7178 @cindex @code{\auctum}
7180 @cindex @code{\descendens}
7182 @cindex @code{\ascendens}
7184 @cindex @code{\oriscus}
7186 @cindex @code{\quilisma}
7188 @cindex @code{\deminutum}
7191 Head prefixes can be accumulated, though restrictions apply. For
7192 example, either @code{\descendens} or @code{\ascendens} can be applied
7193 to a head, but not both to the same head.
7196 @cindex @code{\flexa}
7197 Two adjacent heads can be tied together with the @code{\pes} and
7198 @code{\flexa} infix commands for a rising and falling line of melody,
7203 Trigonus: apply equal spacing, regardless of pitch.
7206 @subsection Figured bass
7208 @cindex Basso continuo
7210 @c TODO: musicological blurb about FB
7214 LilyPond has limited support for figured bass:
7216 @lilypond[verbatim,fragment]
7218 \context Voice \notes { \clef bass dis4 c d ais}
7219 \context FiguredBass
7221 < 6 >4 < 7 >8 < 6+ [_!] >
7227 The support for figured bass consists of two parts: there is an input
7228 mode, introduced by @code{\figures}, where you can enter bass figures
7229 as numbers, and there is a context called @internalsref{FiguredBass} that
7230 takes care of making @internalsref{BassFigure} objects.
7232 In figures input mode, a group of bass figures is delimited by
7233 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7238 \context FiguredBass
7242 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7249 \context FiguredBass
7250 \figures { <4- 6+ 7!> }
7253 Spaces or dashes may be inserted by using @code{_}. Brackets are
7254 introduced with @code{[} and @code{]}:
7260 \context FiguredBass
7261 \figures { < [4 6] 8 [_! 12]> }
7264 Although the support for figured bass may superficially resemble chord
7265 support, it works much simpler. The @code{\figures} mode simply
7266 stores the numbers , and @internalsref{FiguredBass} context prints
7267 them as entered. There is no conversion to pitches, and no
7268 realizations of the bass are played in the MIDI file.
7270 Internally, the code produces markup texts. You can use any of the
7271 markup text properties to override formatting. For example, the
7272 vertical spacing of the figures may be set with @code{baseline-skip}.
7276 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7277 and @internalsref{FiguredBass} context.
7281 Slash notation for alterations is not supported.
7284 @node Vaticana style contexts
7285 @subsection Vaticana style contexts
7287 @cindex VaticanaVoiceContext
7288 @cindex VaticanaStaffContext
7290 The predefined @code{VaticanaVoiceContext} and
7291 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7292 Gregorian Chant in the style of the Editio Vaticana. These contexts
7293 initialize all relevant context properties and grob properties to
7294 proper values. With these contexts, you can immediately go ahead
7295 entering the chant, as the following short excerpt demonstrates:
7297 @lilypond[raggedright,verbatim,noindent]
7298 \include "gregorian-init.ly"
7301 \context VaticanaVoice {
7302 \property Score.BarNumber \set #'transparent = ##t
7304 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7305 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7306 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7309 \context Lyrics \lyrics {
7310 San- ctus, San- ctus, San- ctus
7315 @node Contemporary notation
7316 @section Contemporary notation
7318 In the 20th century, composers have greatly expanded the musical
7319 vocabulary. With this expansion, many innovations in musical notation
7320 have been tried. The book by Stone (1980) gives a comprehensive
7321 overview (see @ref{Literature list}). In general, the use of new,
7322 innovative notation makes a piece harder to understand and perform and
7323 its use should therefore be avoided if possible. For this reason,
7324 support for contemporary notation in LilyPond is limited.
7333 @subsection Clusters
7337 In musical terminology, a @emph{cluster} denotes a range of
7338 simultaneously sounding pitches that may change over time. The set of
7339 available pitches to apply usually depends on the accoustic source.
7340 Thus, in piano music, a cluster typically consists of a continous range
7341 of the semitones as provided by the piano's fixed set of a chromatic
7342 scale. In choral music, each singer of the choir typically may sing an
7343 arbitrary pitch within the cluster's range that is not bound to any
7344 diatonic, chromatic or other scale. In electronic music, a cluster
7345 (theoretically) may even cover a continuous range of pitches, thus
7346 resulting in coloured noise, such as pink noise.
7348 Clusters can be denoted in the context of ordinary staff notation by
7349 engraving simple geometrical shapes that replace ordinary notation of
7350 notes. Ordinary notes as musical events specify starting time and
7351 duration of pitches; however, the duration of a note is expressed by the
7352 shape of the note head rather than by the horizontal graphical extent of
7353 the note symbol. In contrast, the shape of a cluster geometrically
7354 describes the development of a range of pitches (vertical extent) over
7355 time (horizontal extent). Still, the geometrical shape of a cluster
7356 covers the area in wich any single pitch contained in the cluster would
7357 be notated as an ordinary note. From this point of view, it is
7358 reasonable to specify a cluster as the envelope of a set of notes.
7362 A cluster is engraved as the envelope of a set of
7363 cluster-notes. Cluster notes are created by applying the function
7364 @code{notes-to-clusters} to a sequence of chords, e.g.
7366 @lilypond[relative 1,verbatim]
7367 \apply #notes-to-clusters { <c e > <b f'> }
7370 The following example (from
7371 @inputfileref{input/regression,cluster.ly}) shows what the result
7374 @lilypondfile[notexidoc]{cluster.ly}
7376 By default, @internalsref{Cluster_spanner_engraver} is in the
7377 @internalsref{Voice} context. This allows putting ordinary notes and
7378 clusters together in the same staff, even simultaneously. In such a
7379 case no attempt is made to automatically avoid collisions between
7380 ordinary notes and clusters.
7384 Internals: @internalsref{ClusterSpanner},
7385 @internalsref{ClusterSpannerBeacon},
7386 @internalsref{Cluster_spanner_engraver}, and
7387 @internalsref{ClusterNoteEvent}.
7389 Examples: @inputfileref{input/regression,cluster.ly}.
7393 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7394 accurately. Use @code{<g a>8 <e a>8} instead.
7399 @subsection Fermatas
7405 Contemporary music notation frequently uses special fermata symbols to
7406 indicate fermatas of differing lengths.
7410 The following are supported
7412 @lilypond[singleline]
7414 << \addlyrics \notes {
7434 \context Lyrics \lyrics {
7435 "shortfermata" "fermata" "longfermata" "verylongfermata"
7440 See @ref{Articulations} for general instructions how to apply scripts
7441 such as fermatas to a @code{\notes@{@}} block.
7444 @section Tuning output
7446 There are situations where default layout decisions are not
7447 sufficient. In this section we discuss ways to override these
7450 Formatting is internally done by manipulating so called objects
7451 (graphic objects). Each object carries with it a set of properties
7452 (object or layout properties) specific to that object. For example, a
7453 stem object has properties that specify its direction, length and
7456 The most direct way of tuning the output is by altering the values of
7457 these properties. There are two ways of doing that: first, you can
7458 temporarily change the definition of one type of object, thus
7459 affecting a whole set of objects. Second, you can select one specific
7460 object, and set a layout property in that object.
7462 Do not confuse layout properties with translation
7463 properties. Translation properties always use a mixed caps style
7464 naming, and are manipulated using @code{\property}:
7466 \property Context.propertyName = @var{value}
7468 Layout properties are use Scheme style variable naming, i.e. lower
7469 case words separated with dashes. They are symbols, and should always
7470 be quoted using @code{#'}. For example, this could be an imaginary
7471 layout property name:
7473 #'layout-property-name
7478 * Constructing a tweak::
7486 @node Tuning objects
7487 @subsection Tuning objects
7489 @cindex object description
7491 The definition of an object is a list of default object
7492 properties. For example, the definition of the Stem object (available
7493 in @file{scm/define-grobs.scm}), includes the following definitions
7494 for @internalsref{Stem}:
7498 (beamed-lengths . (0.0 2.5 2.0 1.5))
7499 (Y-extent-callback . ,Stem::height)
7504 Adding variables on top of this existing definition overrides the
7505 system default, and alters the resulting appearance of the layout
7511 Changing a variable for only one object is commonly achieved with
7515 \once \property @var{context}.@var{objectname}
7516 \override @var{symbol} = @var{value}
7518 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7519 and @var{objectname} is a string and @var{value} is a Scheme expression.
7520 This command applies a setting only during one moment in the score.
7522 In the following example, only one @internalsref{Stem} object is
7523 changed from its original setting:
7525 @lilypond[verbatim, fragment, relative=1]
7527 \once \property Voice.Stem \set #'thickness = #4
7531 @cindex @code{\once}
7533 For changing more objects, the same command, without @code{\once} can
7536 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7538 This command adds @code{@var{symbol} = @var{value}} to the definition
7539 of @var{objectname} in the context @var{context}, and this definition
7540 stays in place until it is removed.
7542 An existing definition may be removed by the following command:
7545 \property @var{context}.@var{objectname} \revert @var{symbol}
7548 All @code{\override} and @code{\revert} commands should be balanced.
7549 The @code{\set} shorthand performs a revert followed by an override,
7550 and is often more convenient to use
7553 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7557 @lilypond[verbatim,quote]
7558 c'4 \property Voice.Stem \override #'thickness = #4.0
7560 c'4 \property Voice.Stem \revert #'thickness
7564 The following example gives exactly the same result as the previous
7565 one (assuming the system default for stem thickness is 1.3):
7567 @lilypond[verbatim,quote]
7568 c'4 \property Voice.Stem \set #'thickness = #4.0
7570 c'4 \property Voice.Stem \set #'thickness = #1.3
7574 Reverting a setting which was not set in the first place has no
7575 effect. However, if the setting was set as a system default, this may
7576 remove the default value, and this may give surprising results,
7577 including crashes. In other words, @code{\override} and
7578 @code{\revert} must be carefully balanced. The following are examples
7579 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7583 a clumsy but correct form:
7585 \override \revert \override \revert \override \revert
7589 shorter version of the same:
7591 \override \set \set \revert
7595 a short form, using only @code{\set}. This requires you to know the
7598 \set \set \set \set @var{to default value}
7602 if there is no default (i.e. by default, the object property is unset),
7605 \set \set \set \revert
7609 The object description is an Scheme association list. Since a Scheme
7610 list is a singly linked list, we can treat it as a stack, and
7611 @code{\override} and @code{\revert} are push and pop operations. The
7612 association list is stored in a normal context property, hence
7614 \property Voice.NoteHead = #'()
7616 will effectively erase @internalsref{NoteHead}s from the current
7617 @internalsref{Voice}. Typically, this will blank the object. However,
7618 this mechanism should not be used: it may cause crashes or other
7623 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7624 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7625 @internalsref{All-layout-objects}.
7630 The backend is not very strict in type-checking object properties.
7631 Cyclic references in Scheme values for properties cause hangs and/or
7632 crashes. Reverting properties that are system defaults may also lead
7635 A property tweak of modifies a local copy of the object definition.
7636 After such a tweak, the definition is independent of the objects in
7637 enclosing contexts. For example
7640 \property Voice.Stem \set #'neutral-direction = #1
7642 \property Staff.Stem \set #'thickness = #4.0
7647 In this fragment, @code{neutral-direction} is tweaked. As a result,
7648 the current @internalsref{Voice} gets a private version of the
7649 @internalsref{Stem} object. The following tweak modifies the
7650 definition at @internalsref{Staff} level. Since it a different
7651 definition, the thickness of the @code{b'16} is unaffected. For the
7652 third note, a new Voice is created, which inherits the new definition,
7653 including the changed thickness, but excluding the new neutral
7659 * Constructing a tweak::
7665 @node Constructing a tweak
7666 @subsection Constructing a tweak
7669 @cindex internal documentation
7670 @cindex finding graphical objects
7671 @cindex graphical object descriptions
7673 @cindex @code{\override}
7675 @cindex internal documentation
7679 Three pieces of information are required to use @code{\override} and
7680 @code{\set}: the name of the layout object, the context and the name
7681 of the property. We demonstrate how to glean this information from
7682 the notation manual and the generated documentation.
7684 The generated documentation is a set of HTML pages which should be
7685 included if you installed a binary distribution, typically in
7686 @file{/usr/share/doc/lilypond}. They are also available on the web:
7687 go to the @uref{http://lilypond.org,LilyPond website}, click
7688 ``Documentation'', select the correct version, and click then
7689 ``Program reference.'' It is advisable to bookmark the local HTML
7690 files. They will load faster than the ones on the web. If you use the
7691 version from the web, you must check whether the documentation matches
7692 the program version: it is generated from the definitions that the
7693 program uses, and therefore it is strongly tied to the LilyPond
7697 @c [TODO: revise for new site.]
7699 Suppose we want to move the fingering indication in the fragment below:
7701 @lilypond[relative=2,verbatim]
7707 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7708 instructions}), you will notice that there is written:
7713 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7720 In other words, the fingerings once entered, are internally stored as
7721 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7722 layout object is created for every @code{FingerEvent}.
7724 The Fingering object has a number of different functions, and each of
7725 those is captured in an interface. The interfaces are listed under
7726 @internalsref{Fingering} in the program reference.
7730 The @code{Fingering} object has a fixed size
7731 (@internalsref{item-interface}), the symbol is a piece of text
7732 (@internalsref{text-interface}), whose font can be set
7733 (@internalsref{font-interface}). It is centered horizontally
7734 (@internalsref{self-alignment-interface}), it is placed next to other
7735 objects (@internalsref{side-position-interface}) vertically, and its
7736 placement is coordinated with other scripts
7737 (@internalsref{text-script-interface}). It also has the standard
7738 @internalsref{grob-interface} (grob stands for Graphical object)
7740 @cindex graphical object
7741 @cindex layout object
7742 @cindex object, layout
7743 with all the variables that come with
7744 it. Finally, it denotes a fingering instruction, so it has
7745 @internalsref{finger-interface}.
7747 For the vertical placement, we have to look under
7748 @code{side-position-interface}:
7750 @code{side-position-interface}
7752 Position a victim object (this one) next to other objects (the
7753 support). In this case, the property @code{direction} signifies where to put the
7754 victim object relative to the support (left or right, up or down?)
7759 below this description, the variable @code{padding} is described as
7763 (dimension, in staff space)
7765 add this much extra space between objects that are next to each
7766 other. Default value: @code{0.6}
7770 By increasing the value of @code{padding}, we can move away the
7771 fingering. The following command inserts 3 staff spaces of white
7772 between the note and the fingering:
7774 \once \property Voice.Fingering \set #'padding = #3
7777 Inserting this command before the Fingering object is created,
7778 i.e. before @code{c2}, yields the following result:
7780 @lilypond[relative=2,fragment,verbatim]
7781 \once \property Voice.Fingering
7788 The context name @code{Voice} in the example above can be determined
7789 as follows. In the documentation for @internalsref{Fingering}, it says
7791 Fingering grobs are created by: @internalsref{Fingering_engraver}
7794 Clicking @code{Fingering_engraver} shows the documentation of
7795 the module responsible for interpreting the fingering instructions and
7796 translating them to a @code{Fingering} object. Such a module is called
7797 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7800 Fingering_engraver is part of contexts: Voice
7802 so tuning the settings for Fingering should be done with
7804 \property Voice.Fingering \set @dots{}
7807 Of course, the tweak may also done in a larger context than
7808 @code{Voice}, for example, @internalsref{Staff} or
7809 @internalsref{Score}.
7813 Internals: the program reference also contains alphabetical lists of
7814 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7815 @internalsref{Music-expressions}, so you can also find which objects
7816 to tweak by browsing the internals document.
7820 @subsection Applyoutput
7822 The most versatile way of tuning an object is @code{\applyoutput}. Its
7825 \applyoutput @var{proc}
7829 where @var{proc} is a Scheme function, taking three arguments.
7831 When interpreted, the function @var{proc} is called for every layout
7832 object found in the context, with the following arguments:
7834 @item the layout object itself,
7835 @item the context where the layout object was created, and
7836 @item the context where @code{\applyoutput} is processed.
7840 In addition, the cause of the layout object, i.e. the music
7841 expression or object that was responsible for creating it, is in the
7842 object property @code{cause}. For example, for a note head, this is a
7843 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7844 this is a @internalsref{NoteHead} object.
7846 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7849 (define (blanker grob grob-origin context)
7850 (if (and (memq (ly:get-grob-property grob 'interfaces)
7851 note-head-interface)
7852 (eq? (ly:get-grob-property grob 'staff-position) 0))
7854 (ly:set-grob-property! grob 'transparent #t)))
7859 @node Font selection
7860 @subsection Font selection
7862 The most common thing to change about the appearance of fonts is their
7863 size. The font size of any context can be easily changed by setting
7864 the @code{fontSize} property for that context. Its value is a number:
7865 negative numbers make the font smaller, positive numbers larger. An
7866 example is given below:
7868 @lilypond[fragment,relative=1,verbatim,quote]
7869 c4 c4 \property Voice.fontSize = #-1
7872 This command will set @code{font-size} (see below), and does
7873 not change the size of variable symbols, such as beams or slurs.
7875 One of the uses of @code{fontSize} is to get smaller symbols for cue
7876 notes. An elaborate example of those is in
7877 @inputfileref{input/test,cue-notes.ly}.
7879 @cindex magnification
7882 The font used for printing a object can be selected by setting
7883 @code{font-name}, e.g.
7885 \property Staff.TimeSignature
7886 \set #'font-name = #"cmr17"
7890 Any font can be used, as long as it is available to @TeX{}. Possible
7891 fonts include foreign fonts or fonts that do not belong to the
7892 Computer Modern font family. The size of fonts selected in this way
7893 can be changed with the @code{font-magnification} property. For
7894 example, @code{2.0} blows up all letters by a factor 2 in both
7898 @cindex font magnification
7900 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7901 can also be adjusted with a more fine-grained mechanism. By setting
7902 the object properties described below, you can select a different font;
7903 all three mechanisms work for every object that supports
7904 @code{font-interface}:
7909 is a symbol indicating the general class of the typeface. Supported are
7910 @code{roman} (Computer Modern), @code{braces} (for piano staff
7911 braces), @code{music} (the standard music font, including ancient
7912 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7915 is a symbol indicating the shape of the font, there are typically several
7916 font shapes available for each font family. Choices are @code{italic},
7917 @code{caps} and @code{upright}.
7920 is a symbol indicating the series of the font. There are typically several
7921 font series for each font family and shape. Choices are @code{medium}
7926 For any of these properties, the value @code{*} (i.e. the symbol
7927 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7928 to override default setting, which are always present. For example:
7930 \property Lyrics . LyricText \override #'font-series = #'bold
7931 \property Lyrics . LyricText \override #'font-family = #'typewriter
7932 \property Lyrics . LyricText \override #'font-shape = #'*
7935 @cindex @code{font-style}
7937 The font size is set by modifying the @code{font-size} property. Its
7938 value is a number indicating the size relative to the standard size.
7939 Each step up is an increase of approximately 12% of the font size. Six
7940 steps is exactly a factor two. The Scheme function @code{magstep}
7941 converts a @code{font-size} number to a scaling factor.
7943 LilyPond has fonts in different design sizes: the music fonts for
7944 smaller sizes are chubbier, while the text fonts are relatively wider.
7945 Font size changes are achieved by scaling the design size that is
7946 closest to the desired size.
7948 The @code{font-size} mechanism does not work for fonts selected
7949 through @code{font-name}. These may be scaled with
7950 @code{font-magnification}.
7954 The following commands set @code{fontSize} for the current voice.
7956 @cindex @code{\tiny}
7958 @cindex @code{\small}
7960 @cindex @code{\normalsize}
7965 Init files: @file{ly/paper20.ly} contains hints how new fonts may be
7970 There is no style sheet provided for other fonts besides the @TeX{}
7973 @cindex font selection
7974 @cindex font magnification
7975 @cindex @code{font-interface}
7979 @subsection Text markup
7984 @cindex typeset text
7986 LilyPond has an internal mechanism to typeset texts. You can access it
7987 with the keyword @code{\markup}. Within markup mode, you can enter texts
7988 similar to lyrics: simply enter them, surrounded by spaces:
7991 @lilypond[verbatim,fragment,relative=1]
7992 c1^\markup { hello }
7993 c1_\markup { hi there }
7994 c1^\markup { hi \bold there, is \italic anyone home? }
7997 @cindex font switching
7999 The markup in the example demonstrates font switching commands. The
8000 command @code{\bold} and @code{\italic} only apply to the first
8001 following word; enclose a set of texts with braces to apply a command
8004 \markup @{ \bold @{ hi there @} @}
8008 For clarity, you can also do this for single arguments, e.g.
8010 \markup @{ is \italic @{ anyone @} home @}
8013 @cindex font size, texts
8015 The following size commands set absolute sizes:
8017 @cindex @code{\teeny}
8018 @cindex @code{\tiny}
8019 @cindex @code{\small}
8020 @cindex @code{\large}
8021 @cindex @code{\huge}
8031 You can also make letter larger or smaller relative to their neighbors,
8032 with the commands @code{\larger} and @code{\smaller}.
8036 @cindex font style, for texts
8037 @cindex @code{\bold}
8038 @cindex @code{\dynamic}
8039 @cindex @code{\number}
8040 @cindex @code{\italic}
8042 The following font change commands are defined:
8045 changes to the font used in dynamic signs. This font does not
8046 contain all characters of the alphabet, so when producing ``piu f'',
8047 the ``piu'' should be done in a different font.
8051 changes to the font used in time signatures. It only contains
8052 numbers and a few punctuation marks.
8054 changes @code{font-shape} to @code{italic}.
8056 changes @code{font-series} to @code{bold}.
8059 @cindex raising text
8060 @cindex lowering text
8062 @cindex translating text
8065 @cindex @code{\super}
8067 Raising and lowering texts can be done with @code{\super} and
8070 @lilypond[verbatim,fragment,relative=1]
8071 c1^\markup { E "=" mc \super "2" }
8074 @cindex @code{\raise}
8076 If you want to give an explicit amount for lowering or raising, use
8077 @code{\raise}. This command takes a Scheme valued first argument, and
8078 a markup object as second argument:
8080 @lilypond[verbatim,fragment,relative=1,quote]
8081 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8083 The argument to @code{\raise} is the vertical displacement amount,
8084 measured in (global) staff spaces. @code{\raise} and @code{\super}
8085 raise objects in relation to their surrounding markups. They cannot be
8086 used to move a single text up or down, when it is above or below a
8087 note, since the mechanism that positions it next to the note cancels
8088 any vertical shift. For vertical positioning, use the @code{padding}
8089 and/or @code{extra-offset} properties.
8091 Other commands taking single arguments include
8094 @item \bracket, \hbracket
8095 Bracket the argument markup with normal and horizontal brackets
8099 @cindex @code{\musicglyph}
8100 This is converted to a musical symbol, e.g. @code{\musicglyph
8101 #"accidentals-0"} will select the natural sign from the music font.
8102 See @ref{The Feta font} for a complete listing of the possible glyphs.
8104 This produces a single character, e.g. @code{\char #65} produces the
8107 @item \note @var{log} @var{dots} @var{dir}
8108 @cindex @code{\note}
8110 This produces a note with a stem pointing in @var{dir} direction, with
8111 duration log @var{log} and @var{dots} augmentation dots. The duration
8112 log is the negative 2-logarithm of the duration denominator. For
8113 example, a quarter note has log 2, an eighth note 3 and a breve has
8116 @item \hspace #@var{amount}
8117 @cindex @code{\hspace}
8118 This produces a invisible object taking horizontal space.
8120 \markup @{ A \hspace #2.0 B @}
8122 will put extra space between A and B, on top of the space that is
8123 normally inserted before elements on a line.
8125 @item \fontsize #@var{size}
8126 @cindex @code{\fontsize}
8127 This sets the relative font size, eg.
8129 A \fontsize #2 @{ B C @} D
8133 This will enlarge the B and the C by two steps.
8134 @item \translate #(cons @var{x} @var{y})
8136 This translates an object. Its first argument is a cons of numbers
8138 A \translate #(cons 2 -3) @{ B C @} D
8140 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8141 surroundings. This command cannot be used to move isolated scripts
8142 vertically, for the same reason that @code{\raise} cannot be used for
8145 @item \magnify #@var{mag}
8146 @cindex @code{\magnify}
8147 This sets the font magnification for the its argument. In the following
8148 example, the middle A will be 10% larger:
8150 A \magnify #1.1 @{ A @} A
8154 @item \override #(@var{key} . @var{value})
8155 @cindex @code{\override}
8156 This overrides a formatting property for its argument. The argument
8157 should be a key/value pair, e.g.
8159 m \override #'(font-family . math) m m
8163 In markup mode you can compose expressions, similar to mathematical
8164 expressions, XML documents and music expressions. The braces group
8165 notes into horizontal lines. Other types of lists also exist: you can
8166 stack expressions grouped with @code{<}, and @code{>} vertically with
8167 the command @code{\column}. Similarly, @code{\center} aligns texts by
8170 @lilypond[verbatim,fragment,relative=1]
8171 c1^\markup { \column < a bbbb c > }
8172 c1^\markup { \center < a bbbb c > }
8173 c1^\markup { \line < a b c > }
8176 Markups can be stored in variables, and these variables
8177 may be attached to notes, like
8179 allegro = \markup { \bold \large { Allegro } }
8180 \notes { a^\allegro b c d }
8183 The markup mechanism is extensible. Refer to
8184 @file{scm/new-markup.scm} for more information.
8189 Internals: @internalsref{Markup-functions},
8191 Init files: @file{scm/new-markup.scm}.
8198 Text layout is ultimately done by @TeX{}, which does kerning of
8199 letters. LilyPond does not account for kerning, so texts will be
8200 spaced slightly too wide.
8202 Syntax errors for markup mode are confusing.
8204 Markup texts cannot be used in the titling of the @code{\header}
8205 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8212 @section Global layout
8214 The global layout determined by three factors: the page layout, the
8215 line breaks and the spacing. These all influence each other. The
8216 choice of spacing determines how densely each system of music is set,
8217 which influences where line breaks breaks are chosen, and thus
8218 ultimately how many pages a piece of music takes. This section
8219 explains how to tune the algorithm for spacing.
8221 Globally spoken, this procedure happens in three steps: first,
8222 flexible distances (``springs'') are chosen, based on durations. All
8223 possible line breaking combination are tried, and the one with the
8224 best results---a layout that has uniform density and requires as
8225 little stretching or cramping as possible---is chosen. When the score
8226 is processed by @TeX{}, each page is filled with systems, and page breaks
8227 are chosen whenever the page gets full.
8232 * Vertical spacing::
8233 * Horizontal spacing::
8240 @node Vertical spacing
8241 @subsection Vertical spacing
8243 @cindex vertical spacing
8244 @cindex distance between staves
8245 @cindex staff distance
8246 @cindex between staves, distance
8247 @cindex staffs per page
8248 @cindex space between staves
8250 The height of each system is determined automatically by LilyPond, to
8251 keep systems from bumping into each other, some minimum distances are
8252 set. By changing these, you can put staves closer together, and thus
8253 put more systems onto one page.
8255 Normally staves are stacked vertically. To make
8256 staves maintain a distance, their vertical size is padded. This is
8257 done with the property @code{minimumVerticalExtent}. It takes a pair
8258 of numbers, so if you want to make it smaller from its, then you could
8261 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8263 This sets the vertical size of the current staff to 4 staff spaces on
8264 either side of the center staff line. The argument of
8265 @code{minimumVerticalExtent} is interpreted as an interval, where the
8266 center line is the 0, so the first number is generally negative. The
8267 staff can be made larger at the bottom by setting it to @code{(-6
8270 The piano staves are handled a little differently: to make cross-staff
8271 beaming work correctly, it is necessary that the distance between staves
8272 is fixed beforehand. This is also done with a
8273 @internalsref{VerticalAlignment} object, created in
8274 @internalsref{PianoStaff}. In this object the distance between the
8275 staves is fixed by setting @code{forced-distance}. If you want to
8276 override this, use a @code{\translator} block as follows:
8280 VerticalAlignment \override #'forced-distance = #9
8283 This would bring the staves together at a distance of 9 staff spaces,
8284 measured from the center line of each staff.
8288 Internals: Vertical alignment of staves is handled by the
8289 @internalsref{VerticalAlignment} object.
8293 @node Horizontal spacing
8294 @subsection Horizontal Spacing
8296 The spacing engine translates differences in durations into
8297 stretchable distances (``springs'') of differing lengths. Longer
8298 durations get more space, shorter durations get less. The shortest
8299 durations get a fixed amount of space (which is controlled by
8300 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8301 /The longer the duration, the more space it gets: doubling a
8302 duration adds a fixed amount (this amount is controlled by
8303 @code{spacing-increment}) of space to the note.
8305 For example, the following piece contains lots of half, quarter and
8306 8th notes, the eighth note is followed by 1 note head width (NHW).
8307 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8308 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8312 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8313 width of a note head, and @code{shortest-duration-space} is set to
8314 2.0, meaning that the shortest note gets 2 NHW (2 times
8315 @code{shortest-duration-space}) of space. For normal notes, this space
8316 is always counted from the left edge of the symbol, so the shortest
8317 notes are generally followed by one NHW of space.
8319 If one would follow the above procedure exactly, then adding a single
8320 32th note to a score that uses 8th and 16th notes, would widen up the
8321 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8322 thus adding 1 NHW to every note. To prevent this, the
8323 shortest duration for spacing is not the shortest note in the score,
8324 but the most commonly found shortest note. Notes that are even
8325 shorter this are followed by a space that is proportional to their
8326 duration relative to the common shortest note. So if we were to add
8327 only a few 16th notes to the example above, they would be followed by
8330 @lilypond[fragment, verbatim, relative=2]
8331 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8334 The most common shortest duration is determined as follows: in every
8335 measure, the shortest duration is determined. The most common short
8336 duration, is taken as the basis for the spacing, with the stipulation
8337 that this shortest duration should always be equal to or shorter than
8338 1/8th note. The shortest duration is printed when you run lilypond
8339 with @code{--verbose}. These durations may also be customized. If you
8340 set the @code{common-shortest-duration} in
8341 @internalsref{SpacingSpanner}, then this sets the base duration for
8342 spacing. The maximum duration for this base (normally 1/8th), is set
8343 through @code{base-shortest-duration}.
8345 @cindex @code{common-shortest-duration}
8346 @cindex @code{base-shortest-duration}
8347 @cindex @code{stem-spacing-correction}
8348 @cindex @code{spacing}
8350 In the introduction it was explained that stem directions influence
8351 spacing. This is controlled with @code{stem-spacing-correction}
8352 property in @internalsref{NoteSpacing}, which are generated for every
8353 @internalsref{Voice} context. The @code{StaffSpacing} object
8354 (generated at @internalsref{Staff} context) contains the same property
8355 for controlling the stem/barline spacing. The following example
8356 shows these corrections, once with default settings, and once with
8357 exaggerated corrections:
8363 \property Staff.NoteSpacing \override #'stem-spacing-correction
8365 \property Staff.StaffSpacing \override #'stem-spacing-correction
8370 \paper { raggedright = ##t } }
8373 @cindex SpacingSpanner, overriding properties
8375 Properties of the @internalsref{SpacingSpanner} must be overridden
8376 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8377 created before any @code{\property} statements are interpreted.
8379 \paper @{ \translator @{
8381 SpacingSpanner \override #'spacing-increment = #3.0
8388 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8389 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8390 @internalsref{SeparatingGroupSpanner}.
8394 Spacing is determined on a score wide basis. If you have a score that
8395 changes its character (measured in durations) halfway during the
8396 score, the part containing the longer durations will be spaced too
8399 There is no convenient mechanism to manually override spacing.
8404 @subsection Font size
8405 @cindex font size, setting
8406 @cindex staff size, setting
8407 @cindex @code{paper} file
8409 The Feta font provides musical symbols at seven different sizes.
8410 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8411 26 point. The point size of a font is the height of the corresponding
8412 staff (excluding line thicknesses).
8414 Definitions for these sizes are the files @file{paperSZ.ly}, where
8415 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8416 of these files, the variables @code{paperEleven},
8417 @code{paperThirteen}, @code{paperSixteen},
8418 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8419 are defined respectively. The default @code{\paper} block is also
8420 set. These files should be imported at toplevel, i.e.
8422 \include "paper26.ly"
8426 The default font size settings for each staff heights are generated
8427 from the 20pt style sheet. For more details, see the file
8428 @file{scm/font.scm}.
8432 @subsection Line breaking
8435 @cindex breaking lines
8437 Line breaks are normally computed automatically. They are chosen such
8438 that lines look neither cramped nor loose, and that consecutive lines
8439 have similar density.
8441 Occasionally you might want to override the automatic breaks; you can
8442 do this by specifying @code{\break}. This will force a line break at
8443 this point. Line breaks can only occur at places where there are bar
8444 lines. If you want to have a line break where there is no bar line,
8445 you can force an invisible bar line by entering @code{\bar
8446 ""}. Similarly, @code{\noBreak} forbids a line break at a
8450 @cindex regular line breaks
8451 @cindex four bar music.
8453 For linebreaks at regular intervals use @code{\break} separated by
8454 skips and repeated with @code{\repeat}:
8456 << \repeat unfold 7 @{ s1 * 4 \break @}
8457 @emph{the real music}
8462 This makes the following 28 measures (assuming 4/4 time) be broken every
8467 Internals: @internalsref{BreakEvent}.
8471 @subsection Page layout
8474 @cindex breaking pages
8476 @cindex @code{indent}
8477 @cindex @code{linewidth}
8479 The most basic settings influencing the spacing are @code{indent} and
8480 @code{linewidth}. They are set in the @code{\paper} block. They
8481 control the indentation of the first line of music, and the lengths of
8484 If @code{raggedright} is set to true in the @code{\paper}
8485 block, then the lines are justified at their natural length. This
8486 useful for short fragments, and for checking how tight the natural
8490 @cindex vertical spacing
8492 The page layout process happens outside the LilyPond formatting
8493 engine: variables controlling page layout are passed to the output,
8494 and are further interpreted by @code{lilypond} wrapper program. It
8495 responds to the following variables in the @code{\paper} block. The
8496 variable @code{textheight} sets the total height of the music on each
8497 page. The spacing between systems is controlled with
8498 @code{interscoreline}, its default is 16pt. The distance between the
8499 score lines will stretch in order to fill the full page
8500 @code{interscorelinefill} is set to a positive number. In that case
8501 @code{interscoreline} specifies the minimum spacing.
8503 @cindex @code{textheight}
8504 @cindex @code{interscoreline}
8505 @cindex @code{interscorelinefill}
8507 If the variable @code{lastpagefill} is defined,
8508 @c fixme: this should only be done if lastpagefill == #t
8509 systems are evenly distributed vertically on the last page. This
8510 might produce ugly results in case there are not enough systems on the
8511 last page. The @command{lilypond-book} command ignores
8512 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8515 @cindex @code{lastpagefill}
8517 Page breaks are normally computed by @TeX{}, so they are not under
8518 direct control of LilyPond. However, you can insert a commands into
8519 the @file{.tex} output to instruct @TeX{} where to break pages. This
8520 is done by setting the @code{between-systems-strings} on the
8521 @internalsref{NonMusicalPaperColumn} where the system is broken.
8522 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8523 The predefined command @code{\newpage} also does this.
8527 @cindex @code{papersize}
8529 To change the paper size, you must first set the @code{papersize} paper
8530 variable variable as in the example below. Set it to
8531 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8532 specification, you must set the font as described above. If you want
8533 the default font, then use the 20 point font.
8536 \paper@{ papersize = "a4" @}
8537 \include "paper16.ly"
8540 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8541 will set the paper variables @code{hsize} and @code{vsize} (used by
8542 @code{lilypond-book} and @code{lilypond}).
8547 @cindex @code{\newpage}
8553 In this manual @ref{Invoking lilypond}
8555 Examples: @inputfileref{input/regression,between-systems.ly}
8557 Internals: @internalsref{NonMusicalPaperColumn}.
8561 LilyPond has no concept of page layout, which makes it difficult to
8562 reliably choose page breaks in longer pieces.
8571 Entered music can also be converted to MIDI output. The performance
8572 is good enough for proof-hearing the music for errors.
8574 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8575 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8576 marks translate to a fixed fraction of the available MIDI volume
8577 range, crescendi and decrescendi make the volume vary linearly between
8578 their two extremities. The fractions can be adjusted by
8579 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8580 For each type of MIDI instrument, a volume range can be defined. This
8581 gives a basic equalizer control, which can enhance the quality of
8582 the MIDI output remarkably. The equalizer can be controlled by
8583 setting @code{instrumentEqualizer}.
8587 Many musically interesting effects, such as swing, articulation,
8588 slurring, etc., are not translated to MIDI.
8593 * MIDI instrument names::
8598 @subsection MIDI block
8602 The MIDI block is analogous to the paper block, but it is somewhat
8603 simpler. The @code{\midi} block can contain:
8607 @item a @code{\tempo} definition, and
8608 @item context definitions.
8611 Assignments in the @code{\midi} block are not allowed.
8613 A number followed by a period is interpreted as a real number, so
8614 for setting the tempo for dotted notes, an extra space should be
8615 inserted, for example:
8618 \midi @{ \tempo 4 . = 120 @}
8622 @cindex context definition
8624 Context definitions follow precisely the same syntax as within the
8625 \paper block. Translation modules for sound are called performers.
8626 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8629 @node MIDI instrument names
8630 @subsection MIDI instrument names
8632 @cindex instrument names
8633 @cindex @code{Staff.midiInstrument}
8635 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8636 property. The instrument name should be chosen from the list in
8637 @ref{MIDI instruments}.
8641 If the selected string does not exactly match, then the default is
8642 used, which is the Grand Piano.