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::
40 @c FIXME: Note entry vs Music entry at top level menu is confusing.
46 The basic elements of any piece of music are the notes. This section
47 is about basic notation elements notes, rests and related constructs,
48 such as stems, tuplets and ties.
53 * Chromatic alterations::
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}.
362 Whenever a note is found, a @internalsref{Stem} object is created
363 automatically. For whole notes and rests, they are also created but
368 @cindex @code{\stemUp}
370 @cindex @code{\stemDown}
372 @cindex @code{\stemBoth}
383 A tie connects two adjacent note heads of the same pitch. The tie in
384 effect extends the length of a note. Ties should not be confused with
385 slurs, which indicate articulation, or phrasing slurs, which indicate
386 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
388 @lilypond[fragment,verbatim,center]
389 e' ~ e' <c' e' g'> ~ <c' e' g'>
392 When a tie is applied to a chord, all note heads whose pitches match
393 are connected. When no note heads match, no ties will be created.
395 In its meaning a tie is just a way of extending a note duration, similar
396 to the augmentation dot; in the following example there are two ways of
397 notating exactly the same concept:
399 @lilypond[fragment, singleline,quote]
400 \time 3/4 c'2. c'2 ~ c'4
402 If you need to tie a lot of notes over bars, it may be easier to use automatic
403 note splitting (See @ref{Automatic note splitting}).
408 @cindex @code{\tieUp}
410 @cindex @code{\tieDown}
412 @cindex @code{\tieBoth}
414 @cindex @code{\tieDotted}
416 @cindex @code{\tieSolid}
421 In this manual: @ref{Automatic note splitting}.
423 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
426 Examples: if you want less ties created for a chord, see
427 @inputfileref{input/test,tie-sparse.ly}.
429 For tying only a subset of the note heads of a pair of chords, see
430 @inputfileref{input/regression,tie-chord-partial.ly}.
435 Switching staves when a tie is active will not produce a slanted tie.
437 Formatting of ties is a difficult subject. The results are often not
447 @cindex @code{\times}
449 Tuplets are made out of a music expression by multiplying all durations
452 @cindex @code{\times}
454 \times @var{fraction} @var{musicexpr}
458 The duration of @var{musicexpr} will be multiplied by the fraction.
459 The fraction's denominator will be printed over the notes, optionally
460 with a bracket. The most common tuplet is the triplet in which 3
461 notes have the length of 2, so the notes are 2/3 of their written
464 @lilypond[fragment,verbatim,center]
465 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
468 The property @code{tupletSpannerDuration} specifies how long each
469 bracket should last. With this, you can make lots of tuplets while
470 typing @code{\times} only once, saving lots of typing. In the next
471 example, there are two triplets shown, while @code{\times} was only
474 @lilypond[fragment, relative, singleline, verbatim]
475 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
476 \times 2/3 { c'8 c c c c c }
479 The format of the number is determined by the property
480 @code{tupletNumberFormatFunction}. The default prints only the
481 denominator, but if it is set to the Scheme function
482 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
486 @cindex @code{tupletNumberFormatFunction}
487 @cindex tuplet formatting
492 @cindex @code{\tupletUp}
494 @cindex @code{\tupletDown}
496 @cindex @code{\tupletBoth}
501 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
503 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
507 Nested tuplets are not formatted automatically. In this case, outer
508 tuplet brackets should be moved manually, which is demonstrated in
509 @inputfileref{input/regression,tuplet-nest.ly}.
513 @node Easier music entry
514 @section Easier music entry
517 When entering music it is easy to introduce errors. This section deals
518 with tricks and features of the input language that were added solely
519 to help entering music, and find and correct mistakes.
521 It is also possible to use external programs, for example GUI
522 interfaces, or MIDI transcription programs, to enter or edit
523 music. Refer to the website for more information. Finally, there are
524 tools make debugging easier, by linking the input file and the output
525 shown on screen. See @ref{Point and click} for more information.
532 * Skipping corrected music::
533 * Automatic note splitting::
539 @node Relative octaves
540 @subsection Relative octaves
542 @cindex relative octave specification
544 Octaves are specified by adding @code{'} and @code{,} to pitch names.
545 When you copy existing music, it is easy to accidentally put a pitch
546 in the wrong octave and hard to find such an error. The relative
547 octave mode prevents these errors: a single error puts the rest of the
548 piece off by one octave:
550 @cindex @code{\relative}
552 \relative @var{startpitch} @var{musicexpr}
555 The octave of notes that appear in @var{musicexpr} are calculated as
556 follows: If no octave changing marks are used, the basic interval
557 between this and the last note is always taken to be a fourth or less
558 (; this distance is determined without regarding alterations: a
559 @code{fisis} following a @code{ceses} will be put above the
562 The octave changing marks @code{'} and @code{,} can be added to raise
563 or lower the pitch by an extra octave. Upon entering relative mode,
564 an absolute starting pitch must be specified that will act as the
565 predecessor of the first note of @var{musicexpr}.
567 Here is the relative mode shown in action:
568 @lilypond[fragment,singleline,verbatim,center]
574 Octave changing marks are used for intervals greater than a fourth:
575 @lilypond[fragment,verbatim,center]
580 If the preceding item is a chord, the first note of the chord is used
581 to determine the first note of the next chord:
583 @lilypond[fragment,verbatim,center]
590 @cindex @code{\notes}
592 The pitch after the @code{\relative} contains a note name. To parse
593 the pitch as a note name, you have to be in note mode, so there must
594 be a surrounding @code{\notes} keyword (which is not
597 The relative conversion will not affect @code{\transpose},
598 @code{\chords} or @code{\relative} sections in its argument. If you
599 want to use relative within transposed music, you must place an
600 additional @code{\relative} inside the @code{\transpose}.
603 @subsection Octave check
606 Octave checks make octave errors easier to correct: a note may be
607 followed by @code{=}@var{quotes} which indicates what its absolute
608 octave should be. In the following example,
610 \relative c'' @{ c='' b=' d,='' @}
614 @c take care with @code, adds confusing quotes.
615 the d will generate a warning, because a d'' is expected, but a d' is
616 found. In the output, the octave is corrected this and the following
621 There is also a syntax that is separate from the notes.
626 This checks that @var{pitch} (without octave) yields @var{pitch} (with
627 octave) in \relative mode. If not, a warning is printed, and the
628 octave is corrected, for example, the first check is passed
629 successfully. The second check fails with an error message. The
630 octave is adjusted so the following notes are in the correct octave
641 The octave of a note following an octave check is determined with
642 respect to the note preceding it. In the next fragment, the last note
643 is a @code{a'}, above central C. Hence, the @code{\octave} check may
644 be deleted without changing the meaning of the piece.
646 @lilypond[verbatim,fragment]
655 @subsection Bar check
659 @cindex @code{barCheckSynchronize}
662 Bar checks help detect errors in the durations. A bar check is
663 entered using the bar symbol, `@code{|}'. Whenever it is encountered
664 during interpretation, it should fall on a measure boundary. If it
665 does not, a warning is printed. Depending on the value of
666 @code{barCheckSynchronize}, the beginning of the measure will be
669 In the next example, the second bar check will signal an error:
671 \time 3/4 c2 e4 | g2 |
674 Bar checks can also be used in lyrics, for example
679 Twin -- kle | Twin -- kle
684 @cindex skipTypesetting
686 Failed bar checks are caused by entering incorrect
687 durations. Incorrect durations often completely garble up the score,
688 especially if it is polyphonic, so you should start correcting the
689 score by scanning for failed bar checks and incorrect durations. To
690 speed up this process, you can use @code{skipTypesetting}, described
693 @node Skipping corrected music
694 @subsection Skipping corrected music
696 The property @code{Score.skipTypesetting} can be used to switch on and
697 off typesetting completely during the interpretation phase. When
698 typesetting is switched off, the music is processed much more quickly.
699 This can be used to skip over the parts of a score that have already
700 been checked for errors:
702 @lilypond[fragment,singleline,verbatim]
704 \property Score.skipTypesetting = ##t
706 \property Score.skipTypesetting = ##f
710 @node Automatic note splitting
711 @subsection Automatic note splitting
713 Long notes can be converted automatically to tied notes. This is done
714 by replacing the @internalsref{Note_heads_engraver} by the
715 @internalsref{Completion_heads_engraver}:
718 \paper @{ \translator @{
720 \remove "Note_heads_engraver"
721 \consists "Completion_heads_engraver"
725 which will make long notes tied in the following example:
728 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
735 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
737 \paper { \translator {
739 \remove "Note_heads_engraver"
740 \consists "Completion_heads_engraver"
745 This engraver splits all running notes at the bar line, and inserts
746 ties. One of its uses is to debug complex scores: if the measures are
747 not entirely filled, then the ties exactly show how much each measure
752 Not all durations (especially those containing tuplets) can be
753 represented exactly; the engraver will not insert tuplets.
759 @section Staff notation
761 This section describes music notation that occurs on staff level,
762 such as keys, clefs and time signatures.
764 @cindex Staff notation
778 @subsection Staff symbol
780 @cindex adjusting staff symbol
781 @cindex StaffSymbol, using \property
783 Notes, dynamic signs, etc. are grouped
784 with a set of horizontal lines, into a staff (plural `staves'). In our
785 system, these lines are drawn using a separate layout object called
789 @cindex staff lines, setting number of
790 @cindex staff lines, setting thickness of
791 @cindex thickness of staff lines, setting
792 @cindex number of staff lines, setting
796 Internals: @internalsref{StaffSymbol},
798 Examples: @inputfileref{input/test,staff-lines.ly},
799 @inputfileref{input/test,staff-size.ly}
803 If a staff is ended halfway a piece, the staff symbol may not end
804 exactly on the barline.
808 @subsection Key signature
809 @cindex Key signature
813 The key signature indicates the scale in which a piece is played. It
814 is denoted by a set of alterations (flats or sharps) at the start of
819 Setting or changing the key signature is done with the @code{\key}
822 @code{\key} @var{pitch} @var{type}
825 @cindex @code{\minor}
826 @cindex @code{\major}
827 @cindex @code{\minor}
828 @cindex @code{\ionian}
829 @cindex @code{\locrian}
830 @cindex @code{\aeolian}
831 @cindex @code{\mixolydian}
832 @cindex @code{\lydian}
833 @cindex @code{\phrygian}
834 @cindex @code{\dorian}
836 Here, @var{type} should be @code{\major} or @code{\minor} to get
837 @var{pitch}-major or @var{pitch}-minor, respectively.
838 The standard mode names @code{\ionian},
839 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
840 @code{\phrygian}, and @code{\dorian} are also defined.
842 This command sets the context property
843 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
844 can be specified by setting this property directly.
846 Accidentals and key signatures often confuse new users, because
847 unaltered notes get natural signs depending on the keysignature. The
848 tutorial explains why this is so in @ref{More about pitches}.
852 The ordering of a key cancellation is wrong when it is combined with
853 repeat bar lines. The cancellation is also printed after a line break.
857 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
859 @cindex @code{keySignature}
866 The clef indicates which lines of the staff correspond to which
871 The clef can be set or changed with the @code{\clef} command:
872 @lilypond[fragment,verbatim]
873 \key f\major c''2 \clef alto g'2
876 Supported clef-names include:
877 @c Moved standard clefs to the top /MB
881 @item treble, violin, G, G2
894 G clef on 1st line, so-called French violin clef
899 @cindex mezzosoprano clef
902 @cindex baritone clef
905 @cindex varbaritone clef
914 By adding @code{_8} or @code{^8} to the clef name, the clef is
915 transposed one octave down or up, respectively, and @code{_15} and
916 @code{^15} transposes by two octaves. The argument @var{clefname}
917 must be enclosed in quotes when it contains underscores or digits. For
921 @cindex choral tenor clef
922 @lilypond[verbatim,fragment,relative]
926 This command is equivalent to setting @code{clefGlyph},
927 @code{clefPosition} (which controls the Y position of the clef),
928 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
929 when any of these properties are changed.
933 Internals: the object for this symbol is @internalsref{Clef}.
937 @node Ottava brackets
938 @subsection Ottava brackets
940 ``Ottava'' brackets introduce an extra transposition of an octave for
941 the staff. They are created by invoking the function
942 @code{set-octavation}:
948 @lilypond[verbatim,fragment]
957 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
958 (for 15ma) as arguments. Internally the function sets the properties
959 @code{ottavation} (eg. to @code{"8va"}) and
960 @code{centralCPosition}. For overriding the text of the bracket, set
961 @code{ottavation} after invoking @code{set-octavation}, i.e.,
965 \property Staff.ottavation = #"8"
970 Internals: @internalsref{OttavaSpanner}.
972 Examples: @inputfileref{input/regression,ottava.ly},
973 @inputfileref{input/regression,ottava-broken.ly}.
977 @code{set-octavation} will get confused when clef changes happen
978 during an octavation bracket.
981 @subsection Time signature
982 @cindex Time signature
986 Time signature indicates the metrum of a piece: a regular pattern of
987 strong and weak beats. It is denoted by a fraction at the start of the
992 The time signature is set or changed by the @code{\time}
994 @lilypond[fragment,verbatim]
995 \time 2/4 c'2 \time 3/4 c'2.
998 The symbol that is printed can be customized with the @code{style}
999 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1000 2/2 time. There are many more options for its layout. See
1001 @inputfileref{input/test,time.ly} for more examples.
1004 This command sets the property @code{timeSignatureFraction},
1005 @code{beatLength} and @code{measureLength} in the @code{Timing}
1006 context, which is normally aliased to @internalsref{Score}. The
1007 property @code{measureLength} determines where bar lines should be
1008 inserted, and how automatic beams should be generated. Changing the
1009 value of @code{timeSignatureFraction} also causes the symbol to be
1012 More options are available through the Scheme function
1013 @code{set-time-signature}. In combination with the
1014 @internalsref{Measure_grouping_engraver}, it will create
1015 @internalsref{MeasureGrouping} signs. Such signs ease reading
1016 rhythmically complex modern music. In the following example, the 9/8
1017 measure is subdivided in 2, 2, 2 and 3. This is passed to
1018 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1021 \score { \notes \relative c'' {
1022 #(set-time-signature 9 8 '(2 2 2 3))
1023 g8[ g] d[ d] g[ g] a8[( bes g]) |
1024 #(set-time-signature 5 8 '(3 2))
1029 \translator { \StaffContext
1030 \consists "Measure_grouping_engraver"
1036 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1041 Automatic beaming does not use measure grouping specified with
1042 @code{set-time-signature}.
1044 @node Partial measures
1045 @subsection Partial measures
1048 @cindex partial measure
1049 @cindex measure, partial
1050 @cindex shorten measures
1051 @cindex @code{\partial}
1053 Partial measures, for example in upsteps, are entered using the
1054 @code{\partial} command:
1055 @lilypond[fragment,verbatim,relative 1]
1056 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1059 The syntax for this command is
1061 \partial @var{duration}
1063 This is internally translated into
1065 \property Timing.measurePosition = -@var{length of duration}
1068 The property @code{measurePosition} contains a rational number
1069 indicating how much of the measure has passed at this point.
1071 @node Unmetered music
1072 @subsection Unmetered music
1074 Bar lines and bar numbers are calculated automatically. For unmetered
1075 music (e.g. cadenzas), this is not desirable. By setting
1076 @code{Score.timing} to false, this automatic timing can be switched
1082 @cindex @code{\cadenzaOn}
1084 @cindex @code{\cadenzaOff}
1088 @subsection Bar lines
1092 @cindex measure lines
1096 Bar lines delimit measures, but are also used to indicate repeats.
1097 Normally, they are inserted automatically. Line breaks may only
1103 of barlines can be forced with the @code{\bar} command:
1105 @lilypond[relative=1,fragment,verbatim]
1109 The following bar types are available:
1110 @lilypond[fragment, relative, singleline, verbatim]
1123 For allowing linebreaks, there is a special command,
1127 This will insert an invisible barline, and allow linebreaks at this
1130 In scores with many staves, a @code{\bar} command in one staff is
1131 automatically applied to all staves. The resulting bar lines are
1132 connected between different staves of a @internalsref{StaffGroup}:
1134 @lilypond[fragment, verbatim]
1135 << \context StaffGroup <<
1139 \new Staff { \clef bass c4 g e g } >>
1140 \new Staff { \clef bass c2 c2 } >>
1144 The command @code{\bar @var{bartype}} is a short cut for doing
1145 @code{\property Score.whichBar = @var{bartype}} Whenever
1146 @code{whichBar} is set to a string, a bar line of that type is
1147 created. At the start of a measure it is set to
1148 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1149 to override default measure bars.
1151 Property @code{whichBar} can also be set directly, using @code{\property}
1152 or @code{\bar}. These settings take precedence over the automatic
1153 @code{whichBar} settings.
1156 @cindex repeatCommands
1157 @cindex defaultBarType
1159 You are encouraged to use @code{\repeat} for repetitions. See
1166 In this manual: @ref{Repeats}.
1169 Internals: the bar line objects that are created at
1170 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1171 lines that span staves are @internalsref{SpanBar}s.
1173 @cindex bar lines at start of system
1174 @cindex start of system
1176 The barlines at the start of each system are
1177 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1178 @internalsref{SystemStartBracket}. Only one of these types is created
1179 in every context, and that type is determined by the property
1180 @code{systemStartDelimiter}.
1182 Examples: @inputfileref{input/test,bar-lines.ly},
1188 The easiest way to enter fragments with more than one voice on a staff
1189 is to split chords using the separator @code{\\}. You can use it for
1190 small, short-lived voices or for single chords:
1192 @lilypond[verbatim,fragment]
1193 \context Staff \relative c'' {
1194 c4 << { f d e } \\ { b c2 } >>
1195 c4 << g' \\ b, \\ f' \\ d >>
1199 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1200 voices are sometimes called "layers" other notation packages}
1202 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1203 each of these contexts, vertical direction of slurs, stems, etc. is set
1206 @cindex @code{\voiceOne}
1207 @cindex @code{\voiceFour}
1209 This can also be done by instantiating @internalsref{Voice} contexts
1210 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1211 a stem directions and horizontal shift for each part:
1214 @lilypond[singleline, verbatim]
1216 \context Staff << \new Voice { \voiceOne cis2 b }
1217 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1218 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1222 The command @code{\oneVoice} will revert back to the normal setting.
1223 @cindex @code{\oneVoice}
1226 Normally, note heads with a different number of dots are not merged, but
1227 when the object property @code{merge-differently-dotted} is set in
1228 the @internalsref{NoteCollision} object, they are merged:
1229 @lilypond[verbatim,fragment,singleline]
1230 \relative c'' \context Voice << {
1232 \property Staff.NoteCollision \override
1233 #'merge-differently-dotted = ##t
1235 } \\ { g8.[ f16] g8.[ f16] }
1239 Similarly, you can merge half note heads with eighth notes, by setting
1240 @code{merge-differently-headed}:
1241 @lilypond[fragment, relative=2,verbatim]
1244 \property Staff.NoteCollision
1245 \override #'merge-differently-headed = ##t
1246 c8 c4. } \\ { c2 c2 } >>
1249 LilyPond also vertically shifts rests that are opposite of a stem:
1252 @lilypond[singleline,fragment,verbatim]
1253 \context Voice << c''4 \\ r4 >>
1261 @cindex @code{\oneVoice}
1263 @cindex @code{\voiceOne}
1265 @cindex @code{\voiceTwo}
1267 @cindex @code{\voiceThree}
1269 @cindex @code{\voiceFour}
1273 The following commands specify in what chords of the current voice
1274 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1275 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1278 @cindex @code{\shiftOn}
1280 @cindex @code{\shiftOnn}
1282 @cindex @code{\shiftOnnn}
1284 @cindex @code{\shiftOff}
1291 Internals: the objects responsible for resolving collisions are
1292 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1294 Examples: See also example files
1295 @inputfileref{input/regression,collision-dots.ly},
1296 @inputfileref{input/regression,collision-head-chords.ly},
1297 @inputfileref{input/regression,collision-heads.ly},
1298 @inputfileref{input/regression,collision-mesh.ly}, and
1299 @inputfileref{input/regression,collisions.ly}.
1304 Resolving collisions is a intricate subject, and only a few situations
1305 are handled. When LilyPond cannot cope, the @code{force-hshift}
1306 property of the @internalsref{NoteColumn} object and pitched rests can
1307 be used to override typesetting decisions.
1309 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1310 note, and a downstem half note, the 8th note gets the wrong offset.
1312 There is no support for clusters where the same note occurs with
1313 different accidentals in the same chord. In this case, it is
1314 recommended to use enharmonic transcription, or to use special cluster
1315 notation (see @ref{Clusters}).
1320 Beams are used to group short notes into chunks that are aligned with
1321 the metrum. They are inserted automatically in most cases:
1323 @lilypond[fragment,verbatim, relative=2]
1324 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1327 When these automatic decisions are not good enough, beaming can be
1328 entered explicitly. It is also possible to define beaming patterns
1329 that differ from the defaults.
1333 Internals: @internalsref{Beam}.
1336 @cindex Automatic beams
1337 @subsection Manual beams
1338 @cindex beams, manual
1342 In some cases it may be necessary to override the automatic beaming
1343 algorithm. For example, the auto beamer will not put beams over rests
1344 or bar lines. Such beams are specified by manually: the begin and end
1345 point are marked with @code{[} and @code{]}:
1347 @lilypond[fragment,relative,verbatim]
1349 r4 r8[ g' a r8] r8 g[ | a] r8
1353 @cindex @code{stemLeftBeamCount}
1355 Normally, beaming patterns within a beam are determined automatically.
1356 When this mechanism fouls up, the properties
1357 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1358 be used to control the beam subdivision on a stem. If either property
1359 is set, its value will be used only once, and then it is erased.
1361 @lilypond[fragment,relative,verbatim]
1364 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1367 @cindex @code{stemRightBeamCount}
1370 The property @code{subdivideBeams} can be set in order to subdivide
1371 all 16th or shorter beams at beat positions, as defined by the
1372 @code{beatLength} property . This accomplishes the same effect as
1373 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1374 but it take less typing:
1377 @lilypond[relative=1,verbatim,noindent]
1379 \property Voice.subdivideBeams = ##t
1381 \property Score.beatLength = #(ly:make-moment 1 8)
1384 @cindex subdivideBeams
1386 Kneed beams are inserted automatically, when a large gap is detected
1387 between the note heads. This behavior can be tuned through the object
1388 property @code{auto-knee-gap}.
1390 Normally, line breaks are forbidden when beams cross bar lines. This
1391 behavior can be changed by setting @code{allowBeamBreak}.
1393 @cindex @code{allowBeamBreak}
1394 @cindex beams and line breaks
1396 @cindex beams, kneed
1398 @cindex auto-knee-gap
1404 @cindex Frenched staves
1406 Automatically kneed beams cannot be used together with hidden staves.
1411 * Setting automatic beam behavior::
1415 @no de Beam typography
1416 @sub section Beam typography
1418 One of the strong points of LilyPond is how beams are formatted. Beams
1419 are quantized, meaning that the left and right endpoints beams start
1420 exactly on staff lines. Without quantization, small wedges of white
1421 space appear between the beam and staff line, and this looks untidy.
1423 Beams are also slope-damped: melodies that go up or down should also
1424 have beams that go up or down, but the slope of the beams should be
1425 less than the slope of the notes themselves.
1427 Some beams should be horizontal. These are so-called concave beams.
1429 [TODO: some pictures.]
1433 @node Setting automatic beam behavior
1434 @subsection Setting automatic beam behavior
1436 @cindex @code{autoBeamSettings}
1437 @cindex @code{(end * * * *)}
1438 @cindex @code{(begin * * * *)}
1439 @cindex automatic beams, tuning
1440 @cindex tuning automatic beaming
1442 @c [TODO: use \applycontext]
1444 In normal time signatures, automatic beams can start on any note but can
1445 only end in a few positions within the measure: beams can end on a beat,
1446 or at durations specified by the properties in
1447 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1448 are defined in @file{scm/auto-beam.scm}.
1450 The value of @code{autoBeamSettings} is changed using
1451 @code{\override} and restored with @code{\revert}:
1453 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1454 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1456 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1457 whether the rule applies to begin or end-points. The quantity
1458 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1459 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1460 signature (wildcards, `@code{* *}' may be entered to designate all time
1463 For example, if automatic beams should end on every quarter note, use
1466 \property Voice.autoBeamSettings \override
1467 #'(end * * * *) = #(ly:make-moment 1 4)
1469 Since the duration of a quarter note is 1/4 of a whole note, it is
1470 entered as @code{(ly:make-moment 1 4)}.
1472 The same syntax can be used to specify beam starting points. In this
1473 example, automatic beams can only end on a dotted quarter note:
1475 \property Voice.autoBeamSettings \override
1476 #'(end * * * *) = #(ly:make-moment 3 8)
1478 In 4/4 time signature, this means that automatic beams could end only on
1479 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1480 3/8 has passed within the measure).
1482 Rules can also be restricted to specific time signatures. A rule that
1483 should only be applied in @var{N}/@var{M} time signature is formed by
1484 replacing the second asterisks by @var{N} and @var{M}. For example, a
1485 rule for 6/8 time exclusively looks like
1487 \property Voice.autoBeamSettings \override
1488 #'(begin * * 6 8) = ...
1491 If a rule should be to applied only to certain types of beams, use the
1492 first pair of asterisks. Beams are classified according to the
1493 shortest note they contain. For a beam ending rule that only applies
1494 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1497 If a score ends while an automatic beam has not been ended and is still
1498 accepting notes, this last beam will not be typeset at all.
1500 @cindex automatic beam generation
1502 @cindex @code{Voice.autoBeaming}
1505 For melodies that have lyrics, you may want to switch off
1506 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1511 @cindex @code{\autoBeamOff}
1512 @code{\autoBeamOff},
1513 @cindex @code{\autoBeamOn}
1519 The rules for ending a beam depend on the shortest note in a beam.
1520 So, while it is possible to have different ending rules for eight
1521 beams and sixteenth beams, a beam that contains both eight and
1522 sixteenth notes will use the rules for the sixteenth beam.
1524 In the example below, the autobeamer makes eight beams and sixteenth
1525 end at 3 eights; the third beam can only be corrected by specifying
1528 @lilypond[singleline,fragment,relative,noverbatim,quote]
1529 \property Voice.autoBeamSettings
1530 \override #'(end * * * *) = #(ly:make-moment 3 8)
1531 % rather show case where it goes wrong
1532 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1533 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1535 It is not possible to specify beaming parameters that act differently in
1536 different parts of a measure. This means that it is not possible to use
1537 automatic beaming in irregular meters such as @code{5/8}.
1540 @section Accidentals
1543 This section describes how to change the way that accidentals are
1544 inserted automatically before the running notes.
1548 * Using the predefined accidental variables::
1549 * Customized accidental rules::
1552 @node Using the predefined accidental variables
1553 @subsection Using the predefined accidental variables
1555 The constructs for describing the accidental typesetting rules are
1556 quite hairy, so non-experts should stick to the variables
1557 defined in @file{ly/property-init.ly}.
1558 @cindex @file{property-init.ly}
1560 The variables set properties in the ``@code{Current}'' context (see
1561 @ref{Context properties}). This means that the variables should
1562 normally be added right after the creation of the context in which the
1563 accidental typesetting described by the variable is to take
1564 effect. For example, if you want to use piano-accidentals in a piano
1565 staff then issue @code{\pianoAccidentals} first thing after the
1566 creation of the piano staff:
1569 \notes \relative c'' <<
1570 \new Staff @{ cis4 d e2 @}
1571 \context GrandStaff <<
1573 \new Staff @{ cis4 d e2 @}
1574 \new Staff @{ es2 c @}
1576 \new Staff @{ es2 c @}
1580 @lilypond[singleline]
1582 \notes \relative c'' <<
1583 \new Staff { cis4 d e2 }
1584 \context GrandStaff <<
1586 \new Staff { cis4 d e2 }
1587 \new Staff { es2 c }
1589 \new Staff { es2 c }
1594 minimumVerticalExtent = #'(-4.0 . 4.0)
1602 @item \defaultAccidentals
1603 @cindex @code{\defaultAccidentals}
1604 This is the default typesetting behaviour. It should correspond
1605 to 18th century common practice: Accidentals are
1606 remembered to the end of the measure in which they occur and
1607 only on their own octave.
1609 @item \voiceAccidentals
1610 @cindex @code{\voiceAccidentals}
1612 The normal behaviour is to
1613 remember the accidentals on Staff-level. This variable, however,
1614 typesets accidentals individually for each voice. Apart from that the
1615 rule is similar to @code{\defaultAccidentals}.
1617 This leads to some weird and often unwanted results
1618 because accidentals from one voice do not get cancelled in other
1620 @lilypond[singleline,relative,fragment,verbatim,quote]
1628 Hence you should only use @code{\voiceAccidentals} if the voices
1629 are to be read solely by individual musicians. If the staff is to be
1630 used by one musician (e.g. a conductor) then you use
1631 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1634 @item \modernAccidentals
1635 @cindex @code{\modernAccidentals}
1636 This rule corresponds to the common practice in the 20th
1638 The rule is more complex than @code{\defaultAccidentals}.
1639 You get all the same accidentals, but temporary
1640 accidentals also get cancelled in other octaves. Furthermore,
1641 in the same octave, they also get cancelled in the following measure:
1642 @lilypond[singleline,fragment,verbatim]
1644 cis' c'' cis'2 | c'' c'
1647 @item \modernCautionaries
1648 @cindex @code{\modernCautionaries}
1649 This rule is similar to @code{\modernAccidentals}, but the
1650 ``extra'' accidentals (the ones not typeset by
1651 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1652 They are printed in reduced size or with parentheses:
1653 @lilypond[singleline,fragment,verbatim]
1655 cis' c'' cis'2 | c'' c'
1658 @cindex @code{\modernVoiceAccidentals}
1659 @item \modernVoiceAccidentals
1660 is used for multivoice accidentals to be read both by musicians
1661 playing one voice and musicians playing all voices. Accidentals are
1662 typeset for each voice, but they @emph{are} cancelled across voices in
1663 the same @internalsref{Staff}.
1665 @cindex @code{\modernVoiceCautionaries}
1666 @item \modernVoiceCautionaries
1667 is the same as @code{\modernVoiceAccidentals}, but with the extra
1668 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1669 as cautionaries. Even though all accidentals typeset by
1670 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1671 some of them are typeset as cautionaries.
1673 @item \pianoAccidentals
1674 @cindex @code{\pianoAccidentals}
1675 20th century practice for piano notation. Very similar to
1676 @code{\modernAccidentals} but accidentals also get cancelled
1677 across the staves in the same @internalsref{GrandStaff} or
1678 @internalsref{PianoStaff}.
1680 @item \pianoCautionaries
1681 @cindex @code{\pianoCautionaries}
1682 As @code{\pianoAccidentals} but with the extra accidentals
1683 typeset as cautionaries.
1686 @cindex @code{\noResetKey}
1687 Same as @code{\defaultAccidentals} but with accidentals lasting
1688 ``forever'' and not only until the next measure:
1689 @lilypond[singleline,fragment,verbatim,relative]
1694 @item \forgetAccidentals
1695 @cindex @code{\forgetAccidentals}
1696 This is sort of the opposite of @code{\noResetKey}: Accidentals
1697 are not remembered at all---and hence all accidentals are
1698 typeset relative to the key signature, regardless of what was
1699 before in the music:
1700 @lilypond[singleline,fragment,verbatim,relative]
1702 \key d\major c4 c cis cis d d dis dis
1706 @node Customized accidental rules
1707 @subsection Customized accidental rules
1709 For determining when to print an accidental, several different rules
1710 are tried. The rule that gives the highest number of accidentals is
1711 used. Each rule consists of
1714 In which context is the rule applied. For example, if
1715 @var{context} is @internalsref{Score} then all staves share
1716 accidentals, and if @var{context} is @internalsref{Staff} then all
1717 voices in the same staff share accidentals, but staves do not.
1719 Whether the accidental changes all octaves or only the current
1722 Over how many barlines the accidental lasts.
1723 If @var{lazyness} is @code{-1} then the accidental is forget
1724 immediately, and if @var{lazyness} is @code{#t} then the accidental
1727 @c [TODO: should use +infinity for this case?]
1733 @cindex @code{\defaultAccidentals}
1734 @code{\defaultAccidentals},
1735 @cindex @code{\voiceAccidentals}
1736 @code{\voiceAccidentals},
1737 @cindex @code{\modernAccidentals}
1738 @code{\modernAccidentals},
1739 @cindex @code{\modernCautionaries}
1740 @code{\modernCautionaries},
1741 @cindex @code{\modernVoiceAccidentals}
1742 @code{\modernVoiceAccidentals},
1743 @cindex @code{\modernVoiceCautionaries}
1744 @code{\modernVoiceCautionaries},
1745 @cindex @code{\pianoAccidentals}
1746 @code{\pianoAccidentals},
1747 @cindex @code{\pianoCautionaries}
1748 @code{\pianoCautionaries},
1749 @cindex @code{\noResetKey}
1751 @cindex @code{\forgetAccidentals}
1752 @code{\forgetAccidentals}.
1756 Internals: @internalsref{Accidental_engraver},
1757 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1762 Currently the simultaneous notes are considered to be entered in
1763 sequential mode. This means that in a chord the accidentals are
1764 typeset as if the notes in the chord happened once at a time - in the
1765 order in which they appear in the input file.
1767 This is only a problem when there are simultaneous notes whose
1768 accidentals depend on each other. The problem only occurs when using
1769 non-default accidentals. In the default scheme, accidentals only
1770 depend on other accidentals with the same pitch on the same staff, so
1771 no conflicts possible.
1773 This example shows two examples of the same music giving different
1774 accidentals depending on the order in which the notes occur in the
1777 @lilypond[singleline,fragment,verbatim]
1778 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1779 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1780 | <cis' c''> r | <c'' cis'> r |
1783 This problem can be solved by manually inserting @code{!} and @code{?}
1784 for the problematic notes.
1786 @node Expressive marks
1787 @section Expressive marks
1790 @c todo: should change ordering
1791 @c where to put text spanners, metronome marks,
1800 * Analysis brackets::
1802 * Fingering instructions::
1813 A slur indicates that notes are to be played bound or @emph{legato}.
1817 They are entered using parentheses:
1818 @lilypond[relative 1,fragment,verbatim,center]
1819 f( g)( a) a8 b( a4 g2 f4)
1824 @c TODO: should explain that ^( and _( set directions
1825 @c should set attachments with ^ and _ ?
1827 Slurs avoid crossing stems, and are generally attached to note heads.
1828 However, in some situations with beams, slurs may be attached to stem
1829 ends. If you want to override this layout you can do this through the
1830 object property @code{attachment} of @internalsref{Slur} in
1831 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1832 the attachment type of the left and right end points:
1834 @lilypond[fragment,relative,verbatim]
1836 \property Voice.Stem \set #'length = #5.5
1838 \property Voice.Slur \set #'attachment = #'(stem . stem)
1842 If a slur would strike through a stem or beam, the slur will be moved
1843 away upward or downward. If this happens, attaching the slur to the
1844 stems might look better:
1846 @lilypond[fragment,relative,verbatim]
1849 \property Voice.Slur \set #'attachment = #'(stem . stem)
1856 @cindex @code{\slurUp}
1858 @cindex @code{\slurDown}
1860 @cindex @code{\slurBoth}
1862 @cindex @code{\slurDotted}
1864 @cindex @code{\slurSolid}
1869 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1874 Producing nice slurs is a difficult problem, and LilyPond currently
1875 uses a simple, empiric method to produce slurs. In some cases, its
1879 @cindex Adjusting slurs
1881 @node Phrasing slurs
1882 @subsection Phrasing slurs
1884 @cindex phrasing slurs
1885 @cindex phrasing marks
1887 A phrasing slur (or phrasing mark) connects chords and is used to
1888 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1891 @lilypond[fragment,verbatim,center,relative]
1892 \time 6/4 c'\( d( e) f( e) d\)
1895 Typographically, the phrasing slur behaves almost exactly like a
1896 normal slur. However, they are treated as different objects. A
1897 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1898 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1899 @code{\phrasingSlurBoth}.
1901 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1902 will only affect normal slurs and not phrasing slurs.
1906 @cindex @code{\phrasingSlurUp}
1907 @code{\phrasingSlurUp},
1908 @cindex @code{\phrasingSlurDown}
1909 @code{\phrasingSlurDown},
1910 @cindex @code{\phrasingSlurBoth}
1911 @code{\phrasingSlurBoth},
1915 Internals: see also @internalsref{PhrasingSlur}, and
1916 @internalsref{PhrasingSlurEvent}.
1920 Phrasing slurs have the same limitations in their formatting as normal
1921 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1924 @subsection Breath marks
1926 Breath marks are entered using @code{\breathe}:
1929 @lilypond[fragment,relative,verbatim]
1933 The glyph of the breath mark can be tweaked by overriding the
1934 @code{text} property of the @code{BreathingSign} layout object with
1935 any markup text. For example,
1936 @lilypond[fragment,verbatim,relative]
1938 \property Voice.BreathingSign \override #'text
1939 = #(make-musicglyph-markup "scripts-rvarcomma")
1946 Internals: @internalsref{BreathingSign},
1947 @internalsref{BreathingSignEvent}
1949 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1952 @node Metronome marks
1953 @subsection Metronome marks
1956 @cindex beats per minute
1957 @cindex metronome marking
1959 Metronome settings can be entered as follows:
1961 \tempo @var{duration} = @var{perminute}
1964 In the MIDI output, they are interpreted as a tempo change, and in the
1965 paper output, a metronome marking is printed:
1966 @cindex @code{\tempo}
1967 @lilypond[fragment,verbatim]
1973 Internals: @internalsref{MetronomeChangeEvent}.
1978 @subsection Text spanners
1979 @cindex Text spanners
1981 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1982 are written as texts, and extended over many measures with dotted
1983 lines. You can create such texts using text spanners: attach
1984 @code{\startTextSpan} and @code{\stopTextSpan} to the
1985 start and ending note of the spanner.
1987 The string to be printed, as well as the style, is set through object
1990 @lilypond[fragment,relative,verbatim]
1992 \property Voice.TextSpanner \set #'direction = #-1
1993 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1994 c2\startTextSpan b c\stopTextSpan a }
2000 Internals @internalsref{TextSpanEvent},
2001 @internalsref{TextSpanner}.
2003 Examples: @inputfileref{input/regression,text-spanner.ly}.
2006 @node Analysis brackets
2007 @subsection Analysis brackets
2009 @cindex phrasing brackets
2010 @cindex musicological analysis
2011 @cindex note grouping bracket
2013 Brackets are used in musical analysis to indicate structure in musical
2014 pieces. LilyPond supports a simple form of nested horizontal brackets.
2015 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2016 @internalsref{Staff} context. A bracket is started with
2017 @code{\startGroup} and closed with @code{\stopGroup}:
2019 @lilypond[singleline,verbatim]
2020 \score { \notes \relative c'' {
2021 c4\startGroup\startGroup
2024 c4\stopGroup\stopGroup
2026 \paper { \translator {
2027 \StaffContext \consists "Horizontal_bracket_engraver"
2033 Internals: @internalsref{HorizontalBracket},
2034 @internalsref{NoteGroupingEvent}
2036 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2040 @subsection Articulations
2041 @cindex Articulations
2043 @cindex articulations
2047 A variety of symbols can appear above and below notes to indicate
2048 different characteristics of the performance. They are added to a note
2049 by adding a dash and the character signifying the
2050 articulation. They are demonstrated here:
2052 @lilypondfile[notexidoc]{script-abbreviations.ly}
2054 The meanings of these shorthands can be changed: see
2055 @file{ly/script-init.ly} for examples.
2058 The script is automatically placed, but if you need to force
2059 directions, you can use @code{_} to force them down, or @code{^} to
2061 @lilypond[fragment, verbatim]
2065 Other symbols can be added using the syntax
2066 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2067 can be forced up or down using @code{^} and @code{_},
2070 @lilypond[verbatim,fragment,relative 2]
2071 c\fermata c^\fermata c_\fermata
2078 @cindex staccatissimo
2087 @cindex organ pedal marks
2096 @cindex prallmordent
2100 @cindex thumb marking
2105 @lilypondfile[notexidoc]{script-chart.ly}
2110 @cindex @code{\scriptUp}
2112 @cindex @code{\scriptDown}
2114 @cindex @code{\scriptBoth}
2119 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2123 These note ornaments appear in the printed output but have no
2124 effect on the MIDI rendering of the music.
2127 @node Fingering instructions
2128 @subsection Fingering instructions
2132 Fingering instructions can be entered using
2134 @var{note}-@var{digit}
2136 For finger changes, use markup texts:
2138 @lilypond[verbatim, singleline, fragment]
2139 c'4-1 c'4-2 c'4-3 c'4-4
2140 c'^\markup { \fontsize #-3 \number "2-3" }
2143 @cindex finger change
2148 You can use the thumb-script to indicate that a note should be
2149 played with your thumb (used in cello music):
2151 @lilypond[verbatim, singleline, fragment]
2152 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2153 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2156 Fingerings for chords can also be added to individual notes
2157 of the chord by adding them after the pitches:
2158 @lilypond[verbatim,singleline,fragment,relative=1]
2159 < c-1 e-2 g-3 b-5 > 4
2162 Setting @code{fingeringOrientations} will put fingerings next
2165 @lilypond[verbatim,singleline,fragment,relative=1]
2166 \property Voice.fingeringOrientations = #'(left down)
2167 <c-1 es-2 g-4 bes-5 > 4
2168 \property Voice.fingeringOrientations = #'(up right down)
2169 <c-1 es-2 g-4 bes-5 > 4
2174 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2178 @subsection Text scripts
2179 @cindex Text scripts
2181 @cindex text items, non-empty
2182 @cindex non-empty texts
2184 It is possible to place arbitrary strings of text or markup text (see
2185 @ref{Text markup}) above or below notes by using a string:
2186 @code{c^"text"}. By default, these indications do not influence the
2187 note spacing, but by using the command @code{\fatText}, the widths
2188 will be taken into account:
2190 @lilypond[fragment,singleline,verbatim] \relative c' {
2191 c4^"longtext" \fatText c4_"longlongtext" c4 }
2194 It is possible to use @TeX{} commands in the strings, but this should
2195 be avoided because the exact dimensions of the string can then no
2200 @refcommand{fatText}, @refcommand{emptyText}.
2205 In this manual: @ref{Text markup}.
2207 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2213 @subsection Grace notes
2216 @c should have blurb about accaciatura / appogiatura
2218 @cindex @code{\grace}
2222 Grace notes are ornaments that are written out. The most common ones
2223 are acciaccatura, which should be played as very short. It is denoted
2224 by a slurred small note with a slashed stem. The appoggiatura is a
2225 grace note that takes a fixed fraction of the main note, is and
2226 denoted as a slurred note in small print without a slash.
2227 They are entered with the commands @code{\acciaccatura} and
2228 @code{\appoggiatura}, as demonstrated in the following example:
2231 @cindex appoggiatura
2232 @cindex acciaccatura
2234 @lilypond[relative=2,verbatim,fragment]
2235 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2236 \acciaccatura { g16[ f] } e4
2239 Both are special forms of the @code{\grace} command. By prefixing this
2240 keyword to a music expression, a new one is formed, which will be
2241 printed in a smaller font and takes up no logical time in a measure.
2242 @lilypond[relative=2,verbatim,fragment]
2244 \grace { c16[ d16] } c2 c4
2248 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2249 @code{\grace} command does not start a slur.
2251 Internally, timing for grace notes is done using a second, `grace'
2252 time. Every point in time consists of two rational numbers: one
2253 denotes the logical time, one denotes the grace timing. The above
2254 example is shown here with timing tuples:
2256 @lilypond[singleline]
2259 c4 \grace c16 c4 \grace {
2262 \new Lyrics \lyrics {
2265 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2266 \markup { (\fraction 1 4 , 0 ) } 4
2268 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2269 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2271 \markup { ( \fraction 2 4 , 0 ) }
2276 The placement of grace notes is synchronized between different staves.
2277 In the following example, there are two sixteenth graces notes for
2278 every eighth grace note:
2280 @lilypond[relative=2,verbatim,fragment]
2281 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2282 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2287 If you want to end a note with a grace, then the standard trick
2288 is to put the grace notes after a ``space note'', e.g.
2289 @lilypond[fragment,verbatim, relative=2]
2292 { s2 \grace { c16[ d] } } >>
2298 By adjusting the duration of the skip note (here it is a half-note),
2299 the space between the main-note and the grace is adjusted.
2302 A @code{\grace} section will introduce special typesetting settings,
2303 for example, to produce smaller type, and set directions. Hence, when
2304 introducing layout tweaks, they should be inside the grace section,
2306 @lilypond[fragment,verbatim,relative 1]
2309 \property Voice.Stem \override #'direction = #-1
2311 \property Voice.Stem \revert #'direction
2318 The overrides should also be reverted inside the grace section.
2320 If the layout of grace sections must be changed throughout the music,
2321 then this can be accomplished through the function
2322 @code{add-grace-property}. The following example
2323 undefines the Stem direction grace section, so stems do not always
2328 #(add-grace-property "Voice" Stem direction '())
2334 Another option is to change the variables @code{startGraceMusic},
2335 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2336 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2337 @code{stopAppoggiaturaMstuic}. More information is in the file
2338 @file{ly/grace-init.ly}
2343 Internals: @internalsref{GraceMusic}.
2347 A score that starts with an @code{\grace} section needs an explicit
2348 @code{\context Voice} declaration, otherwise the main note and grace
2349 note end up on different staves.
2351 Grace note synchronization can also lead to surprises. Staff notation,
2352 such as key signatures, barlines, etc. are also synchronized. Take
2353 care when you mix staves with grace notes and staves without, for example,
2355 @lilypond[relative=2,verbatim,fragment]
2356 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2357 \new Staff { c4 \bar "|:" d4 } >>
2360 Grace sections should only be used within sequential music
2361 expressions. Nesting or juxtaposing grace sections is not supported,
2362 and might produce crashes or other errors.
2366 @subsection Glissando
2369 @cindex @code{\glissando}
2371 A glissando is a smooth change in pitch. It is denoted by a line or a
2372 wavy line between two notes.
2376 A glissando line can be requested by attaching a @code{\glissando} to
2379 @lilypond[fragment,relative,verbatim]
2385 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2390 Adding additional texts (such as @emph{gliss.}) is not supported.
2394 @subsection Dynamics
2407 @cindex @code{\ffff}
2417 Absolute dynamic marks are specified using an variable after a
2418 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2419 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2420 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2421 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2423 @lilypond[verbatim,singleline,fragment,relative]
2424 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2430 @cindex @code{\decr}
2431 @cindex @code{\rced}
2438 A crescendo mark is started with @code{\<} and terminated with
2439 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2440 with @code{\!}. Because these marks are bound to notes, if you must
2441 use spacer notes if multiple marks during one note are needed:
2443 @lilypond[fragment,verbatim,center,quote]
2444 c''\< c''\! d''\decr e''\rced
2445 << f''1 { s4 s4\< s4\! \> s4\! } >>
2447 This may give rise to very short hairpins. Use @code{minimum-length}
2448 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2452 \property Staff.Hairpin \override #'minimum-length = #5
2455 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2456 is an example how to do it:
2458 @lilypond[fragment,relative=2,verbatim]
2459 c4 \cresc c4 c c c \endcresc c4
2465 You can also supply your own texts:
2466 @lilypond[fragment,relative,verbatim]
2468 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2469 \property Voice.crescendoSpanner = #'dashed-line
2479 @cindex @code{\dynamicUp}
2481 @cindex @code{\dynamicDown}
2482 @code{\dynamicDown},
2483 @cindex @code{\dynamicBoth}
2484 @code{\dynamicBoth}.
2486 @cindex direction, of dynamics
2490 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2491 @internalsref{AbsoluteDynamicEvent}.
2493 Dynamics are objects of @internalsref{DynamicText} and
2494 @internalsref{Hairpin}. Vertical positioning of these symbols is
2495 handled by the @internalsref{DynamicLineSpanner} object.
2497 If you want to adjust padding or vertical direction of the dynamics, you
2498 must set properties for the @internalsref{DynamicLineSpanner} object.
2506 @cindex @code{\repeat}
2509 Repetition is a central concept in music, and multiple notations exist
2510 for repetitions. In LilyPond, most of these notations can be captured
2511 in a uniform syntax. One of the advantages is that they can be
2512 rendered in MIDI accurately.
2514 The following types of repetition are supported:
2518 Repeated music is fully written (played) out. Useful for MIDI
2519 output, and entering repetitive music.
2522 This is the normal notation: Repeats are not written out, but
2523 alternative endings (voltas) are printed, left to right.
2527 Alternative endings are written stacked. This has limited use but may be
2528 used to typeset two lines of lyrics in songs with repeats, see
2529 @inputfileref{input,star-spangled-banner.ly}.
2537 Make beat or measure repeats. These look like percent signs.
2543 * Repeats and MIDI::
2544 * Manual repeat commands::
2546 * Tremolo subdivisions::
2551 @subsection Repeat syntax
2555 LilyPond has one syntactic construct for specifying different types of
2556 repeats. The syntax is
2559 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2562 If you have alternative endings, you may add
2563 @cindex @code{\alternative}
2565 \alternative @code{@{} @var{alternative1}
2567 @var{alternative3} @dots{} @code{@}}
2569 where each @var{alternative} is a music expression. If you do not
2570 give enough alternatives for all of the repeats, then the first
2571 alternative is assumed to be played more than once.
2573 Normal notation repeats are used like this:
2574 @lilypond[fragment,verbatim,relative 1]
2576 \repeat volta 2 { c4 d e f }
2577 \repeat volta 2 { f e d c }
2580 With alternative endings:
2581 @lilypond[fragment,verbatim,relative 1]
2583 \repeat volta 2 {c4 d e f}
2584 \alternative { {d2 d} {f f,} }
2588 @lilypond[fragment,verbatim,relative 1]
2591 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2592 \alternative { { g4 g g } { a | a a a a | b2. } }
2598 If you do a nested repeat like
2607 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2608 belongs. This ambiguity is resolved by always having the
2609 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2610 it is advisable to use braces in such situations.
2613 @node Repeats and MIDI
2614 @subsection Repeats and MIDI
2616 @cindex expanding repeats
2618 For instructions on how to unfold repeats for MIDI output, see the
2619 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2624 Timing information is not remembered at the start of an alternative,
2625 so after a repeat timing information must be reset by hand, for
2626 example by setting @code{Score.measurePosition} or entering
2627 @code{\partial}. Similarly, slurs or ties are also not repeated.
2630 @node Manual repeat commands
2631 @subsection Manual repeat commands
2633 @cindex @code{repeatCommands}
2635 The property @code{repeatCommands} can be used to control the layout of
2636 repeats. Its value is a Scheme list of repeat commands, where each repeat
2640 @item the symbol @code{start-repeat},
2641 which prints a @code{|:} bar line,
2642 @item the symbol @code{end-repeat},
2643 which prints a @code{:|} bar line,
2644 @item the list @code{(volta @var{text})},
2645 which prints a volta bracket saying @var{text}: The text can be specified as
2646 a text string or as a markup text, see @ref{Text markup}. Do not
2647 forget to change the font, as the default number font does not contain
2648 alphabetic characters. Or,
2649 @item the list @code{(volta #f)}, which
2650 stops a running volta bracket:
2653 @lilypond[verbatim, fragment,relative 2]
2655 \property Score.repeatCommands = #'((volta "93") end-repeat)
2657 \property Score.repeatCommands = #'((volta #f))
2664 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2665 @internalsref{VoltaRepeatedMusic},
2666 @internalsref{UnfoldedRepeatedMusic}, and
2667 @internalsref{FoldedRepeatedMusic}.
2669 @node Tremolo repeats
2670 @subsection Tremolo repeats
2671 @cindex tremolo beams
2673 To place tremolo marks between notes, use @code{\repeat} with tremolo
2675 @lilypond[verbatim,singleline]
2677 \context Voice \notes\relative c' {
2678 \repeat "tremolo" 8 { c16 d16 }
2679 \repeat "tremolo" 4 { c16 d16 }
2680 \repeat "tremolo" 2 { c16 d16 }
2685 Tremolo marks can also be put on a single note. In this case, the
2686 note should not be surrounded by braces.
2687 @lilypond[verbatim,singleline]
2688 \repeat "tremolo" 4 c16
2691 A similar mechanism is the tremolo subdivision, described in
2692 @ref{Tremolo subdivisions}.
2696 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2698 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2699 tremolos are @internalsref{StemTremolo}s. The music expression is
2700 @internalsref{TremoloEvent},
2702 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2703 @inputfileref{input/regression,stem-tremolo.ly}.
2705 @node Tremolo subdivisions
2706 @subsection Tremolo subdivisions
2707 @cindex tremolo marks
2708 @cindex @code{tremoloFlags}
2710 Tremolo marks can be printed on a single note by adding
2711 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2712 A @var{length} value of 8 gives one line across the note stem. If the
2713 length is omitted, then then the last value (stored in
2714 @code{Voice.tremoloFlags}) is used:
2716 @lilypond[verbatim,fragment,center]
2717 c'2:8 c':32 | c': c': |
2720 @c [TODO : stok is te kort bij 32en]
2724 Tremolos in this style do not carry over into the MIDI output.
2728 In this manual: @ref{Tremolo repeats}.
2730 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2732 @node Measure repeats
2733 @subsection Measure repeats
2735 @cindex percent repeats
2736 @cindex measure repeats
2738 In the @code{percent} style, a note pattern can be repeated. It is
2739 printed once, and then the pattern is replaced with a special sign.
2740 Patterns of a one and two measures are replaced by percent-like signs,
2741 patterns that divide the measure length are replaced by slashes:
2743 @lilypond[verbatim,singleline]
2744 \context Voice { \repeat "percent" 4 { c'4 }
2745 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2751 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2752 @internalsref{PercentRepeatedMusic}, and
2753 @internalsref{DoublePercentRepeat}.
2757 @node Rhythmic music
2758 @section Rhythmic music
2760 Sometimes you might want to show only the rhythm of a melody. This
2761 can be done with the rhythmic staff. All pitches of notes on such a
2762 staff are squashed, and the staff itself has a single line:
2764 @lilypond[fragment,relative,verbatim]
2765 \context RhythmicStaff {
2767 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2773 Internals: @internalsref{RhythmicStaff}.
2775 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2779 * Percussion staves::
2780 * Percussion MIDI output::
2783 @node Percussion staves
2784 @subsection Percussion staves
2788 A percussion part for more than one instrument typically uses a
2789 multiline staff where each position in the staff refers to one piece
2794 Percussion staves are typeset with help of a set of Scheme
2795 functions. The system is based on the general MIDI drum-pitches.
2796 Include @file{drumpitch-init.ly} to use drum pitches. This file
2797 defines the pitches from the Scheme variable @code{drum-pitch-names},
2798 the definition of which can be read in @file{scm/drums.scm}. Each
2799 piece of percussion has a full name and an abbreviated name, and either
2800 the full name or the abbreviation may be used in input files.
2802 To typeset the music on a staff apply the function @code{drums->paper}
2803 to the percussion music. This function takes a list of percussion
2804 instrument names, notehead scripts and staff positions (that is:
2805 pitches relative to the C-clef) and transforms the input
2806 music by moving the pitch, changing the notehead and (optionally)
2809 @lilypond[singleline,verbatim,quote]
2810 \include "drumpitch-init.ly"
2811 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2812 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2814 \apply #(drums->paper 'drums) \context Staff <<
2816 \new Voice { \voiceOne \up }
2817 \new Voice { \voiceTwo \down }
2822 In the above example the music was transformed using the list @code{'drums}.
2823 The following lists are defined in @file{scm/drums.scm}:
2826 to typeset a typical drum kit on a five-line staff:
2829 \include "drumpitch-init.ly"
2830 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2831 bd sn ss tomh tommh tomml toml tomfh tomfl }
2832 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2833 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2836 \apply #(drums->paper 'drums) \context Staff <<
2840 \context Lyrics \nam
2843 linewidth = 100.0\mm
2846 \remove Bar_engraver
2847 \remove Time_signature_engraver
2848 minimumVerticalExtent = #'(-4.0 . 5.0)
2852 \remove Stem_engraver
2858 The drum scheme supports six different toms. When there fewer toms, simply
2859 select the toms that produce the desired result, i.e. to get toms on
2860 the three middle lines you use @code{tommh}, @code{tomml} and
2863 Because general MIDI does not contain rimshots the sidestick is used
2864 for this purpose instead.
2866 to typeset timbales on a two line staff:
2868 @lilypond[singleline]
2869 \include "drumpitch-init.ly"
2870 nam = \lyrics { timh ssh timl ssl cb }
2871 mus = \notes { timh ssh timl ssl cb s16 }
2874 \apply #(drums->paper 'timbales) \context Staff <<
2878 \context Lyrics \nam
2883 \remove Bar_engraver
2884 \remove Time_signature_engraver
2885 StaffSymbol \override #'line-count = #2
2886 StaffSymbol \override #'staff-space = #2
2887 minimumVerticalExtent = #'(-3.0 . 4.0)
2891 \remove Stem_engraver
2898 to typeset congas on a two line staff:
2900 @lilypond[singleline]
2901 \include "drumpitch-init.ly"
2902 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2903 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2906 \apply #(drums->paper 'congas) \context Staff <<
2910 \context Lyrics \nam
2915 \remove Bar_engraver
2916 \remove Time_signature_engraver
2917 StaffSymbol \override #'line-count = #2
2918 StaffSymbol \override #'staff-space = #2
2919 minimumVerticalExtent = #'(-3.0 . 4.0)
2923 \remove Stem_engraver
2929 to typeset bongos on a two line staff:
2931 @lilypond[singleline]
2932 \include "drumpitch-init.ly"
2933 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2934 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2937 \apply #(drums->paper 'bongos) \context Staff <<
2941 \context Lyrics \nam
2946 \remove Bar_engraver
2947 \remove Time_signature_engraver
2948 StaffSymbol \override #'line-count = #2
2949 StaffSymbol \override #'staff-space = #2
2950 minimumVerticalExtent = #'(-3.0 . 4.0)
2954 \remove Stem_engraver
2960 to typeset all kinds of simple percussion on one line staves:
2961 @lilypond[singleline]
2962 \include "drumpitch-init.ly"
2963 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2964 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2967 \apply #(drums->paper 'percussion) \context Staff <<
2971 \context Lyrics \nam
2976 \remove Bar_engraver
2977 \remove Time_signature_engraver
2978 StaffSymbol \override #'line-count = #1
2979 minimumVerticalExtent = #'(-2.0 . 3.0)
2983 \remove Stem_engraver
2990 If you do not like any of the predefined lists you can define your own
2991 list at the top of your file:
2993 @lilypond[singleline, verbatim]
2994 #(set-drum-kit 'mydrums `(
2995 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2996 (snare default #f ,(ly:make-pitch 0 1 0))
2997 (hihat cross #f ,(ly:make-pitch 0 5 0))
2998 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2999 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3001 \include "drumpitch-init.ly"
3002 up = \notes { hh8 hh hh hh hhp4 hhp }
3003 down = \notes { bd4 sn bd toml8 toml }
3005 \apply #(drums->paper 'mydrums) \context Staff <<
3007 \new Voice { \voiceOne \up }
3008 \new Voice { \voiceTwo \down }
3013 To use a modified existing list, one can prepend modifications to the
3017 #(set-drum-kit 'mydrums (append `(
3018 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3019 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3020 ) (get-drum-kit 'drums)))
3023 You can easily combine percussion notation with pitched notation.
3024 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
3025 names, so you will have to reinclude @file{nederlands.ly} after the
3026 drum-pattern-definitions to enter normal notes:
3028 @lilypond[singleline,verbatim]
3029 \include "drumpitch-init.ly"
3030 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3031 down = \notes { bassdrum4 snare8 bd r bd sn4 }
3032 \include "nederlands.ly"
3033 bass = \notes \transpose c c,, { a4. e8 r e g e }
3036 \apply #(drums->paper 'drums) \new Staff <<
3038 \new Voice { \voiceOne \up }
3039 \new Voice { \voiceTwo \down }
3041 \new Staff { \clef "F_8" \bass }
3046 @node Percussion MIDI output
3047 @subsection Percussion MIDI output
3049 In order to produce correct MIDI output you need to produce two score
3050 blocks---one for the paper and one for the MIDI output. To use the
3051 percussion channel you set the property @code{instrument} to
3052 @code{'drums}. Because the drum-pitches themselves are similar to the
3053 general MIDI pitches all you have to do is to insert the voices with
3054 none of the scheme functions to get the correct MIDI output:
3058 \apply #(drums->paper 'mydrums) \context Staff <<
3067 \property Staff.instrument = #'drums
3077 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3078 temporary implementation.
3082 @section Piano music
3084 Piano staves are two normal staves coupled with a brace. The staves
3085 are largely independent, but sometimes voices can cross between the
3086 two staves. The same notation is also used for harps and other key
3087 instruments. The @internalsref{PianoStaff} is especially built to
3088 handle this cross-staffing behavior. In this section we discuss the
3089 @internalsref{PianoStaff} and some other pianistic peculiarities.
3093 * Automatic staff changes::
3094 * Manual staff switches::
3097 * Staff switch lines::
3102 There is no support for putting chords across staves. You can get
3103 this result by increasing the length of the stem in the lower stave so
3104 it reaches the stem in the upper stave, or vice versa. An example is
3105 included with the distribution as
3106 @inputfileref{input/test,stem-cross-staff.ly}.
3108 Dynamics are not centered, but kludges do exist. See
3109 @inputfileref{input/template,piano-dynamics.ly}.
3111 @cindex cross staff stem
3112 @cindex stem, cross staff
3115 @c fixme: should have hyperlinks as well.
3121 @node Automatic staff changes
3122 @subsection Automatic staff changes
3123 @cindex Automatic staff changes
3125 Voices can switch automatically between the top and the bottom
3126 staff. The syntax for this is
3128 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3130 The two staffs of the piano staff must be named @code{up} and
3133 The autochanger switches on basis of pitch (central C is the turning
3134 point), and it looks ahead skipping over rests to switch in
3135 advance. Here is a practical example:
3137 @lilypond[verbatim,singleline,quote]
3138 \score { \notes \context PianoStaff <<
3139 \context Staff = "up" {
3140 \autochange Staff \context Voice = VA << \relative c' {
3141 g4 a b c d r4 a g } >> }
3142 \context Staff = "down" {
3149 In this example, spacer rests are used to prevent the bottom staff from
3150 terminating too soon.
3155 In this manual: @ref{Manual staff switches}
3157 Internals: @internalsref{AutoChangeMusic}.
3163 The staff switches often do not end up in optimal places. For high
3164 quality output, staff switches should be specified manually.
3167 @node Manual staff switches
3168 @subsection Manual staff switches
3170 @cindex manual staff switches
3171 @cindex staff switch, manual
3173 Voices can be switched between staves manually, using the following command:
3175 \change Staff = @var{staffname} @var{music}
3179 The string @var{staffname} is the name of the staff. It switches the
3180 current voice from its current staff to the Staff called
3181 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3190 Pianos have pedals that alter the way sound are produced. Generally, a
3191 piano has three pedals, sustain, una corda, and sostenuto.
3195 Piano pedal instruction can be expressed by attaching
3196 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3197 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3200 @lilypond[fragment,verbatim]
3201 c'4\sustainDown c'4\sustainUp
3204 What is printed can be modified by setting @code{pedal@var{X}Strings},
3205 where @var{X} is one of the pedal types: @code{Sustain},
3206 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3207 documentation of @internalsref{SustainPedal} for more information.
3209 Pedals can also be indicated by a sequence of brackets, by setting the
3210 @code{pedalSustainStyle} property to @code{bracket} objects:
3212 @lilypond[fragment,verbatim]
3213 \property Staff.pedalSustainStyle = #'bracket
3214 c''4\sustainDown d''4 e''4
3215 a'4\sustainUp\sustainDown
3216 f'4 g'4 a'4\sustainUp
3219 A third style of pedal notation is a mixture of text and brackets,
3220 obtained by setting @code{pedal-type} to @code{mixed}:
3222 @lilypond[fragment,verbatim]
3223 \property Staff.pedalSustainStyle = #'mixed
3224 c''4\sustainDown d''4 e''4
3225 c'4\sustainUp\sustainDown
3226 f'4 g'4 a'4\sustainUp
3229 The default `*Ped' style for sustain and damper pedals corresponds to
3230 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3231 for a sostenuto pedal:
3233 @lilypond[fragment,verbatim]
3234 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3237 For fine-tuning of the appearance of a pedal bracket, the properties
3238 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3239 @code{PianoPedalBracket} objects (see
3240 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3241 bracket may be extended to the end of the note head:
3243 @lilypond[fragment,verbatim]
3244 \property Staff.PianoPedalBracket \override
3245 #'shorten-pair = #'(0 . -1.0)
3246 c''4\sostenutoDown d''4 e''4 c'4
3247 f'4 g'4 a'4\sostenutoUp
3251 @subsection Arpeggio
3254 @cindex broken arpeggio
3255 @cindex @code{\arpeggio}
3257 You can specify an arpeggio sign on a chord by attaching an
3258 @code{\arpeggio} to a chord:
3261 @lilypond[fragment,relative,verbatim]
3265 When an arpeggio crosses staves, you attach an arpeggio to the chords
3266 in both staves, and set
3267 @internalsref{PianoStaff}.@code{connectArpeggios}:
3269 @lilypond[fragment,relative,verbatim]
3270 \context PianoStaff <<
3271 \property PianoStaff.connectArpeggios = ##t
3272 \new Staff { <c' e g c>\arpeggio }
3273 \new Staff { \clef bass <c,, e g>\arpeggio }
3277 The direction of the arpeggio is sometimes denoted by adding an
3278 arrowhead to the wiggly line. This can be typeset by setting
3279 @code{arpeggio-direction}:
3281 @lilypond[fragment,relative,verbatim]
3283 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3285 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3290 A square bracket on the left indicates that the player should not
3291 arpeggiate the chord. To draw these brackets, set the
3292 @code{molecule-callback} property of @code{Arpeggio} or
3293 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3294 @code{\arpeggio} statements within the chords as before:
3296 @lilypond[fragment,relative,verbatim]
3297 \property PianoStaff.Arpeggio \override
3298 #'molecule-callback = \arpeggioBracket
3304 @cindex @code{\arpeggioBracket}
3305 @code{\arpeggioBracket},
3306 @cindex @code{\arpeggio}
3311 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3312 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3313 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3317 It is not possible to mix connected arpeggios and unconnected
3318 arpeggios in one @internalsref{PianoStaff} at the same time.
3320 @node Staff switch lines
3321 @subsection Staff switch lines
3324 @cindex follow voice
3325 @cindex staff switching
3328 @cindex @code{followVoice}
3330 Whenever a voice switches to another staff a line connecting the notes
3331 can be printed automatically. This is enabled if the property
3332 @code{PianoStaff.followVoice} is set to true:
3334 @lilypond[fragment,relative,verbatim]
3335 \context PianoStaff <<
3336 \property PianoStaff.followVoice = ##t
3337 \context Staff \context Voice {
3342 \context Staff=two { \clef bass \skip 1*2 }
3346 The associated object is @internalsref{VoiceFollower}.
3350 @cindex @code{\showStaffSwitch}
3351 @code{\showStaffSwitch},
3352 @cindex @code{\hideStaffSwitch}
3353 @code{\hideStaffSwitch}.
3357 @section Vocal music
3359 This section discusses how to enter and print lyrics.
3363 * The Lyrics context::
3368 @node Entering lyrics
3369 @subsection Entering lyrics
3373 @cindex @code{\lyrics}
3376 Lyrics are entered in a special input mode. This mode is is introduced
3377 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3378 punctuation and accents without any hassle. Syllables are entered like
3379 notes, but with pitches replaced by text. For example,
3381 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3384 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3385 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3386 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3387 any 8-bit character with ASCII code over 127, or a two-character
3388 combination of a backslash followed by one of @code{`}, @code{'},
3389 @code{"}, or @code{^}.
3391 Subsequent characters of a word can be any character that is not a digit
3392 and not white space. One important consequence of this is that a word
3393 can end with @code{@}}. The following example is usually a bug. The
3394 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3396 \lyrics @{ twinkle@}
3399 @cindex @code{\property}, in @code{\lyrics}
3400 Similarly, a period following a alphabetic sequence, is included in the
3401 resulting string. As a consequence, spaces must be inserted around
3402 @code{\property} commands:
3404 \property Lyrics . LyricText \set #'font-shape = #'italic
3408 @cindex spaces, in lyrics
3409 @cindex quotes, in lyrics
3411 Any @code{_} character which appears in an unquoted word is converted
3412 to a space. This provides a mechanism for introducing spaces into words
3413 without using quotes. Quoted words can also be used in Lyrics mode to
3414 specify words that cannot be written with the above rules:
3417 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3421 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3426 These will be attached to the end of the first syllable.
3428 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3429 as a separate word between syllables. The hyphen will have variable
3430 length depending on the space between the syllables and it will be
3431 centered between the syllables.
3436 When a lyric is sung over many notes (this is called a melisma), this is
3437 indicated with a horizontal line centered between a syllable and the
3438 next one. Such a line is called an extender line, and it is entered as
3443 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3444 @internalsref{ExtenderEvent}.
3448 The definition of lyrics mode is too complex.
3450 @node The Lyrics context
3451 @subsection The Lyrics context
3453 Lyrics are printed by interpreting them in @internalsref{LyricsVoice} context:
3455 \context LyricsVoice \lyrics @dots{}
3458 @cindex automatic syllable durations
3459 @cindex @code{\lyricsto}
3460 @cindex lyrics and melodies
3462 This will place the lyrics according to the durations that were
3463 entered. The lyrics can also be aligned under a given melody
3464 automatically. In this case, it is no longer necessary to enter the
3465 correct duration for each syllable. This is achieved by combining the
3466 melody and the lyrics with the @code{\lyricsto} expression:
3468 \lyricsto @var{name} \new LyricsVoice @dots{}
3471 This aligns the lyrics to the notes of the @internalsref{Voice}
3472 context called @var{name}, which has to exist. Therefore, normally
3473 the @code{Voice} is specified first, and then the lyrics are specified
3474 with @code{\lyricsto}.
3476 For different or more complex orderings, the best way is to setup the
3477 hierarchy of staves and lyrics first, e.g.
3479 \context ChoirStaff \notes <<
3480 \context LyricsVoice = sopranoLyrics @{ s1 @}
3481 \context Voice = soprano @{ @emph{music} @}
3482 \context LyricsVoice = tenor @{ s1 @}
3483 \context Voice = tenorLyrics @{ @emph{music} @}
3486 and then combine the appropriate melodies and lyric lines:
3488 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3491 An example is in @inputfileref{input/template,satb.ly}.
3493 When multiple stanzas are put on the same melody, it can happen that
3494 two stanzas have melismata in different locations. This can be
3495 remedied by switching off melismata for one
3496 @internalsref{LyricsVoice}. This is achieved by setting
3497 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3498 in @inputfileref{input/regression,lyric-combine-new.ly}.
3502 @cindex choral score
3504 A complete example of a SATB score setup is in the file
3505 @inputfileref{input/template,satb.ly}.
3509 Internals: @internalsref{LyricCombineMusic}, @internalsref{Lyrics}
3511 Examples: @inputfileref{input/template,satb.ly},
3512 @inputfileref{input/regression,lyric-combine-new.ly}.
3516 Melismata are not detected automatically, and must be inserted by hand.
3520 @subsection More stanzas
3522 @cindex phrasing, in lyrics
3525 The lyrics should be aligned with the note heads of the melody. To
3526 achieve this, each line of lyrics should be marked to correspond with
3529 To this end, give the @internalsref{Voice} context an identity:
3531 \context Voice = duet @{
3536 Then set the @internalsref{LyricsVoice} contexts to names starting with
3537 that identity followed by a dash. In the preceding example, the
3538 @internalsref{Voice} identity is @code{duet}, so the identities of the
3539 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3541 \context LyricsVoice = "duet-1" @{
3542 Hi, my name is bert. @}
3543 \context LyricsVoice = "duet-2" @{
3544 Ooooo, ch\'e -- ri, je t'aime. @}
3547 The complete example is shown here:
3548 @lilypond[singleline,verbatim]
3550 << \notes \relative c'' \context Voice = duet { \time 3/4
3552 \lyrics << \lyricsto "duet" \new LyricsVoice {
3553 \property LyricsVoice . stanza = "1"
3554 Hi, my name is bert. }
3555 \lyricsto "duet" \new LyricsVoice {
3556 \property LyricsVoice . stanza = "2"
3557 Ooooo, ch\'e -- ri, je t'aime. }
3562 @cindex stanza number
3563 @cindex singer's names
3564 @cindex name of singer
3566 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3569 \property LyricsVoice . stanza = "Bert"
3571 \property LyricsVoice . stanza = "Ernie"
3574 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3575 prevent @code{LyricsVoice.stanza} being interpreted as a single
3578 Names of the singers should be added using @code{LyricsVoice
3579 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3580 annotations for staves.
3582 To make empty spaces in lyrics, use @code{\skip}.
3590 Input for lyrics introduces a syntactical ambiguity:
3597 is interpreted as assigning a string identifier @code{\foo} such that
3598 it contains @code{"bar"}. However, it could also be interpreted as
3599 making or a music identifier @code{\foo} containing the syllable
3600 `bar'. The force the latter interpretation, use
3610 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3611 for a given voice in a part of music. It also may denote the pitch
3612 range that a musical instrument is capable of playing. Most musical
3613 instruments have their ambitus standardized (or at least there is
3614 agreement upon the minimal ambitus of a particular type of
3615 instrument), such that a composer or arranger of a piece of music can
3616 easily meet the ambitus constraints of the targeted instrument.
3617 However, the ambitus of the human voice depends on individual
3618 physiological state, including education and training of the voice.
3619 Therefore, a singer potentially has to check for each piece of music
3620 if the ambitus of that piece meets his individual capabilities. This
3621 is why the ambitus of a piece may be of particular value to vocal
3624 The ambitus is typically notated on a per-voice basis at the very
3625 beginning of a piece, e.g. nearby the initial clef or time signature of
3626 each staff. The range is graphically specified by two noteheads, that
3627 represent the minimum and maximum pitch. Some publishers use a textual
3628 notation: they put the range in words in front of the corresponding
3629 staff. LilyPond only supports the graphical ambitus notation.
3631 To apply, add the @internalsref{Ambitus_engraver} to the
3632 @internalsref{Voice} context, i.e.
3638 \consists Ambitus_engraver
3643 This results in the following output:
3644 @lilypond[singleline]
3645 upper = \notes \relative c {
3648 as'' c e2 bes f cis d4 e f2 g
3650 lower = \notes \relative c {
3653 e'4 b g a c es fis a cis b a g f e d2
3656 \context ChoirStaff {
3658 \new Staff { \upper }
3659 \new Staff { \lower }
3665 \consists Ambitus_engraver
3671 If you have multiple voices in a single staff, and you want a single
3672 ambitus per staff rather than per each voice, then add the
3673 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3674 rather than to the @internalsref{Voice} context.
3676 It is possible to tune individual ambituses for multiple voices on a
3677 single staff, for example by erasing or shifting them horizontally. An
3678 example is in @inputfileref{input/test,ambitus-mixed.ly}
3682 Internals: @internalsref{Ambitus}
3684 Examples: @inputfileref{input/regression,ambitus.ly},
3685 @inputfileref{input/test,ambitus-mixed.ly}.
3689 There is no collision handling in the case of multiple per-voice
3695 Tablature notation is used for notating music for plucked string
3696 instruments. It notates pitches not by using note heads, but by
3697 indicating on which string and fret a note must be played. LilyPond
3698 offers limited support for tablature.
3701 * Tablatures basic::
3702 * Non-guitar tablatures::
3705 @node Tablatures basic
3706 @subsection Tablatures basic
3707 @cindex Tablatures basic
3709 The string number associated to a note is given as a backslash
3710 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3711 string. By default, string 1 is the highest one, and the tuning
3712 defaults to the standard guitar tuning (with 6 strings). The notes
3713 are printed as tablature, by using @internalsref{TabStaff} and
3714 @internalsref{TabVoice} contexts:
3716 @lilypond[fragment,verbatim]
3717 \notes \context TabStaff {
3725 When no string is specified, the first string that does not give a
3726 fret number less than @code{minimumFret} is selected. The default
3727 value for @code{minimumFret} is 0:
3731 e8 fis gis a b cis' dis' e'
3732 \property TabStaff.minimumFret = #8
3733 e8 fis gis a b cis' dis' e'
3738 e8 fis gis a b cis' dis' e'
3739 \property TabStaff.minimumFret = #8
3740 e8 fis gis a b cis' dis' e'
3743 \context StaffGroup <<
3744 \context Staff { \clef "G_8" \frag }
3745 \context TabStaff { \frag }
3752 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3753 @internalsref{StringNumberEvent}.
3757 Chords are not handled in a special way, and hence the automatic
3758 string selector may easily select the same string to two notes in a
3762 @node Non-guitar tablatures
3763 @subsection Non-guitar tablatures
3764 @cindex Non-guitar tablatures
3766 You can change the number of strings, by setting the number of lines
3767 in the @internalsref{TabStaff}.
3769 You can change the tuning of the strings. A string tuning is given as
3770 a Scheme list with one integer number for each string, the number
3771 being the pitch (measured in semitones relative to central C) of an
3772 open string. The numbers specified for @code{stringTuning} are the
3773 numbers of semitones to subtract or add, starting the specified pitch
3774 by default middle C, in string order. Thus, the notes are e, a, d, and
3777 @lilypond[fragment,verbatim]
3778 \context TabStaff <<
3779 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3782 a,4 c' a e' e c' a e'
3787 It is possible to change the Scheme function to format the tablature
3788 note text. The default is @code{fret-number-tablature-format}, which
3789 uses the fret number. For instruments that do not use this notation,
3790 you can create a special tablature formatting function. This function
3791 takes three argument: string number, string tuning and note pitch.
3795 No guitar special effects have been implemented.
3800 @section Chord names
3803 LilyPond has support for both printing chord names. Chords may be
3804 entered in musical chord notation, i.e. @code{< .. >}, but they can
3805 also be entered by name. Internally, the chords are represented as a
3806 set of pitches, so they can be transposed:
3809 @lilypond[verbatim,singleline]
3810 twoWays = \notes \transpose c c' {
3820 << \context ChordNames \twoWays
3821 \context Voice \twoWays >> }
3824 This example also shows that the chord printing routines do not try to
3825 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3831 * Printing chord names::
3836 @subsection Chords mode
3839 Chord mode is a mode where you can input sets of pitches using common
3840 names. It is introduced by the keyword @code{\chords}.
3841 In chords mode, a chord is entered by the root, which is entered
3842 like a common pitch:
3843 @lilypond[fragment,verbatim,quote, relative=1]
3844 \chords { es4. d8 c2 }
3849 Other chords may be entered by suffixing a colon, and introducing a
3850 modifier, and optionally, a number:
3852 @lilypond[fragment,verbatim,quote]
3853 \chords { e1:m e1:7 e1:m7 }
3855 The first number following the root is taken to be the `type' of the
3856 chord, thirds are added to the root until it reaches the specified
3858 @lilypond[fragment,verbatim]
3859 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3862 @cindex root of chord
3863 @cindex additions, in chords
3864 @cindex removals, in chords
3866 More complex chords may also be constructed adding separate steps
3867 to a chord. Additions are added after the number following
3868 the colon, and are separated by dots:
3870 @lilypond[verbatim,fragment,quote]
3871 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3873 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3875 @lilypond[verbatim,fragment,quote]
3876 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3878 Removals are specified similarly, and are introduced by a caret. They
3879 must come after the additions:
3880 @lilypond[verbatim,fragment]
3881 \chords { c^3 c:7^5 c:9^3.5 }
3884 Modifiers can be used to change pitches. The following modifiers are
3888 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3890 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3893 is the augmented chord. This modifier raises the 5th step.
3895 is the major 7th chord. This modifier raises the 7th step if present.
3897 is the suspended 4th or 2nd. This modifier removes the 3rd
3898 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3901 Modifiers can be mixed with additions:
3902 @lilypond[verbatim,fragment]
3903 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3906 @cindex modifiers, in chords.
3913 Since an unaltered 11 does not sound good when combined with an
3914 unaltered 13, the 11 is removed in this case (unless it is added
3917 @lilypond[fragment,verbatim]
3918 \chords { c:13 c:13.11 c:m13 }
3923 An inversion (putting one pitch of the chord on the bottom), as well
3924 as bass notes, can be specified by appending
3925 @code{/}@var{pitch} to the chord:
3926 @lilypond[fragment,verbatim,center]
3927 \chords { c1 c/g c/f }
3931 A bass note can be added instead of transposed out of the chord,
3932 by using @code{/+}@var{pitch}.
3934 @lilypond[fragment,verbatim,center]
3935 \chords { c1 c/+g c/+f }
3938 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3939 of the commands continue to work, for example, @code{r} and
3940 @code{\skip} can be used to insert rests and spaces, and
3941 @code{\property} may be used to change various settings.
3947 Each step can only be present in a chord once. The following
3948 simply produces the augmented chord, since @code{5+} is interpreted
3951 @lilypond[verbatim,fragment]
3952 \chords { c:5.5-.5+ }
3956 @node Printing chord names
3957 @subsection Printing chord names
3959 @cindex printing chord names
3963 For displaying printed chord names, use the @internalsref{ChordNames} context.
3964 The chords may be entered either using the notation
3965 described above, or directly using @code{<} and @code{>}:
3967 @lilypond[verbatim,singleline]
3969 \chords {a1 b c} <d' f' a'> <e' g' b'>
3973 \context ChordNames \scheme
3974 \context Staff \scheme
3979 You can make the chord changes stand out by setting
3980 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3981 display chord names when there is a change in the chords scheme and at
3982 the start of a new line:
3984 @lilypond[verbatim, linewidth=9cm]
3986 c1:m c:m \break c:m c:m d
3990 \context ChordNames {
3991 \property ChordNames.chordChanges = ##t
3993 \context Staff \transpose c c' \scheme
3998 The default chord name layout is a system for Jazz music, proposed by
3999 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4000 following properties:
4003 @cindex chordNameExceptions
4004 @item chordNameExceptions
4005 This is a list that contains the chords that have special formatting.
4007 @inputfileref{input/regression,chord-name-exceptions.ly}.
4008 @cindex exceptions, chord names.
4011 @cindex majorSevenSymbol
4012 @item majorSevenSymbol
4013 This property contains the markup object used for the 7th step, when
4014 it is major. Predefined options are @code{whiteTriangleMarkup} and
4015 @code{blackTriangleMarkup}. See
4016 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4018 @cindex chordNameSeparator
4019 @item chordNameSeparator
4020 Different parts of a chord name are normally separated by a
4021 slash. By setting @code{chordNameSeparator}, you can specify other
4023 @lilypond[fragment,verbatim]
4024 \context ChordNames \chords {
4026 \property ChordNames.chordNameSeparator
4027 = \markup { \typewriter "|" }
4031 @cindex chordRootNamer
4032 @item chordRootNamer
4033 The root of a chord is usually printed as a letter with an optional
4034 alteration. The transformation from pitch to letter is done by this
4035 function. Special note names (for example, the German ``H'' for a
4036 B-chord) can be produced by storing a new function in this property.
4038 The pre-defined variables @code{\germanChords},
4039 @code{\semiGermanChords} set these variables.
4042 @cindex chordNoteNamer
4043 @item chordNoteNamer
4044 The default is to print single pitch, e.g. the bass note, using the
4045 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4046 to a specialized function to change this behavior. For example, the
4047 base can be printed in lower case.
4052 There are also two other chord name schemes implemented: an alternate
4053 Jazz chord notation, and a systematic scheme called Banter chords. The
4054 alternate jazz notation is also shown on the chart in @ref{Chord name
4055 chart}. Turning on these styles is described in the input file
4056 @inputfileref{input/test,chord-names-jazz.ly}.
4060 @cindex chords, jazz
4065 @cindex @code{\germanChords}
4066 @code{\germanChords},
4067 @cindex @code{\semiGermanChords}
4068 @code{\semiGermanChords}.
4075 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4076 @inputfileref{input/regression,chord-name-exceptions.ly},
4077 @inputfileref{input/test,chord-names-jazz.ly},
4078 @inputfileref{input/test,chord-names-german.ly}.
4080 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4085 Chord names are determined solely from the list of pitches. Chord
4086 inversions are not identified, and neither are added bass notes. This
4087 may result in strange chord names when chords are entered with the
4088 @code{< .. >} syntax.
4093 @node Orchestral music
4094 @section Orchestral music
4096 @cindex Writing parts
4098 Orchestral music involves some special notation, both in the full
4099 score and the individual parts. This section explains how to tackle
4100 some common problems in orchestral music.
4105 * Multiple staff contexts::
4108 * Instrument names::
4110 * Multi measure rests::
4111 * Automatic part combining::
4113 * Different editions from one source::
4114 * Sound output for transposing instruments::
4117 @node Multiple staff contexts
4118 @subsection Multiple staff contexts
4120 Polyphonic scores consist of many staves. These staves can be
4121 constructed in three different ways:
4123 @item The group is started with a brace at the left. This is done with the
4124 @internalsref{GrandStaff} context.
4125 @item The group is started with a bracket. This is done with the
4126 @internalsref{StaffGroup} context
4127 @item The group is started with a vertical line. This is the default
4131 @cindex Staff, multiple
4132 @cindex bracket, vertical
4133 @cindex brace, vertical
4140 @node Rehearsal marks
4141 @subsection Rehearsal marks
4142 @cindex Rehearsal marks
4144 @cindex @code{\mark}
4146 To print a rehearsal mark, use the @code{\mark} command:
4147 @lilypond[fragment,verbatim]
4158 (The letter I is skipped in accordance with engraving traditions.)
4160 The mark is incremented automatically if you use @code{\mark
4161 \default}, but you can also use an integer argument to set the mark
4162 manually. The value to use is stored in the property
4163 @code{rehearsalMark}.
4165 The style is defined by the property @code{markFormatter}. It is a
4166 function taking the current mark (an integer) and the current context
4167 as argument. It should return a markup object. In the following
4168 example, @code{markFormatter} is set to a canned procedure. After a
4169 few measures, it is set to function that produces a boxed number.
4171 @lilypond[verbatim,fragment,relative 1]
4172 \property Score.markFormatter = #format-mark-numbers
4175 \property Score.markFormatter
4176 = #(lambda (mark context)
4177 (make-bold-markup (make-box-markup (number->string mark))))
4182 The file @file{scm/translation-functions.scm} contains the definitions
4183 of @code{format-mark-numbers} (the default format) and
4184 @code{format-mark-letters}. They can be used as inspiration for other
4185 formatting functions.
4188 @cindex coda on bar line
4189 @cindex segno on bar line
4190 @cindex fermata on bar line
4191 @cindex bar lines, symbols on
4193 The @code{\mark} command can also be used to put signs like coda,
4194 segno and fermatas on a barline. Use @code{\markup} to
4195 to access the appropriate symbol:
4197 @lilypond[fragment,verbatim,relative=1]
4198 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4202 In this case, during line breaks, marks must also be printed at the
4203 end of the line, and not at the beginning. Use the following to force
4206 \property Score.RehearsalMark \override
4207 #'break-visibility = #begin-of-line-invisible
4213 @cindex barlines, putting symbols on
4217 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4219 Init files: @file{scm/translation-functions.scm} contains the
4220 definition of @code{format-mark-numbers} and
4221 @code{format-mark-letters}. They can be used as inspiration for other
4222 formatting functions.
4224 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4225 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4229 @subsection Bar numbers
4233 @cindex measure numbers
4234 @cindex currentBarNumber
4236 Bar numbers are printed by default at the start of the line. The
4237 number itself is stored in the
4238 @code{currentBarNumber} property,
4239 which is normally updated automatically for every measure.
4241 Bar numbers can be typeset at regular intervals instead of at the
4242 beginning of each line. This is illustrated in the following example,
4243 whose source is available as
4244 @inputfileref{input/test,bar-number-regular-interval.ly}:
4246 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4251 Internals: @internalsref{BarNumber}.
4253 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4254 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4258 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4259 there is one at the top. To solve this, the
4260 @code{padding} property of @internalsref{BarNumber} can be
4261 used to position the number correctly.
4263 @node Instrument names
4264 @subsection Instrument names
4266 In an orchestral score, instrument names are printed left side of the
4269 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4270 and @internalsref{Staff}.@code{instr}. This will print a string before
4271 the start of the staff. For the first start, @code{instrument} is
4272 used, for the next ones @code{instr} is used:
4275 @lilypond[verbatim,singleline]
4276 \property Staff.instrument = "ploink " { c''4 }
4280 You can also use markup texts to construct more complicated instrument
4284 @lilypond[fragment,verbatim,singleline]
4286 \property Staff.instrument = \markup {
4287 \column < "Clarinetti"
4289 \smaller \musicglyph #"accidentals--1"
4300 Internals: @internalsref{InstrumentName}.
4304 When you put a name on a grand staff or piano staff the width of the
4305 brace is not taken into account. You must add extra spaces to the end of
4306 the name to avoid a collision.
4309 @subsection Transpose
4311 @cindex transposition of pitches
4312 @cindex @code{\transpose}
4314 A music expression can be transposed with @code{\transpose}. The syntax
4317 \transpose @var{from} @var{to} @var{musicexpr}
4320 This means that @var{musicexpr} is transposed by the interval
4321 between the pitches @var{from} and @var{to}.
4322 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4323 inside a @code{\notes} section.
4325 @code{\transpose} distinguishes between enharmonic pitches: both
4326 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4327 half a tone. The first version will print sharps and the second
4328 version will print flats:
4330 @lilypond[singleline, verbatim]
4331 mus =\notes { \key d \major cis d fis g }
4332 \score { \notes \context Staff {
4335 \transpose c g' \mus
4336 \transpose c f' \mus
4343 Internals: @internalsref{TransposedMusic}, and
4344 @internalsref{UntransposableMusic}.
4348 If you want to use both @code{\transpose} and @code{\relative}, then
4349 you must put @code{\transpose} outside of @code{\relative}, since
4350 @code{\relative} will have no effect music that appears inside a
4356 @node Multi measure rests
4357 @subsection Multi measure rests
4358 @cindex multi measure rests
4359 @cindex Rests, multi measure
4363 Multi measure rests are entered using `@code{R}'. It is specifically
4364 meant for full bar rests and for entering parts: the rest can expand
4365 to fill a score with rests, or it can be printed as a single
4366 multimeasure rest. This expansion is controlled by the property
4367 @code{Score.skipBars}. If this is set to true, empty measures will not
4368 be expanded, and the appropriate number is added automatically:
4370 @lilypond[fragment,verbatim]
4371 \time 4/4 r1 | R1 | R1*2
4372 \property Score.skipBars = ##t R1*17 R1*4
4375 The @code{1} in @code{R1} is similar to the duration notation used for
4376 notes. Hence, for time signatures other than 4/4, you must enter other
4377 durations. This can be done with augmentation dots or fractions:
4379 @lilypond[fragment,verbatim]
4380 \property Score.skipBars = ##t
4388 An @code{R} spanning a single measure is printed as either a whole rest
4389 or a breve, centered in the measure regardless of the time signature.
4391 @cindex text on multi-measure rest
4392 @cindex script on multi-measure rest
4393 @cindex fermata on multi-measure rest
4395 Texts can be added to multi-measure rests by using the
4396 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4397 replaced. If you need both texts and the number, you must add the
4398 number by hand. A variable (@code{\fermataMarkup}) is provided for
4402 @lilypond[verbatim,fragment]
4404 R2._\markup { "Ad lib" }
4408 If you want to have a text on the left end of a multi-measure rest,
4409 attach the text to a zero-length skip note, i.e.
4417 @cindex whole rests for a full measure
4421 Internals: @internalsref{MultiMeasureRestEvent},
4422 @internalsref{MultiMeasureTextEvent},
4423 @internalsref{MultiMeasureRestMusicGroup}, and
4424 @internalsref{MultiMeasureRest}.
4426 The layout object @internalsref{MultiMeasureRestNumber} is for the
4427 default number, and @internalsref{MultiMeasureRestText} for user
4432 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4433 over multi-measure rests.
4435 @cindex condensing rests
4437 There is no way to automatically condense multiple rests into a single
4438 multimeasure rest. Multi measure rests do not take part in rest
4441 Be careful when entering multimeasure rests followed by whole
4442 notes. The following will enter two notes lasting four measures each:
4446 When @code{skipBars} is set, then the result will look OK, but the
4447 bar numbering will be off.
4449 @node Automatic part combining
4450 @subsection Automatic part combining
4451 @cindex automatic part combining
4452 @cindex part combiner
4455 Automatic part combining is used to merge two parts of music onto a
4456 staff. It is aimed at typesetting orchestral scores. When the two
4457 parts are identical for a period of time, only one is shown. In
4458 places where the two parts differ, they are typeset as separate
4459 voices, and stem directions are set automatically. Also, solo and
4460 @emph{a due} parts are identified and can be marked.
4464 The syntax for part combining is
4467 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4469 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4470 combined into one context of type @var{context}. The music expressions
4471 must be interpreted by contexts whose names should start with @code{one}
4474 The following example demonstrates the basic functionality of the part
4475 combiner: putting parts on one staff, and setting stem directions and
4478 @lilypond[verbatim,singleline,fragment]
4480 \context Voice=one \partcombine Voice
4481 \context Thread=one \relative c'' {
4484 \context Thread=two \relative c'' {
4490 The first @code{g} appears only once, although it was
4491 specified twice (once in each part). Stem, slur and tie directions are
4492 set automatically, depending whether there is a solo or unisono. The
4493 first part (with context called @code{one}) always gets up stems, and
4494 `solo', while the second (called @code{two}) always gets down stems and
4497 If you just want the merging parts, and not the textual markings, you
4498 may set the property @var{soloADue} to false:
4500 @lilypond[verbatim,singleline,fragment]
4502 \property Staff.soloADue = ##f
4503 \context Voice=one \partcombine Voice
4504 \context Thread=one \relative c'' {
4507 \context Thread=two \relative c'' {
4515 Internals: @internalsref{PartCombineMusic},
4516 @internalsref{Thread_devnull_engraver}, and
4517 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4521 The syntax for naming contexts in inconsistent with the syntax for
4524 In @code{soloADue} mode, when the two voices play the same notes on and
4525 off, the part combiner may typeset @code{a2} more than once in a
4528 @lilypond[fragment,singleline]
4530 \context Voice=one \partcombine Voice
4531 \context Thread=one \relative c'' {
4534 \context Thread=two \relative c'' {
4540 The part combiner is rather buggy, and it will be replaced by a better
4541 mechanism in the near future.
4543 @cindex @code{Thread_devnull_engraver}
4544 @cindex @code{Voice_engraver}
4545 @cindex @code{A2_engraver}
4548 @subsection Hiding staves
4550 @cindex Frenched scores
4551 @cindex Hiding staves
4553 In orchestral scores, staff lines that only have rests are usually
4554 removed. This saves some space. This style is called `French Score'.
4555 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4556 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4557 switched on by default. When these line of these contexts turn out
4558 empty after the line-breaking process, they are removed.
4560 For normal staves, a specialized @internalsref{Staff} context is
4561 available, which does the same: staves containing nothing (or only
4562 multi measure rests) are removed. The context definition is stored in
4563 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4564 in this example disappears in the second line:
4569 \notes \relative c' <<
4570 \new Staff { e4 f g a \break c1 }
4571 \new Staff { c4 d e f \break R1 }
4575 \translator { \RemoveEmptyStaffContext }
4580 The first page shows all staffs in full. If they should be removed
4581 from the first page too, set @code{remove-first} to false
4582 in @internalsref{RemoveEmptyVerticalGroup}.
4584 @node Different editions from one source
4585 @subsection Different editions from one source
4587 The @code{\tag} command marks music expressions with a name. These
4588 tagged expressions can be filtered out later. With this mechanism it
4589 is possible to make different versions of the same music source.
4591 In the following example, we see two versions of a piece of music, one
4592 for the full score, and one with cue notes for the instrumental part:
4600 \property Voice.fontSize = #-1
4608 The same can be applied to articulations, texts, etc.: they are
4611 -\tag #@var{your-tag}
4613 to an articulation, for example,
4618 This defines a note with a conditional fingering indication.
4620 By applying the @code{remove-tag} function, tagged expressions can be
4621 filtered. For example,
4625 \apply #(remove-tag 'score) @var{the music}
4626 \apply #(remove-tag 'part) @var{the music}
4631 @lilypondfile[notexidoc]{tag-filter.ly}
4633 The argument of the @code{\tag} command should be a symbol, or a list
4634 of symbols, for example,
4636 \tag #'(original-part transposed-part) @dots{}
4641 Examples: @inputfileref{input/regression,tag-filter.ly}
4644 @node Sound output for transposing instruments
4645 @subsection Sound output for transposing instruments
4647 When you want to make a MIDI file from a score containing transposed
4648 and untransposed instruments, you have to instruct LilyPond the pitch
4649 offset (in semitones) for the transposed instruments. This is done
4650 using the @code{transposing} property. It does not affect printed
4653 @cindex @code{transposing}
4656 \property Staff.instrument = #"Cl. in B-flat"
4657 \property Staff.transposing = #-2
4661 @node Ancient notation
4662 @section Ancient notation
4664 @cindex Vaticana, Editio
4665 @cindex Medicaea, Editio
4670 @c [TODO: write more comprehensive introduction on ancient notation]
4672 Support for ancient notation is still under heavy development.
4673 Regardless of all of the current limitations (see the bugs section
4674 below for details), it includes features for mensural
4675 notation and Gregorian Chant notation. There is also limited support
4676 for figured bass notation.
4678 Many graphical objects provide a @code{style} property, see
4679 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4680 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4681 signatures}. By manipulating such a grob property, the typographical
4682 appearance of the affected graphical objects can be accomodated for a
4683 specific notation flavour without need for introducing any new
4687 Other aspects of ancient notation can not that easily be expressed as
4688 in terms of just changing a style property of a graphical object.
4689 Therefore, some notational concepts are introduced specifically for
4690 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4691 @ref{Ligatures}, and @ref{Figured bass}.
4695 * Ancient note heads::
4696 * Ancient accidentals::
4700 * Ancient time signatures::
4705 * Vaticana style contexts::
4708 If this all is way too much of documentation for you, and you just
4709 want to dive into typesetting without worrying too much about the
4710 details on how to customize a context, then you may have a look at the
4711 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4712 set up predefined style-specific voice and staff contexts, and
4713 directly go ahead with the note entry.
4717 Ligatures need special spacing that has not yet been implemented. As
4718 a result, there is too much space between ligatures most of the time,
4719 and line breaking often is unsatisfactory. Also, lyrics do not
4720 correctly align with ligatures.
4722 Accidentals must not be printed within a ligature, but instead need to
4723 be collected and printed in front of it.
4725 Augmentum dots within ligatures are not handled correctly.
4728 @node Ancient note heads
4729 @subsection Ancient note heads
4735 For ancient notation, a note head style other than the @code{default}
4736 style may be chosen. This is accomplished by setting the @code{style}
4737 property of the NoteHead object to the desired value (@code{baroque},
4738 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4739 differs from the @code{default} style only in using a square shape for
4740 @code{\breve} note heads. The @code{neo_mensural} style differs from
4741 the @code{baroque} style in that it uses rhomboidal heads for whole
4742 notes and all smaller durations. Stems are centered on the note
4743 heads. This style is in particular useful when transcribing mensural
4744 music, e.g. for the incipit. The @code{mensural} style finally
4745 produces note heads that mimick the look of note heads in historic
4746 printings of the 16th century.
4748 The following example demonstrates the @code{neo_mensural} style:
4750 @lilypond[fragment,singleline,verbatim]
4751 \property Voice.NoteHead \set #'style = #'neo_mensural
4752 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4755 When typesetting a piece in Gregorian Chant notation, a Gregorian
4756 ligature engraver will automatically select the proper note heads,
4757 such there is no need to explicitly set the note head style. Still,
4758 the note head style can be set e.g. to @code{vaticana_punctum} to
4759 produce punctum neumes. Similarly, a mensural ligature engraver is
4760 used to automatically assemble mensural ligatures. See
4761 @ref{Ligatures} for how ligature engravers work.
4766 @ref{Percussion staves} use note head styles of their own that are
4767 frequently used in contemporary music notation.
4769 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4770 overview over all available note head styles.
4773 @node Ancient accidentals
4774 @subsection Ancient accidentals
4780 Use the @code{style} property of grob @internalsref{Accidental} to
4781 select ancient accidentals. Supported styles are
4782 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4784 @lilypond[singleline,26pt]
4792 { " " \musicglyph #"accidentals-vaticana-1"
4793 " " \musicglyph #"accidentals-vaticana0" }
4797 { " " \musicglyph #"accidentals-medicaea-1" }
4801 { " " \musicglyph #"accidentals-hufnagel-1" }
4805 { " " \musicglyph #"accidentals-mensural-1"
4806 " " \musicglyph #"accidentals-mensural1" }
4815 \remove "Bar_number_engraver"
4819 \remove "Clef_engraver"
4820 \remove "Key_engraver"
4821 \remove "Time_signature_engraver"
4822 \remove "Staff_symbol_engraver"
4823 minimumVerticalExtent = ##f
4829 As shown, not all accidentals are supported by each style. When
4830 trying to access an unsupported accidental, LilyPond will switch to a
4831 different style, as demonstrated in
4832 @inputfileref{input/test,ancient-accidentals.ly}.
4834 Similarly to local accidentals, the style of the key signature can be
4835 controlled by the @code{style} property of the
4836 @internalsref{KeySignature} grob.
4840 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4841 @ref{Accidentals} give a general introduction into the use of
4842 accidentals. @ref{Key signature} gives a general introduction into
4843 the use of key signatures.
4845 Internals: @internalsref{KeySignature}
4847 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4850 @subsection Ancient rests
4856 Use the @code{style} property of grob @internalsref{Rest} to select
4857 ancient accidentals. Supported styles are @code{classical},
4858 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4859 from the @code{default} style only in that the quarter rest looks like
4860 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4861 well for e.g. the incipit of a transcribed mensural piece of music.
4862 The @code{mensural} style finally mimicks the appearance of rests as
4863 in historic prints of the 16th century.
4865 The following example demonstrates the @code{neo_mensural} style:
4867 @lilypond[fragment,singleline,verbatim]
4868 \property Voice.Rest \set #'style = #'neo_mensural
4869 r\longa r\breve r1 r2 r4 r8 r16
4872 There are no 32th and 64th rests specifically for the mensural or
4873 neo-mensural style. Instead, the rests from the default style will be
4874 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4877 There are no rests in Gregorian Chant notation; instead, it uses
4882 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4886 @subsection Ancient clefs
4892 LilyPond supports a variety of clefs, many of them ancient.
4894 The following table shows all ancient clefs that are supported via the
4895 @code{\clef} command. Some of the clefs use the same glyph, but
4896 differ only with respect to the line they are printed on. In such
4897 cases, a trailing number in the name is used to enumerate these clefs.
4898 Still, you can manually force a clef glyph to be typeset on an
4899 arbitrary line, as described in @ref{Clef}. The note printed to the
4900 right side of each clef in the example column denotes the @code{c'}
4901 with respect to that clef.
4903 @multitable @columnfractions .3 .3 .3 .1
4907 @b{Description} @tab
4908 @b{Supported Clefs} @tab
4912 @code{clefs-neo_mensural_c} @tab
4913 modern style mensural C clef @tab
4914 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4915 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4916 @lilypond[relative 0, notime]
4917 \property Staff.TimeSignature \set #'transparent = ##t
4918 \clef "neo_mensural_c2" c
4922 @code{clefs-petrucci_c1}
4923 @code{clefs-petrucci_c2}
4924 @code{clefs-petrucci_c3}
4925 @code{clefs-petrucci_c4}
4926 @code{clefs-petrucci_c5}
4929 petrucci style mensural C clefs, for use on different stafflines
4930 (the examples shows the 2nd staffline C clef).
4940 @lilypond[relative 0, notime]
4941 \property Staff.TimeSignature \set #'transparent = ##t
4942 \clef "petrucci_c2" c
4946 @code{clefs-petrucci_f} @tab
4947 petrucci style mensural F clef @tab
4948 @code{petrucci_f} @tab
4949 @lilypond[relative 0, notime]
4950 \property Staff.TimeSignature \set #'transparent = ##t
4951 \clef "petrucci_f" c
4955 @code{clefs-petrucci_g} @tab
4956 petrucci style mensural G clef @tab
4957 @code{petrucci_g} @tab
4958 @lilypond[relative 0, notime]
4959 \property Staff.TimeSignature \set #'transparent = ##t
4960 \clef "petrucci_g" c
4964 @code{clefs-mensural_c} @tab
4965 historic style mensural C clef @tab
4966 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4967 @code{mensural_c4} @tab
4968 @lilypond[relative 0, notime]
4969 \property Staff.TimeSignature \set #'transparent = ##t
4970 \clef "mensural_c2" c
4974 @code{clefs-mensural_f} @tab
4975 historic style mensural F clef @tab
4976 @code{mensural_f} @tab
4977 @lilypond[relative 0, notime]
4978 \property Staff.TimeSignature \set #'transparent = ##t
4979 \clef "mensural_f" c
4983 @code{clefs-mensural_g} @tab
4984 historic style mensural G clef @tab
4985 @code{mensural_g} @tab
4986 @lilypond[relative 0, notime]
4987 \property Staff.TimeSignature \set #'transparent = ##t
4988 \clef "mensural_g" c
4992 @code{clefs-vaticana_do} @tab
4993 Editio Vaticana style do clef @tab
4994 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4995 @lilypond[relative 0, notime]
4996 \property Staff.StaffSymbol \set #'line-count = #4
4997 \property Staff.TimeSignature \set #'transparent = ##t
4998 \clef "vaticana_do2" c
5002 @code{clefs-vaticana_fa} @tab
5003 Editio Vaticana style fa clef @tab
5004 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5005 @lilypond[relative 0, notime]
5006 \property Staff.StaffSymbol \set #'line-count = #4
5007 \property Staff.TimeSignature \set #'transparent = ##t
5008 \clef "vaticana_fa2" c
5012 @code{clefs-medicaea_do} @tab
5013 Editio Medicaea style do clef @tab
5014 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5015 @lilypond[relative 0, notime]
5016 \property Staff.StaffSymbol \set #'line-count = #4
5017 \property Staff.TimeSignature \set #'transparent = ##t
5018 \clef "medicaea_do2" c
5022 @code{clefs-medicaea_fa} @tab
5023 Editio Medicaea style fa clef @tab
5024 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5025 @lilypond[relative 0, notime]
5026 \property Staff.StaffSymbol \set #'line-count = #4
5027 \property Staff.TimeSignature \set #'transparent = ##t
5028 \clef "medicaea_fa2" c
5032 @code{clefs-hufnagel_do} @tab
5033 historic style hufnagel do clef @tab
5034 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5035 @lilypond[relative 0, notime]
5036 \property Staff.StaffSymbol \set #'line-count = #4
5037 \property Staff.TimeSignature \set #'transparent = ##t
5038 \clef "hufnagel_do2" c
5042 @code{clefs-hufnagel_fa} @tab
5043 historic style hufnagel fa clef @tab
5044 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5045 @lilypond[relative 0, notime]
5046 \property Staff.StaffSymbol \set #'line-count = #4
5047 \property Staff.TimeSignature \set #'transparent = ##t
5048 \clef "hufnagel_fa2" c
5052 @code{clefs-hufnagel_do_fa} @tab
5053 historic style hufnagel combined do/fa clef @tab
5054 @code{hufnagel_do_fa} @tab
5055 @lilypond[relative 0, notime]
5056 \property Staff.TimeSignature \set #'transparent = ##t
5057 \clef "hufnagel_do_fa" c
5062 @c --- This should go somewhere else: ---
5063 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5066 @c @code{percussion}
5068 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5070 @c @item modern style tab clef (glyph: @code{clefs-tab})
5075 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5077 @emph{Modern style} means ``as is typeset in contemporary editions of
5078 transcribed mensural music''.
5080 @emph{Petrucci style} means ``inspired by printings published by the
5081 famous engraver Petrucci (1466-1539)''.
5083 @emph{Historic style} means ``as was typeset or written in historic
5084 editions (other than those of Petrucci)''.
5086 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5088 Petrucci used C clefs with differently balanced left-side vertical
5089 beams, depending on which staffline it is printed.
5093 In this manual: for the percussion clef, see @ref{Percussion staves}.
5094 For the @code{TAB} clef, see @ref{Tablatures}.
5096 Internals: for modern clefs, see @ref{Clef}.
5101 @subsection Ancient flags
5107 Use the @code{flag-style} property of grob @internalsref{Stem} to
5108 select ancient flags. Besides the @code{default} flag style,
5109 only @code{mensural} style is supported:
5111 @lilypond[fragment,singleline,verbatim]
5112 \property Voice.Stem \set #'flag-style = #'mensural
5113 \property Voice.Stem \set #'thickness = #1.0
5114 \property Voice.NoteHead \set #'style = #'mensural
5116 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
5117 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5120 Note that the innermost flare of each mensural flag always is
5121 vertically aligned with a staff line. If you do not like this
5122 behaviour, you can set the @code{adjust-if-on-staffline} property of
5123 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5124 of the end of each flare is different between notes on staff lines and
5125 notes between staff lines:
5127 @lilypond[fragment,singleline]
5128 \property Voice.Stem \set #'flag-style = #'mensural
5129 \property Voice.Stem \set #'thickness = #1.0
5130 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5131 \property Voice.NoteHead \set #'style = #'mensural
5133 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
5134 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5137 There is no particular flag style for neo-mensural notation. Hence,
5138 when typesetting e.g. the incipit of a transcibed piece of mensural
5139 music, the default flag style should be used. There are no flags in
5140 Gregorian Chant notation.
5143 @node Ancient time signatures
5144 @subsection Ancient time signatures
5146 @cindex time signatures
5150 There is limited support for mensural time signatures. The
5151 glyphs are hard-wired to particular time fractions. In other words,
5152 to get a particular mensural signature glyph with the @code{\time n/m}
5153 command, @code{n} and @code{m} have to be chosen according to the
5159 \property Score.timing = ##f
5160 \property Score.barAlways = ##t
5161 s_\markup { "$\\backslash$time 4/4" }
5162 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5164 s_\markup { "$\\backslash$time 2/2" }
5165 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5167 s_\markup { "$\\backslash$time 6/4" }
5168 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5170 s_\markup { "$\\backslash$time 6/8" }
5171 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5173 s_\markup { "$\\backslash$time 3/2" }
5174 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5176 s_\markup { "$\\backslash$time 3/4" }
5177 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5179 s_\markup { "$\\backslash$time 9/4" }
5180 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5182 s_\markup { "$\\backslash$time 9/8" }
5183 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5185 s_\markup { "$\\backslash$time 4/8" }
5186 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5188 s_\markup { "$\\backslash$time 2/4" }
5189 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5197 \remove Staff_symbol_engraver
5198 \remove Clef_engraver
5199 \remove Time_signature_engraver
5205 Use the @code{style} property of grob @internalsref{TimeSignature} to
5206 select ancient time signatures. Supported styles are
5207 @code{neo_mensural} and @code{mensural}. The above table uses the
5208 @code{neo_mensural} style. This style is appropriate e.g. for the
5209 incipit of transcriptions of mensural pieces. The @code{mensural}
5210 style mimicks the look of historical printings of the 16th century.
5212 @inputfileref{input/test,time.ly} gives an overview over all available
5213 ancient and modern styles.
5217 Internals: @ref{Time signature} gives a general introduction into the use of time
5222 Mensural signature glyphs are mapped to time fractions in a
5223 hard-wired way. This mapping is sensible, but still arbitrary: given
5224 a mensural time signature, the time fraction represents a modern meter
5225 that usually will be a good choice when transcribing a mensural piece
5226 of music. For a particular piece of mensural music, however, the
5227 mapping may be unsatisfactory. In particular, the mapping assumes a
5228 fixed transcription of durations (e.g. brevis = half note in 2/2,
5229 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5230 are not at all accessible through the @code{\time} command.
5232 Mensural time signatures are supported typographically, but not yet
5233 musically. The internal representation of durations is
5234 based on a purely binary system; a ternary division such as 1 brevis =
5235 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5236 prolatione maiori) is not correctly handled: event times in ternary
5237 modes will be badly computed, resulting e.g. in horizontally
5238 misaligned note heads, and bar checks are likely to erroneously fail.
5240 The syntax and semantics of the @code{\time} command for mensural
5241 music is subject to change.
5244 @subsection Custodes
5249 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5250 symbol that appears at the end of a staff. It anticipates the pitch
5251 of the first note(s) of the following line and thus helps the player
5252 or singer to manage line breaks during performance, thus enhancing
5253 readability of a score.
5255 Custodes were frequently used in music notation until the 17th
5256 century. Nowadays, they have survived only in a few particular forms
5257 of musical notation such as contemporary editions of Gregorian chant
5258 like the @emph{editio vaticana}. There are different custos glyphs
5259 used in different flavours of notational style.
5263 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5264 @internalsref{Staff} context when declaring the @code{\paper} block,
5265 as shown in the following example:
5271 \consists Custos_engraver
5272 Custos \override #'style = #'mensural
5277 The result looks like this:
5283 \property Staff.Custos \set #'style = #'mensural
5290 \consists Custos_engraver
5297 The custos glyph is selected by the @code{style} property. The styles
5298 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5299 @code{mensural}. They are demonstrated in the following fragment:
5309 { " " \musicglyph #"custodes-vaticana-u0" }
5313 { " " \musicglyph #"custodes-medicaea-u0" }
5317 { " " \musicglyph #"custodes-hufnagel-u0" }
5321 { " " \musicglyph #"custodes-mensural-u0" }
5330 \remove "Bar_number_engraver"
5334 \remove "Clef_engraver"
5335 \remove "Key_engraver"
5336 \remove "Time_signature_engraver"
5337 \remove "Staff_symbol_engraver"
5338 minimumVerticalExtent = ##f
5344 If the boolean property @code{adjust-if-on-staffline} is set to
5345 @code{#t} (which it is by default), lily typesets slightly different
5346 variants of the custos glyph, depending on whether the custos, is
5347 typeset on or between stafflines. The glyph will
5348 optically fit well into the staff, with the appendage on the right of
5349 the custos always ending at the same vertical position between two
5350 stafflines regardless of the pitch. If you set
5351 @code{adjust-if-on-staffline} to @code{#f}, then
5352 a compromise between both forms is used.
5354 Just like stems can be attached to noteheads in two directions
5355 @emph{up} and @emph{down}, each custos glyph is available with its
5356 appendage pointing either up or down. If the pitch of a custos is
5357 above a selectable position, the appendage will point downwards; if
5358 the pitch is below this position, the appendage will point upwards.
5359 Use property @code{neutral-position} to select this position. By
5360 default, it is set to @code{0}, such that the neutral position is the
5361 center of the staff. Use property @code{neutral-direction} to control
5362 what happens if a custos is typeset on the neutral position itself.
5363 By default, this property is set to @code{-1}, such that the appendage
5364 will point downwards. If set to @code{1}, the appendage will point
5365 upwards. Other values such as @code{0} are reserved for future
5366 extensions and should not be used.
5370 Internals: @internalsref{Custos}
5372 Examples: @inputfileref{input/regression,custos.ly}.
5376 @subsection Divisiones
5382 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5383 `division') is a staff context symbol that is used to structure
5384 Gregorian music into phrases and sections. The musical meaning of
5385 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5386 can be characterized as short, medium and long pause, somewhat like
5387 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5388 a chant, but is also frequently used within a single
5389 antiphonal/responsorial chant to mark the end of each section.
5393 To use divisiones, include the file @code{gregorian-init.ly}. It
5394 contains definitions that you can apply by just inserting
5395 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5396 and @code{\finalis} at proper places in the input. Some editions use
5397 @emph{virgula} or @emph{caesura} instead of divisio minima.
5398 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5401 @lilypondfile[notexidoc]{divisiones.ly}
5405 @cindex @code{\virgula}
5407 @cindex @code{\caesura}
5409 @cindex @code{\divisioMinima}
5410 @code{\divisioMinima},
5411 @cindex @code{\divisioMaior}
5412 @code{\divisioMaior},
5413 @cindex @code{\divisioMaxima}
5414 @code{\divisioMaxima},
5415 @cindex @code{\finalis}
5420 In this manual: @ref{Breath marks}.
5422 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5424 Examples: @inputfileref{input/test,divisiones.ly}
5427 @subsection Ligatures
5431 @c TODO: Should double check if I recalled things correctly when I wrote
5432 @c down the following paragraph by heart.
5434 In musical terminology, a ligature is a coherent graphical symbol that
5435 represents at least two distinct notes. Ligatures originally appeared
5436 in the manuscripts of Gregorian chant notation roughly since the 9th
5437 century as an allusion to the accent symbols of greek lyric poetry to
5438 denote ascending or descending sequences of notes. Both, the shape
5439 and the exact meaning of ligatures changed tremendously during the
5440 following centuries: In early notation, ligatures were used for
5441 monophonic tunes (Gregorian chant) and very soon denoted also the way
5442 of performance in the sense of articulation. With upcoming
5443 multiphony, the need for a metric system arised, since multiple voices
5444 of a piece have to be synchronized some way. New notation systems
5445 were invented that used the manifold shapes of ligatures to now denote
5446 rhythmical patterns (e.g. black mensural notation, mannered notation,
5447 ars nova). With the invention of the metric system of the white
5448 mensural notation, the need for ligatures to denote such patterns
5449 disappeared. Nevertheless, ligatures were still in use in the
5450 mensural system for a couple of decades until they finally disappeared
5451 during the late 16th / early 17th century. Still, ligatures have
5452 survived in contemporary editions of Gregorian chant such as the
5453 Editio Vaticana from 1905/08.
5457 Syntactically, ligatures are simply enclosed by @code{\[} and
5458 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5459 additional input syntax specific for this particular type of ligature.
5460 By default, the @internalsref{LigatureBracket} engraver just puts a
5461 square bracket above the ligature:
5463 @lilypond[singleline,verbatim]
5465 \notes \transpose c c' {
5473 To select a specific style of ligatures, a proper ligature engraver
5474 has to be added to the @internalsref{Voice} context, as explained in
5475 the following subsections. Only white mensural ligatures
5476 are supported with certain limitations. Support for Editio Vaticana
5477 will be added in the future.
5480 * White mensural ligatures::
5481 * Gregorian square neumes ligatures::
5484 @node White mensural ligatures
5485 @subsubsection White mensural ligatures
5487 @cindex Mensural ligatures
5488 @cindex White mensural ligatures
5490 There is limited support for white mensural ligatures. The
5491 implementation is still experimental; it may output strange
5492 warnings or even crash in some cases or produce weird results on more
5497 To engrave white mensural ligatures, in the paper block the
5498 @internalsref{Mensural_ligature_engraver} has to be put into the
5499 @internalsref{Voice} context, and remove the
5500 @internalsref{Ligature_bracket_engraver}:
5506 \remove Ligature_bracket_engraver
5507 \consists Mensural_ligature_engraver
5512 There is no additional input language to describe the shape of a
5513 white mensural ligature. The shape is rather determined solely from
5514 the pitch and duration of the enclosed notes. While this approach may
5515 take a new user a while to get accustomed, it has the great advantage
5516 that the full musical information of the ligature is known internally.
5517 This is not only required for correct MIDI output, but also allows for
5518 automatic transcription of the ligatures.
5523 \property Score.timing = ##f
5524 \property Score.defaultBarType = "empty"
5525 \property Voice.NoteHead \set #'style = #'neo_mensural
5526 \property Staff.TimeSignature \set #'style = #'neo_mensural
5528 \[ g\longa c\breve a\breve f\breve d'\longa \]
5530 \[ e1 f1 a\breve g\longa \]
5532 @lilypond[singleline]
5534 \notes \transpose c c' {
5535 \property Score.timing = ##f
5536 \property Score.defaultBarType = "empty"
5537 \property Voice.NoteHead \set #'style = #'neo_mensural
5538 \property Staff.TimeSignature \set #'style = #'neo_mensural
5540 \[ g\longa c\breve a\breve f\breve d'\longa \]
5542 \[ e1 f1 a\breve g\longa \]
5547 \remove Ligature_bracket_engraver
5548 \consists Mensural_ligature_engraver
5554 Without replacing @internalsref{Ligature_bracket_engraver} with
5555 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5558 @lilypond[singleline]
5560 \notes \transpose c c' {
5561 \property Score.timing = ##f
5562 \property Score.defaultBarType = "empty"
5563 \property Voice.NoteHead \set #'style = #'neo_mensural
5564 \property Staff.TimeSignature \set #'style = #'neo_mensural
5566 \[ g\longa c\breve a\breve f\breve d'\longa \]
5568 \[ e1 f1 a\breve g\longa \]
5574 @node Gregorian square neumes ligatures
5575 @subsubsection Gregorian square neumes ligatures
5577 @cindex Square neumes ligatures
5578 @cindex Gregorian square neumes ligatures
5580 Gregorian square neumes notation (following the style of the Editio
5581 Vaticana) is under heavy development, but not yet really usable for
5582 production purposes. Core ligatures can already be typeset, but
5583 essential issues for serious typesetting are still under development,
5584 such as (among others) horizontal alignment of multiple ligatures,
5585 lyrics alignment and proper accidentals handling. Still, this section
5586 gives a sneak preview of what Gregorian chant may look like once it
5589 The following table contains the extended neumes table of the 2nd
5590 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5591 1983 by the monks of Solesmes.
5593 @multitable @columnfractions .4 .2 .2 .2
5596 @b{Neuma aut@*Neumarum Elementa} @tab
5597 @b{Figurae@*Rectae} @tab
5598 @b{Figurae@*Liquescentes Auctae} @tab
5599 @b{Figurae@*Liquescentes Deminutae}
5601 @c TODO: \paper block is identical in all of the below examples.
5602 @c Therefore, it should somehow be included rather than duplicated all
5605 @c why not make identifiers in ly/engraver-init.ly? --hwn
5607 @c Because it's just used to typeset plain notes without
5608 @c a staff for demonstration purposes rather than something
5609 @c special of Gregorian chant notation. --jr
5614 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5615 \include "gregorian-init.ly"
5617 \notes \transpose c c' {
5620 \noBreak s^\markup {"a"} \noBreak
5622 % Punctum Inclinatum
5624 \noBreak s^\markup {"b"}
5630 \remove "Bar_number_engraver"
5634 \remove "Clef_engraver"
5635 \remove "Key_engraver"
5636 StaffSymbol \set #'transparent = ##t
5637 \remove "Time_signature_engraver"
5638 \remove "Bar_engraver"
5639 minimumVerticalExtent = ##f
5643 \remove Ligature_bracket_engraver
5644 \consists Vaticana_ligature_engraver
5645 NoteHead \set #'style = #'vaticana_punctum
5646 Stem \set #'transparent = ##t
5652 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5653 \include "gregorian-init.ly"
5655 \notes \transpose c c' {
5656 % Punctum Auctum Ascendens
5657 \[ \auctum \ascendens b \]
5658 \noBreak s^\markup {"c"} \noBreak
5660 % Punctum Auctum Descendens
5661 \[ \auctum \descendens b \]
5662 \noBreak s^\markup {"d"} \noBreak
5664 % Punctum Inclinatum Auctum
5665 \[ \inclinatum \auctum b \]
5666 \noBreak s^\markup {"e"}
5672 \remove "Bar_number_engraver"
5676 \remove "Clef_engraver"
5677 \remove "Key_engraver"
5678 StaffSymbol \set #'transparent = ##t
5679 \remove "Time_signature_engraver"
5680 \remove "Bar_engraver"
5681 minimumVerticalExtent = ##f
5685 \remove Ligature_bracket_engraver
5686 \consists Vaticana_ligature_engraver
5687 NoteHead \set #'style = #'vaticana_punctum
5688 Stem \set #'transparent = ##t
5694 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5695 \include "gregorian-init.ly"
5697 \notes \transpose c c' {
5698 % Punctum Inclinatum Parvum
5699 \[ \inclinatum \deminutum b \]
5700 \noBreak s^\markup {"f"}
5706 \remove "Bar_number_engraver"
5710 \remove "Clef_engraver"
5711 \remove "Key_engraver"
5712 StaffSymbol \set #'transparent = ##t
5713 \remove "Time_signature_engraver"
5714 \remove "Bar_engraver"
5715 minimumVerticalExtent = ##f
5719 \remove Ligature_bracket_engraver
5720 \consists Vaticana_ligature_engraver
5721 NoteHead \set #'style = #'vaticana_punctum
5722 Stem \set #'transparent = ##t
5731 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5732 \include "gregorian-init.ly"
5734 \notes \transpose c c' {
5737 \noBreak s^\markup {"g"}
5743 \remove "Bar_number_engraver"
5747 \remove "Clef_engraver"
5748 \remove "Key_engraver"
5749 StaffSymbol \set #'transparent = ##t
5750 \remove "Time_signature_engraver"
5751 \remove "Bar_engraver"
5752 minimumVerticalExtent = ##f
5756 \remove Ligature_bracket_engraver
5757 \consists Vaticana_ligature_engraver
5758 NoteHead \set #'style = #'vaticana_punctum
5759 Stem \set #'transparent = ##t
5768 @code{3. Apostropha vel Stropha}
5770 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5771 \include "gregorian-init.ly"
5773 \notes \transpose c c' {
5776 \noBreak s^\markup {"h"}
5782 \remove "Bar_number_engraver"
5786 \remove "Clef_engraver"
5787 \remove "Key_engraver"
5788 StaffSymbol \set #'transparent = ##t
5789 \remove "Time_signature_engraver"
5790 \remove "Bar_engraver"
5791 minimumVerticalExtent = ##f
5795 \remove Ligature_bracket_engraver
5796 \consists Vaticana_ligature_engraver
5797 NoteHead \set #'style = #'vaticana_punctum
5798 Stem \set #'transparent = ##t
5804 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5805 \include "gregorian-init.ly"
5807 \notes \transpose c c' {
5809 \[ \stropha \auctum b \]
5810 \noBreak s^\markup {"i"}
5816 \remove "Bar_number_engraver"
5820 \remove "Clef_engraver"
5821 \remove "Key_engraver"
5822 StaffSymbol \set #'transparent = ##t
5823 \remove "Time_signature_engraver"
5824 \remove "Bar_engraver"
5825 minimumVerticalExtent = ##f
5829 \remove Ligature_bracket_engraver
5830 \consists Vaticana_ligature_engraver
5831 NoteHead \set #'style = #'vaticana_punctum
5832 Stem \set #'transparent = ##t
5842 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5843 \include "gregorian-init.ly"
5845 \notes \transpose c c' {
5848 \noBreak s^\markup {"j"}
5854 \remove "Bar_number_engraver"
5858 \remove "Clef_engraver"
5859 \remove "Key_engraver"
5860 StaffSymbol \set #'transparent = ##t
5861 \remove "Time_signature_engraver"
5862 \remove "Bar_engraver"
5863 minimumVerticalExtent = ##f
5867 \remove Ligature_bracket_engraver
5868 \consists Vaticana_ligature_engraver
5869 NoteHead \set #'style = #'vaticana_punctum
5870 Stem \set #'transparent = ##t
5879 @code{5. Clivis vel Flexa}
5881 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5882 \include "gregorian-init.ly"
5884 \notes \transpose c c' {
5893 \remove "Bar_number_engraver"
5897 \remove "Clef_engraver"
5898 \remove "Key_engraver"
5899 StaffSymbol \set #'transparent = ##t
5900 \remove "Time_signature_engraver"
5901 \remove "Bar_engraver"
5902 minimumVerticalExtent = ##f
5906 \remove Ligature_bracket_engraver
5907 \consists Vaticana_ligature_engraver
5908 NoteHead \set #'style = #'vaticana_punctum
5909 Stem \set #'transparent = ##t
5915 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5916 \include "gregorian-init.ly"
5918 \notes \transpose c c' {
5919 % Clivis Aucta Descendens
5920 \[ b \flexa \auctum \descendens g \]
5921 \noBreak s^\markup {"l"} \noBreak
5923 % Clivis Aucta Ascendens
5924 \[ b \flexa \auctum \ascendens g \]
5925 \noBreak s^\markup {"m"}
5931 \remove "Bar_number_engraver"
5935 \remove "Clef_engraver"
5936 \remove "Key_engraver"
5937 StaffSymbol \set #'transparent = ##t
5938 \remove "Time_signature_engraver"
5939 \remove "Bar_engraver"
5940 minimumVerticalExtent = ##f
5944 \remove Ligature_bracket_engraver
5945 \consists Vaticana_ligature_engraver
5946 NoteHead \set #'style = #'vaticana_punctum
5947 Stem \set #'transparent = ##t
5953 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5954 \include "gregorian-init.ly"
5956 \notes \transpose c c' {
5958 \[ b \flexa \deminutum g \]
5965 \remove "Bar_number_engraver"
5969 \remove "Clef_engraver"
5970 \remove "Key_engraver"
5971 StaffSymbol \set #'transparent = ##t
5972 \remove "Time_signature_engraver"
5973 \remove "Bar_engraver"
5974 minimumVerticalExtent = ##f
5978 \remove Ligature_bracket_engraver
5979 \consists Vaticana_ligature_engraver
5980 NoteHead \set #'style = #'vaticana_punctum
5981 Stem \set #'transparent = ##t
5988 @code{6. Podatus vel Pes}
5990 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5991 \include "gregorian-init.ly"
5993 \notes \transpose c c' {
6002 \remove "Bar_number_engraver"
6006 \remove "Clef_engraver"
6007 \remove "Key_engraver"
6008 StaffSymbol \set #'transparent = ##t
6009 \remove "Time_signature_engraver"
6010 \remove "Bar_engraver"
6011 minimumVerticalExtent = ##f
6015 \remove Ligature_bracket_engraver
6016 \consists Vaticana_ligature_engraver
6017 NoteHead \set #'style = #'vaticana_punctum
6018 Stem \set #'transparent = ##t
6024 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
6025 \include "gregorian-init.ly"
6027 \notes \transpose c c' {
6028 % Pes Auctus Descendens
6029 \[ g \pes \auctum \descendens b \]
6030 \noBreak s^\markup {"p"} \noBreak
6032 % Pes Auctus Ascendens
6033 \[ g \pes \auctum \ascendens b \]
6034 \noBreak s^\markup {"q"}
6040 \remove "Bar_number_engraver"
6044 \remove "Clef_engraver"
6045 \remove "Key_engraver"
6046 StaffSymbol \set #'transparent = ##t
6047 \remove "Time_signature_engraver"
6048 \remove "Bar_engraver"
6049 minimumVerticalExtent = ##f
6053 \remove Ligature_bracket_engraver
6054 \consists Vaticana_ligature_engraver
6055 NoteHead \set #'style = #'vaticana_punctum
6056 Stem \set #'transparent = ##t
6062 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6063 \include "gregorian-init.ly"
6065 \notes \transpose c c' {
6067 \[ g \pes \deminutum b \]
6074 \remove "Bar_number_engraver"
6078 \remove "Clef_engraver"
6079 \remove "Key_engraver"
6080 StaffSymbol \set #'transparent = ##t
6081 \remove "Time_signature_engraver"
6082 \remove "Bar_engraver"
6083 minimumVerticalExtent = ##f
6087 \remove Ligature_bracket_engraver
6088 \consists Vaticana_ligature_engraver
6089 NoteHead \set #'style = #'vaticana_punctum
6090 Stem \set #'transparent = ##t
6097 @code{7. Pes Quassus}
6099 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6100 \include "gregorian-init.ly"
6102 \notes \transpose c c' {
6104 \[ \oriscus g \pes \virga b \]
6111 \remove "Bar_number_engraver"
6115 \remove "Clef_engraver"
6116 \remove "Key_engraver"
6117 StaffSymbol \set #'transparent = ##t
6118 \remove "Time_signature_engraver"
6119 \remove "Bar_engraver"
6120 minimumVerticalExtent = ##f
6124 \remove Ligature_bracket_engraver
6125 \consists Vaticana_ligature_engraver
6126 NoteHead \set #'style = #'vaticana_punctum
6127 Stem \set #'transparent = ##t
6133 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6134 \include "gregorian-init.ly"
6136 \notes \transpose c c' {
6137 % Pes Quassus Auctus Descendens
6138 \[ \oriscus g \pes \auctum \descendens b \]
6145 \remove "Bar_number_engraver"
6149 \remove "Clef_engraver"
6150 \remove "Key_engraver"
6151 StaffSymbol \set #'transparent = ##t
6152 \remove "Time_signature_engraver"
6153 \remove "Bar_engraver"
6154 minimumVerticalExtent = ##f
6158 \remove Ligature_bracket_engraver
6159 \consists Vaticana_ligature_engraver
6160 NoteHead \set #'style = #'vaticana_punctum
6161 Stem \set #'transparent = ##t
6169 @code{8. Quilisma Pes}
6171 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6172 \include "gregorian-init.ly"
6174 \notes \transpose c c' {
6176 \[ \quilisma g \pes b \]
6183 \remove "Bar_number_engraver"
6187 \remove "Clef_engraver"
6188 \remove "Key_engraver"
6189 StaffSymbol \set #'transparent = ##t
6190 \remove "Time_signature_engraver"
6191 \remove "Bar_engraver"
6192 minimumVerticalExtent = ##f
6196 \remove Ligature_bracket_engraver
6197 \consists Vaticana_ligature_engraver
6198 NoteHead \set #'style = #'vaticana_punctum
6199 Stem \set #'transparent = ##t
6205 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6206 \include "gregorian-init.ly"
6208 \notes \transpose c c' {
6209 % Quilisma Pes Auctus Descendens
6210 \[ \quilisma g \pes \auctum \descendens b \]
6217 \remove "Bar_number_engraver"
6221 \remove "Clef_engraver"
6222 \remove "Key_engraver"
6223 StaffSymbol \set #'transparent = ##t
6224 \remove "Time_signature_engraver"
6225 \remove "Bar_engraver"
6226 minimumVerticalExtent = ##f
6230 \remove Ligature_bracket_engraver
6231 \consists Vaticana_ligature_engraver
6232 NoteHead \set #'style = #'vaticana_punctum
6233 Stem \set #'transparent = ##t
6241 @code{9. Podatus Initio Debilis}
6243 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6244 \include "gregorian-init.ly"
6246 \notes \transpose c c' {
6247 % Pes Initio Debilis
6248 \[ \deminutum g \pes b \]
6255 \remove "Bar_number_engraver"
6259 \remove "Clef_engraver"
6260 \remove "Key_engraver"
6261 StaffSymbol \set #'transparent = ##t
6262 \remove "Time_signature_engraver"
6263 \remove "Bar_engraver"
6264 minimumVerticalExtent = ##f
6268 \remove Ligature_bracket_engraver
6269 \consists Vaticana_ligature_engraver
6270 NoteHead \set #'style = #'vaticana_punctum
6271 Stem \set #'transparent = ##t
6277 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6278 \include "gregorian-init.ly"
6280 \notes \transpose c c' {
6281 % Pes Auctus Descendens Initio Debilis
6282 \[ \deminutum g \pes \auctum \descendens b \]
6289 \remove "Bar_number_engraver"
6293 \remove "Clef_engraver"
6294 \remove "Key_engraver"
6295 StaffSymbol \set #'transparent = ##t
6296 \remove "Time_signature_engraver"
6297 \remove "Bar_engraver"
6298 minimumVerticalExtent = ##f
6302 \remove Ligature_bracket_engraver
6303 \consists Vaticana_ligature_engraver
6304 NoteHead \set #'style = #'vaticana_punctum
6305 Stem \set #'transparent = ##t
6315 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6316 \include "gregorian-init.ly"
6318 \notes \transpose c c' {
6320 \[ a \pes b \flexa g \]
6327 \remove "Bar_number_engraver"
6331 \remove "Clef_engraver"
6332 \remove "Key_engraver"
6333 StaffSymbol \set #'transparent = ##t
6334 \remove "Time_signature_engraver"
6335 \remove "Bar_engraver"
6336 minimumVerticalExtent = ##f
6340 \remove Ligature_bracket_engraver
6341 \consists Vaticana_ligature_engraver
6342 NoteHead \set #'style = #'vaticana_punctum
6343 Stem \set #'transparent = ##t
6349 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6350 \include "gregorian-init.ly"
6352 \notes \transpose c c' {
6353 % Torculus Auctus Descendens
6354 \[ a \pes b \flexa \auctum \descendens g \]
6361 \remove "Bar_number_engraver"
6365 \remove "Clef_engraver"
6366 \remove "Key_engraver"
6367 StaffSymbol \set #'transparent = ##t
6368 \remove "Time_signature_engraver"
6369 \remove "Bar_engraver"
6370 minimumVerticalExtent = ##f
6374 \remove Ligature_bracket_engraver
6375 \consists Vaticana_ligature_engraver
6376 NoteHead \set #'style = #'vaticana_punctum
6377 Stem \set #'transparent = ##t
6383 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6384 \include "gregorian-init.ly"
6386 \notes \transpose c c' {
6387 % Torculus Deminutus
6388 \[ a \pes b \flexa \deminutum g \]
6395 \remove "Bar_number_engraver"
6399 \remove "Clef_engraver"
6400 \remove "Key_engraver"
6401 StaffSymbol \set #'transparent = ##t
6402 \remove "Time_signature_engraver"
6403 \remove "Bar_engraver"
6404 minimumVerticalExtent = ##f
6408 \remove Ligature_bracket_engraver
6409 \consists Vaticana_ligature_engraver
6410 NoteHead \set #'style = #'vaticana_punctum
6411 Stem \set #'transparent = ##t
6418 @code{11. Torculus Initio Debilis}
6420 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6421 \include "gregorian-init.ly"
6423 \notes \transpose c c' {
6424 % Torculus Initio Debilis
6425 \[ \deminutum a \pes b \flexa g \]
6432 \remove "Bar_number_engraver"
6436 \remove "Clef_engraver"
6437 \remove "Key_engraver"
6438 StaffSymbol \set #'transparent = ##t
6439 \remove "Time_signature_engraver"
6440 \remove "Bar_engraver"
6441 minimumVerticalExtent = ##f
6445 \remove Ligature_bracket_engraver
6446 \consists Vaticana_ligature_engraver
6447 NoteHead \set #'style = #'vaticana_punctum
6448 Stem \set #'transparent = ##t
6454 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6455 \include "gregorian-init.ly"
6457 \notes \transpose c c' {
6458 % Torculus Auctus Descendens Initio Debilis
6459 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6466 \remove "Bar_number_engraver"
6470 \remove "Clef_engraver"
6471 \remove "Key_engraver"
6472 StaffSymbol \set #'transparent = ##t
6473 \remove "Time_signature_engraver"
6474 \remove "Bar_engraver"
6475 minimumVerticalExtent = ##f
6479 \remove Ligature_bracket_engraver
6480 \consists Vaticana_ligature_engraver
6481 NoteHead \set #'style = #'vaticana_punctum
6482 Stem \set #'transparent = ##t
6488 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6489 \include "gregorian-init.ly"
6491 \notes \transpose c c' {
6492 % Torculus Deminutus Initio Debilis
6493 \[ \deminutum a \pes b \flexa \deminutum g \]
6500 \remove "Bar_number_engraver"
6504 \remove "Clef_engraver"
6505 \remove "Key_engraver"
6506 StaffSymbol \set #'transparent = ##t
6507 \remove "Time_signature_engraver"
6508 \remove "Bar_engraver"
6509 minimumVerticalExtent = ##f
6513 \remove Ligature_bracket_engraver
6514 \consists Vaticana_ligature_engraver
6515 NoteHead \set #'style = #'vaticana_punctum
6516 Stem \set #'transparent = ##t
6523 @code{12. Porrectus}
6525 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6526 \include "gregorian-init.ly"
6528 \notes \transpose c c' {
6530 \[ a \flexa g \pes b \]
6537 \remove "Bar_number_engraver"
6541 \remove "Clef_engraver"
6542 \remove "Key_engraver"
6543 StaffSymbol \set #'transparent = ##t
6544 \remove "Time_signature_engraver"
6545 \remove "Bar_engraver"
6546 minimumVerticalExtent = ##f
6550 \remove Ligature_bracket_engraver
6551 \consists Vaticana_ligature_engraver
6552 NoteHead \set #'style = #'vaticana_punctum
6553 Stem \set #'transparent = ##t
6559 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6560 \include "gregorian-init.ly"
6562 \notes \transpose c c' {
6563 % Porrectus Auctus Descendens
6564 \[ a \flexa g \pes \auctum \descendens b \]
6571 \remove "Bar_number_engraver"
6575 \remove "Clef_engraver"
6576 \remove "Key_engraver"
6577 StaffSymbol \set #'transparent = ##t
6578 \remove "Time_signature_engraver"
6579 \remove "Bar_engraver"
6580 minimumVerticalExtent = ##f
6584 \remove Ligature_bracket_engraver
6585 \consists Vaticana_ligature_engraver
6586 NoteHead \set #'style = #'vaticana_punctum
6587 Stem \set #'transparent = ##t
6593 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6594 \include "gregorian-init.ly"
6596 \notes \transpose c c' {
6597 % Porrectus Deminutus
6598 \[ a \flexa g \pes \deminutum b \]
6605 \remove "Bar_number_engraver"
6609 \remove "Clef_engraver"
6610 \remove "Key_engraver"
6611 StaffSymbol \set #'transparent = ##t
6612 \remove "Time_signature_engraver"
6613 \remove "Bar_engraver"
6614 minimumVerticalExtent = ##f
6618 \remove Ligature_bracket_engraver
6619 \consists Vaticana_ligature_engraver
6620 NoteHead \set #'style = #'vaticana_punctum
6621 Stem \set #'transparent = ##t
6630 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6631 \include "gregorian-init.ly"
6633 \notes \transpose c c' {
6635 \[ \virga b \inclinatum a \inclinatum g \]
6642 \remove "Bar_number_engraver"
6646 \remove "Clef_engraver"
6647 \remove "Key_engraver"
6648 StaffSymbol \set #'transparent = ##t
6649 \remove "Time_signature_engraver"
6650 \remove "Bar_engraver"
6651 minimumVerticalExtent = ##f
6655 \remove Ligature_bracket_engraver
6656 \consists Vaticana_ligature_engraver
6657 NoteHead \set #'style = #'vaticana_punctum
6658 Stem \set #'transparent = ##t
6664 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6665 \include "gregorian-init.ly"
6667 \notes \transpose c c' {
6669 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6676 \remove "Bar_number_engraver"
6680 \remove "Clef_engraver"
6681 \remove "Key_engraver"
6682 StaffSymbol \set #'transparent = ##t
6683 \remove "Time_signature_engraver"
6684 \remove "Bar_engraver"
6685 minimumVerticalExtent = ##f
6689 \remove Ligature_bracket_engraver
6690 \consists Vaticana_ligature_engraver
6691 NoteHead \set #'style = #'vaticana_punctum
6692 Stem \set #'transparent = ##t
6698 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6699 \include "gregorian-init.ly"
6701 \notes \transpose c c' {
6702 % Climacus Deminutus
6703 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6710 \remove "Bar_number_engraver"
6714 \remove "Clef_engraver"
6715 \remove "Key_engraver"
6716 StaffSymbol \set #'transparent = ##t
6717 \remove "Time_signature_engraver"
6718 \remove "Bar_engraver"
6719 minimumVerticalExtent = ##f
6723 \remove Ligature_bracket_engraver
6724 \consists Vaticana_ligature_engraver
6725 NoteHead \set #'style = #'vaticana_punctum
6726 Stem \set #'transparent = ##t
6733 @code{14. Scandicus}
6735 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6736 \include "gregorian-init.ly"
6738 \notes \transpose c c' {
6740 \[ g \pes a \virga b \]
6747 \remove "Bar_number_engraver"
6751 \remove "Clef_engraver"
6752 \remove "Key_engraver"
6753 StaffSymbol \set #'transparent = ##t
6754 \remove "Time_signature_engraver"
6755 \remove "Bar_engraver"
6756 minimumVerticalExtent = ##f
6760 \remove Ligature_bracket_engraver
6761 \consists Vaticana_ligature_engraver
6762 NoteHead \set #'style = #'vaticana_punctum
6763 Stem \set #'transparent = ##t
6769 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6770 \include "gregorian-init.ly"
6772 \notes \transpose c c' {
6773 % Scandicus Auctus Descendens
6774 \[ g \pes a \pes \auctum \descendens b \]
6781 \remove "Bar_number_engraver"
6785 \remove "Clef_engraver"
6786 \remove "Key_engraver"
6787 StaffSymbol \set #'transparent = ##t
6788 \remove "Time_signature_engraver"
6789 \remove "Bar_engraver"
6790 minimumVerticalExtent = ##f
6794 \remove Ligature_bracket_engraver
6795 \consists Vaticana_ligature_engraver
6796 NoteHead \set #'style = #'vaticana_punctum
6797 Stem \set #'transparent = ##t
6803 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6804 \include "gregorian-init.ly"
6806 \notes \transpose c c' {
6807 % Scandicus Deminutus
6808 \[ g \pes a \pes \deminutum b \]
6815 \remove "Bar_number_engraver"
6819 \remove "Clef_engraver"
6820 \remove "Key_engraver"
6821 StaffSymbol \set #'transparent = ##t
6822 \remove "Time_signature_engraver"
6823 \remove "Bar_engraver"
6824 minimumVerticalExtent = ##f
6828 \remove Ligature_bracket_engraver
6829 \consists Vaticana_ligature_engraver
6830 NoteHead \set #'style = #'vaticana_punctum
6831 Stem \set #'transparent = ##t
6840 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6841 \include "gregorian-init.ly"
6843 \notes \transpose c c' {
6845 \[ g \oriscus a \pes \virga b \]
6852 \remove "Bar_number_engraver"
6856 \remove "Clef_engraver"
6857 \remove "Key_engraver"
6858 StaffSymbol \set #'transparent = ##t
6859 \remove "Time_signature_engraver"
6860 \remove "Bar_engraver"
6861 minimumVerticalExtent = ##f
6865 \remove Ligature_bracket_engraver
6866 \consists Vaticana_ligature_engraver
6867 NoteHead \set #'style = #'vaticana_punctum
6868 Stem \set #'transparent = ##t
6874 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6875 \include "gregorian-init.ly"
6877 \notes \transpose c c' {
6878 % Salicus Auctus Descendens
6879 \[ g \oriscus a \pes \auctum \descendens b \]
6886 \remove "Bar_number_engraver"
6890 \remove "Clef_engraver"
6891 \remove "Key_engraver"
6892 StaffSymbol \set #'transparent = ##t
6893 \remove "Time_signature_engraver"
6894 \remove "Bar_engraver"
6895 minimumVerticalExtent = ##f
6899 \remove Ligature_bracket_engraver
6900 \consists Vaticana_ligature_engraver
6901 NoteHead \set #'style = #'vaticana_punctum
6902 Stem \set #'transparent = ##t
6912 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6913 \include "gregorian-init.ly"
6915 \notes \transpose c c' {
6917 \[ \stropha b \stropha b \stropha a \]
6924 \remove "Bar_number_engraver"
6928 \remove "Clef_engraver"
6929 \remove "Key_engraver"
6930 StaffSymbol \set #'transparent = ##t
6931 \remove "Time_signature_engraver"
6932 \remove "Bar_engraver"
6933 minimumVerticalExtent = ##f
6937 \remove Ligature_bracket_engraver
6938 \consists Vaticana_ligature_engraver
6939 NoteHead \set #'style = #'vaticana_punctum
6940 Stem \set #'transparent = ##t
6952 Unlike most other neumes notation systems, the input language for
6953 neumes does not necessarily reflect directly the typographical
6954 appearance, but is designed to solely focuse on musical meaning. For
6955 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6956 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6957 a Porrectus with a curved flexa shape and only a single Punctum head.
6958 There is no command to explicitly typeset the curved flexa shape; the
6959 decision of when to typeset a curved flexa shape is purely taken from
6960 the musical input. The idea of this approach is to separate the
6961 musical aspects of the input from the notation style of the output.
6962 This way, the same input can be reused to typeset the same music in a
6963 different style of Gregorian chant notation such as Hufnagel (also
6964 known as German gothic neumes) or Medicaea (kind of a very simple
6965 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6966 engraver and Medicaea ligature engraver will have been implemented, it
6967 will be as simple as replacing the ligature engraver in the
6968 @internalsref{Voice} context to get the desired notation style from
6971 The following table shows the code fragments that produce the
6972 ligatures in the above neumes table. The letter in the first column
6973 in each line of the below table indicates to which ligature in the
6974 above table it refers. The second column gives the name of the
6975 ligature. The third column shows the code fragment that produces this
6976 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6978 @multitable @columnfractions .1 .4 .5
6992 Punctum Inclinatum @tab
6993 @code{\[ \inclinatum b \]}
6997 Punctum Auctum Ascendens @tab
6998 @code{\[ \auctum \ascendens b \]}
7002 Punctum Auctum Descendens @tab
7003 @code{\[ \auctum \descendens b \]}
7007 Punctum Inclinatum Auctum @tab
7008 @code{\[ \inclinatum \auctum b \]}
7012 Punctum Inclinatum Parvum @tab
7013 @code{\[ \inclinatum \deminutum b \]}
7018 @code{\[ \virga b \]}
7023 @code{\[ \stropha b \]}
7028 @code{\[ \stropha \auctum b \]}
7033 @code{\[ \oriscus b \]}
7037 Clivis vel Flexa @tab
7038 @code{\[ b \flexa g \]}
7042 Clivis Aucta Descendens @tab
7043 @code{\[ b \flexa \auctum \descendens g \]}
7047 Clivis Aucta Ascendens @tab
7048 @code{\[ b \flexa \auctum \ascendens g \]}
7053 @code{\[ b \flexa \deminutum g \]}
7057 Podatus vel Pes @tab
7058 @code{\[ g \pes b \]}
7062 Pes Auctus Descendens @tab
7063 @code{\[ g \pes \auctum \descendens b \]}
7067 Pes Auctus Ascendens @tab
7068 @code{\[ g \pes \auctum \ascendens b \]}
7073 @code{\[ g \pes \deminutum b \]}
7078 @code{\[ \oriscus g \pes \virga b \]}
7082 Pes Quassus Auctus Descendens @tab
7083 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7088 @code{\[ \quilisma g \pes b \]}
7092 Quilisma Pes Auctus Descendens @tab
7093 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7097 Pes Initio Debilis @tab
7098 @code{\[ \deminutum g \pes b \]}
7102 Pes Auctus Descendens Initio Debilis @tab
7103 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7108 @code{\[ a \pes b \flexa g \]}
7112 Torculus Auctus Descendens @tab
7113 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7117 Torculus Deminutus @tab
7118 @code{\[ a \pes b \flexa \deminutum g \]}
7122 Torculus Initio Debilis @tab
7123 @code{\[ \deminutum a \pes b \flexa g \]}
7127 Torculus Auctus Descendens Initio Debilis @tab
7128 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7132 Torculus Deminutus Initio Debilis @tab
7133 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7138 @code{\[ a \flexa g \pes b \]}
7142 Porrectus Auctus Descendens @tab
7143 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7147 Porrectus Deminutus @tab
7148 @code{\[ a \flexa g \pes \deminutum b \]}
7153 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7157 Climacus Auctus @tab
7158 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7162 Climacus Deminutus @tab
7163 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7168 @code{\[ g \pes a \virga b \]}
7172 Scandicus Auctus Descendens @tab
7173 @code{\[ g \pes a \pes \auctum \descendens b \]}
7177 Scandicus Deminutus @tab
7178 @code{\[ g \pes a \pes \deminutum b \]}
7183 @code{\[ g \oriscus a \pes \virga b \]}
7187 Salicus Auctus Descendens @tab
7188 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7193 @code{\[ \stropha b \stropha b \stropha a \]}
7199 The following head prefixes are supported:
7201 @cindex @code{\virga}
7203 @cindex @code{\stropha}
7205 @cindex @code{\inclinatum}
7207 @cindex @code{\auctum}
7209 @cindex @code{\descendens}
7211 @cindex @code{\ascendens}
7213 @cindex @code{\oriscus}
7215 @cindex @code{\quilisma}
7217 @cindex @code{\deminutum}
7220 Head prefixes can be accumulated, though restrictions apply. For
7221 example, either @code{\descendens} or @code{\ascendens} can be applied
7222 to a head, but not both to the same head.
7225 @cindex @code{\flexa}
7226 Two adjacent heads can be tied together with the @code{\pes} and
7227 @code{\flexa} infix commands for a rising and falling line of melody,
7232 Trigonus: apply equal spacing, regardless of pitch.
7235 @subsection Figured bass
7237 @cindex Basso continuo
7239 @c TODO: musicological blurb about FB
7243 LilyPond has limited support for figured bass:
7245 @lilypond[verbatim,fragment]
7247 \context Voice \notes { \clef bass dis4 c d ais}
7248 \context FiguredBass
7250 < 6 >4 < 7 >8 < 6+ [_!] >
7256 The support for figured bass consists of two parts: there is an input
7257 mode, introduced by @code{\figures}, where you can enter bass figures
7258 as numbers, and there is a context called @internalsref{FiguredBass} that
7259 takes care of making @internalsref{BassFigure} objects.
7261 In figures input mode, a group of bass figures is delimited by
7262 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7267 \context FiguredBass
7271 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7278 \context FiguredBass
7279 \figures { <4- 6+ 7!> }
7282 Spaces or dashes may be inserted by using @code{_}. Brackets are
7283 introduced with @code{[} and @code{]}:
7289 \context FiguredBass
7290 \figures { < [4 6] 8 [_! 12]> }
7293 Although the support for figured bass may superficially resemble chord
7294 support, it works much simpler. The @code{\figures} mode simply
7295 stores the numbers , and @internalsref{FiguredBass} context prints
7296 them as entered. There is no conversion to pitches, and no
7297 realizations of the bass are played in the MIDI file.
7299 Internally, the code produces markup texts. You can use any of the
7300 markup text properties to override formatting. For example, the
7301 vertical spacing of the figures may be set with @code{baseline-skip}.
7305 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7306 and @internalsref{FiguredBass} context.
7310 Slash notation for alterations is not supported.
7313 @node Vaticana style contexts
7314 @subsection Vaticana style contexts
7316 @cindex VaticanaVoiceContext
7317 @cindex VaticanaStaffContext
7319 The predefined @code{VaticanaVoiceContext} and
7320 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7321 Gregorian Chant in the style of the Editio Vaticana. These contexts
7322 initialize all relevant context properties and grob properties to
7323 proper values. With these contexts, you can immediately go ahead
7324 entering the chant, as the following short excerpt demonstrates:
7326 @lilypond[raggedright,verbatim,noindent]
7327 \include "gregorian-init.ly"
7330 \context VaticanaVoice {
7331 \property Score.BarNumber \set #'transparent = ##t
7333 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7334 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7335 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7338 \lyricsto "" \new LyricsVoice \lyrics {
7339 San- ctus, San- ctus, San- ctus
7345 @node Contemporary notation
7346 @section Contemporary notation
7348 In the 20th century, composers have greatly expanded the musical
7349 vocabulary. With this expansion, many innovations in musical notation
7350 have been tried. The book by Stone (1980) gives a comprehensive
7351 overview (see @ref{Literature list}). In general, the use of new,
7352 innovative notation makes a piece harder to understand and perform and
7353 its use should therefore be avoided if possible. For this reason,
7354 support for contemporary notation in LilyPond is limited.
7363 @subsection Clusters
7367 In musical terminology, a @emph{cluster} denotes a range of
7368 simultaneously sounding pitches that may change over time. The set of
7369 available pitches to apply usually depends on the accoustic source.
7370 Thus, in piano music, a cluster typically consists of a continous range
7371 of the semitones as provided by the piano's fixed set of a chromatic
7372 scale. In choral music, each singer of the choir typically may sing an
7373 arbitrary pitch within the cluster's range that is not bound to any
7374 diatonic, chromatic or other scale. In electronic music, a cluster
7375 (theoretically) may even cover a continuous range of pitches, thus
7376 resulting in coloured noise, such as pink noise.
7378 Clusters can be denoted in the context of ordinary staff notation by
7379 engraving simple geometrical shapes that replace ordinary notation of
7380 notes. Ordinary notes as musical events specify starting time and
7381 duration of pitches; however, the duration of a note is expressed by the
7382 shape of the note head rather than by the horizontal graphical extent of
7383 the note symbol. In contrast, the shape of a cluster geometrically
7384 describes the development of a range of pitches (vertical extent) over
7385 time (horizontal extent). Still, the geometrical shape of a cluster
7386 covers the area in wich any single pitch contained in the cluster would
7387 be notated as an ordinary note. From this point of view, it is
7388 reasonable to specify a cluster as the envelope of a set of notes.
7392 A cluster is engraved as the envelope of a set of
7393 cluster-notes. Cluster notes are created by applying the function
7394 @code{notes-to-clusters} to a sequence of chords, e.g.
7396 @lilypond[relative 1,verbatim]
7397 \apply #notes-to-clusters { <c e > <b f'> }
7400 The following example (from
7401 @inputfileref{input/regression,cluster.ly}) shows what the result
7404 @lilypondfile[notexidoc]{cluster.ly}
7406 By default, @internalsref{Cluster_spanner_engraver} is in the
7407 @internalsref{Voice} context. This allows putting ordinary notes and
7408 clusters together in the same staff, even simultaneously. In such a
7409 case no attempt is made to automatically avoid collisions between
7410 ordinary notes and clusters.
7414 Internals: @internalsref{ClusterSpanner},
7415 @internalsref{ClusterSpannerBeacon},
7416 @internalsref{Cluster_spanner_engraver}, and
7417 @internalsref{ClusterNoteEvent}.
7419 Examples: @inputfileref{input/regression,cluster.ly}.
7423 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7424 accurately. Use @code{<g a>8 <e a>8} instead.
7429 @subsection Fermatas
7435 Contemporary music notation frequently uses special fermata symbols to
7436 indicate fermatas of differing lengths.
7440 The following are supported
7442 @lilypond[singleline]
7444 << \addlyrics \notes {
7464 \context Lyrics \lyrics {
7465 "shortfermata" "fermata" "longfermata" "verylongfermata"
7470 See @ref{Articulations} for general instructions how to apply scripts
7471 such as fermatas to a @code{\notes@{@}} block.
7474 @node Special notation
7475 @section Special notation
7479 * Easy Notation note heads::
7483 @subsection Balloon help
7485 Elements of notation can be marked and named with the help of a square
7486 balloon. The primary purpose of this feature is to explain notation.
7488 The following example demonstrates its use.
7490 @lilypond[verbatim,fragment,singleline,relative 1]
7493 #(add-balloon-text 'NoteHead "heads, or tails?"
7499 The function @code{add-balloon-text} takes the name of a grob, the
7500 label to print and where to put the label relative to the object. In
7501 the above example, the text ``heads or tails?'' ends 3 spaces below
7505 @cindex notation, explaining
7509 Internals: @internalsref{text-balloon-interface}
7511 Examples: @inputfileref{input/regression,balloon.ly}
7513 @node Easy Notation note heads
7514 @subsection Easy Notation note heads
7516 @cindex easy notation
7519 The `easy play' note head includes a note name inside the head. It is
7520 used in music aimed at beginners:
7522 @lilypond[singleline,verbatim,26pt]
7524 \notes { c'2 e'4 f' | g'1 }
7525 \paper { \translator { \EasyNotation } }
7529 The @code{EasyNotation} variable overrides a @internalsref{Score}
7530 context. To make the letters readable, it has to be printed in a
7531 large font size. To print with a larger font, see @ref{Font Size}.
7536 If you view the result with Xdvi, then staff lines may show through
7537 the letters. Printing the PostScript file obtained does produce the
7543 @section Tuning output
7545 There are situations where default layout decisions are not
7546 sufficient. In this section we discuss ways to override these
7549 Formatting is internally done by manipulating so called objects
7550 (graphic objects). Each object carries with it a set of properties
7551 (object or layout properties) specific to that object. For example, a
7552 stem object has properties that specify its direction, length and
7555 The most direct way of tuning the output is by altering the values of
7556 these properties. There are two ways of doing that: first, you can
7557 temporarily change the definition of one type of object, thus
7558 affecting a whole set of objects. Second, you can select one specific
7559 object, and set a layout property in that object.
7561 Do not confuse layout properties with translation
7562 properties. Translation properties always use a mixed caps style
7563 naming, and are manipulated using @code{\property}:
7565 \property Context.propertyName = @var{value}
7568 Layout properties are use Scheme style variable naming, i.e. lower
7569 case words separated with dashes. They are symbols, and should always
7570 be quoted using @code{#'}. For example, this could be an imaginary
7571 layout property name:
7573 #'layout-property-name
7578 The introduction of the @ref{Technical manual} gives a more in-depth
7579 treatment of the difference between translation and layout.
7583 * Constructing a tweak::
7591 @node Tuning objects
7592 @subsection Tuning objects
7594 @cindex object description
7596 The definition of an object is a list of default object
7597 properties. For example, the definition of the Stem object (available
7598 in @file{scm/define-grobs.scm}), includes the following definitions
7599 for @internalsref{Stem}:
7603 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7604 (Y-extent-callback . ,Stem::height)
7609 Adding variables on top of this existing definition overrides the
7610 system default, and alters the resulting appearance of the layout
7616 Changing a variable for only one object is commonly achieved with
7620 \once \property @var{context}.@var{objectname}
7621 \override @var{symbol} = @var{value}
7623 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7624 and @var{objectname} is a string and @var{value} is a Scheme expression.
7625 This command applies a setting only during one moment in the score.
7627 In the following example, only one @internalsref{Stem} object is
7628 changed from its original setting:
7630 @lilypond[verbatim, fragment, relative=1]
7632 \once \property Voice.Stem \set #'thickness = #4
7636 @cindex @code{\once}
7638 For changing more objects, the same command, without @code{\once} can
7641 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7643 This command adds @code{@var{symbol} = @var{value}} to the definition
7644 of @var{objectname} in the context @var{context}, and this definition
7645 stays in place until it is removed.
7647 An existing definition may be removed by the following command:
7650 \property @var{context}.@var{objectname} \revert @var{symbol}
7653 All @code{\override} and @code{\revert} commands should be balanced.
7654 The @code{\set} shorthand performs a revert followed by an override,
7655 and is often more convenient to use
7658 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7662 @lilypond[verbatim,quote]
7663 c'4 \property Voice.Stem \override #'thickness = #4.0
7665 c'4 \property Voice.Stem \revert #'thickness
7669 The following example gives exactly the same result as the previous
7670 one (assuming the system default for stem thickness is 1.3):
7672 @lilypond[verbatim,quote]
7673 c'4 \property Voice.Stem \set #'thickness = #4.0
7675 c'4 \property Voice.Stem \set #'thickness = #1.3
7679 Reverting a setting which was not set in the first place has no
7680 effect. However, if the setting was set as a system default, this may
7681 remove the default value, and this may give surprising results,
7682 including crashes. In other words, @code{\override} and
7683 @code{\revert} must be carefully balanced. The following are examples
7684 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7688 a clumsy but correct form:
7690 \override \revert \override \revert \override \revert
7694 shorter version of the same:
7696 \override \set \set \revert
7700 a short form, using only @code{\set}. This requires you to know the
7703 \set \set \set \set @var{to default value}
7707 if there is no default (i.e. by default, the object property is unset),
7710 \set \set \set \revert
7714 The object description is an Scheme association list. Since a Scheme
7715 list is a singly linked list, we can treat it as a stack, and
7716 @code{\override} and @code{\revert} are push and pop operations. The
7717 association list is stored in a normal context property, hence
7719 \property Voice.NoteHead = #'()
7721 will effectively erase @internalsref{NoteHead}s from the current
7722 @internalsref{Voice}. Typically, this will blank the object. However,
7723 this mechanism should not be used: it may cause crashes or other
7728 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7729 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7730 @internalsref{All-layout-objects}.
7735 The backend is not very strict in type-checking object properties.
7736 Cyclic references in Scheme values for properties cause hangs and/or
7737 crashes. Reverting properties that are system defaults may also lead
7740 A property tweak of modifies a local copy of the object definition.
7741 After such a tweak, the definition is independent of the objects in
7742 enclosing contexts. For example
7745 \property Voice.Stem \set #'neutral-direction = #1
7747 \property Staff.Stem \set #'thickness = #4.0
7752 In this fragment, @code{neutral-direction} is tweaked. As a result,
7753 the current @internalsref{Voice} gets a private version of the
7754 @internalsref{Stem} object. The following tweak modifies the
7755 definition at @internalsref{Staff} level. Since it a different
7756 definition, the thickness of the @code{b'16} is unaffected. For the
7757 third note, a new Voice is created, which inherits the new definition,
7758 including the changed thickness, but excluding the new neutral
7764 * Constructing a tweak::
7770 @node Constructing a tweak
7771 @subsection Constructing a tweak
7774 @cindex internal documentation
7775 @cindex finding graphical objects
7776 @cindex graphical object descriptions
7778 @cindex @code{\override}
7780 @cindex internal documentation
7784 Three pieces of information are required to use @code{\override} and
7785 @code{\set}: the name of the layout object, the context and the name
7786 of the property. We demonstrate how to glean this information from
7787 the notation manual and the generated documentation.
7789 The generated documentation is a set of HTML pages which should be
7790 included if you installed a binary distribution, typically in
7791 @file{/usr/share/doc/lilypond}. They are also available on the web:
7792 go to the @uref{http://lilypond.org,LilyPond website}, click
7793 ``Documentation'', select the correct version, and click then
7794 ``Program reference.'' It is advisable to bookmark the local HTML
7795 files. They will load faster than the ones on the web. If you use the
7796 version from the web, you must check whether the documentation matches
7797 the program version: it is generated from the definitions that the
7798 program uses, and therefore it is strongly tied to the LilyPond
7802 @c [TODO: revise for new site.]
7804 Suppose we want to move the fingering indication in the fragment below:
7806 @lilypond[relative=2,verbatim]
7812 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7813 instructions}), you will notice that there is written:
7818 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7825 In other words, the fingerings once entered, are internally stored as
7826 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7827 layout object is created for every @code{FingerEvent}.
7829 The Fingering object has a number of different functions, and each of
7830 those is captured in an interface. The interfaces are listed under
7831 @internalsref{Fingering} in the program reference.
7835 The @code{Fingering} object has a fixed size
7836 (@internalsref{item-interface}), the symbol is a piece of text
7837 (@internalsref{text-interface}), whose font can be set
7838 (@internalsref{font-interface}). It is centered horizontally
7839 (@internalsref{self-alignment-interface}), it is placed next to other
7840 objects (@internalsref{side-position-interface}) vertically, and its
7841 placement is coordinated with other scripts
7842 (@internalsref{text-script-interface}). It also has the standard
7843 @internalsref{grob-interface} (grob stands for Graphical object)
7845 @cindex graphical object
7846 @cindex layout object
7847 @cindex object, layout
7848 with all the variables that come with
7849 it. Finally, it denotes a fingering instruction, so it has
7850 @internalsref{finger-interface}.
7852 For the vertical placement, we have to look under
7853 @code{side-position-interface}:
7855 @code{side-position-interface}
7857 Position a victim object (this one) next to other objects (the
7858 support). In this case, the property @code{direction} signifies where to put the
7859 victim object relative to the support (left or right, up or down?)
7864 below this description, the variable @code{padding} is described as
7868 (dimension, in staff space)
7870 add this much extra space between objects that are next to each
7871 other. Default value: @code{0.6}
7875 By increasing the value of @code{padding}, we can move away the
7876 fingering. The following command inserts 3 staff spaces of white
7877 between the note and the fingering:
7879 \once \property Voice.Fingering \set #'padding = #3
7882 Inserting this command before the Fingering object is created,
7883 i.e. before @code{c2}, yields the following result:
7885 @lilypond[relative=2,fragment,verbatim]
7886 \once \property Voice.Fingering
7893 The context name @code{Voice} in the example above can be determined
7894 as follows. In the documentation for @internalsref{Fingering}, it says
7896 Fingering grobs are created by: @internalsref{Fingering_engraver}
7899 Clicking @code{Fingering_engraver} shows the documentation of
7900 the module responsible for interpreting the fingering instructions and
7901 translating them to a @code{Fingering} object. Such a module is called
7902 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7905 Fingering_engraver is part of contexts: Voice
7907 so tuning the settings for Fingering should be done with
7909 \property Voice.Fingering \set @dots{}
7912 Of course, the tweak may also done in a larger context than
7913 @code{Voice}, for example, @internalsref{Staff} or
7914 @internalsref{Score}.
7918 Internals: the program reference also contains alphabetical lists of
7919 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7920 @internalsref{Music-expressions}, so you can also find which objects
7921 to tweak by browsing the internals document.
7925 @subsection Applyoutput
7927 The most versatile way of tuning an object is @code{\applyoutput}. Its
7930 \applyoutput @var{proc}
7934 where @var{proc} is a Scheme function, taking three arguments.
7936 When interpreted, the function @var{proc} is called for every layout
7937 object found in the context, with the following arguments:
7939 @item the layout object itself,
7940 @item the context where the layout object was created, and
7941 @item the context where @code{\applyoutput} is processed.
7945 In addition, the cause of the layout object, i.e. the music
7946 expression or object that was responsible for creating it, is in the
7947 object property @code{cause}. For example, for a note head, this is a
7948 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7949 this is a @internalsref{NoteHead} object.
7951 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7954 (define (blanker grob grob-origin context)
7955 (if (and (memq (ly:get-grob-property grob 'interfaces)
7956 note-head-interface)
7957 (eq? (ly:get-grob-property grob 'staff-position) 0))
7959 (ly:set-grob-property! grob 'transparent #t)))
7964 @node Font selection
7965 @subsection Font selection
7967 The most common thing to change about the appearance of fonts is their
7968 size. The font size of any context can be easily changed by setting
7969 the @code{fontSize} property for that context. Its value is a number:
7970 negative numbers make the font smaller, positive numbers larger. An
7971 example is given below:
7973 @lilypond[fragment,relative=1,verbatim,quote]
7974 c4 c4 \property Voice.fontSize = #-1
7977 This command will set @code{font-size} (see below), and does
7978 not change the size of variable symbols, such as beams or slurs.
7980 One of the uses of @code{fontSize} is to get smaller symbols for cue
7981 notes. An elaborate example of those is in
7982 @inputfileref{input/test,cue-notes.ly}.
7984 @cindex magnification
7987 The font used for printing a object can be selected by setting
7988 @code{font-name}, e.g.
7990 \property Staff.TimeSignature
7991 \set #'font-name = #"cmr17"
7995 Any font can be used, as long as it is available to @TeX{}. Possible
7996 fonts include foreign fonts or fonts that do not belong to the
7997 Computer Modern font family. The size of fonts selected in this way
7998 can be changed with the @code{font-magnification} property. For
7999 example, @code{2.0} blows up all letters by a factor 2 in both
8003 @cindex font magnification
8005 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
8006 can also be adjusted with a more fine-grained mechanism. By setting
8007 the object properties described below, you can select a different font;
8008 all three mechanisms work for every object that supports
8009 @code{font-interface}:
8014 is a symbol indicating the general class of the typeface. Supported are
8015 @code{roman} (Computer Modern), @code{braces} (for piano staff
8016 braces), @code{music} (the standard music font, including ancient
8017 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
8020 is a symbol indicating the shape of the font, there are typically several
8021 font shapes available for each font family. Choices are @code{italic},
8022 @code{caps} and @code{upright}.
8025 is a symbol indicating the series of the font. There are typically several
8026 font series for each font family and shape. Choices are @code{medium}
8031 For any of these properties, the value @code{*} (i.e. the symbol
8032 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
8033 to override default setting, which are always present. For example:
8035 \property Lyrics . LyricText \override #'font-series = #'bold
8036 \property Lyrics . LyricText \override #'font-family = #'typewriter
8037 \property Lyrics . LyricText \override #'font-shape = #'*
8040 @cindex @code{font-style}
8042 The font size is set by modifying the @code{font-size} property. Its
8043 value is a number indicating the size relative to the standard size.
8044 Each step up is an increase of approximately 12% of the font size. Six
8045 steps is exactly a factor two. The Scheme function @code{magstep}
8046 converts a @code{font-size} number to a scaling factor.
8048 LilyPond has fonts in different design sizes: the music fonts for
8049 smaller sizes are chubbier, while the text fonts are relatively wider.
8050 Font size changes are achieved by scaling the design size that is
8051 closest to the desired size.
8053 The @code{font-size} mechanism does not work for fonts selected
8054 through @code{font-name}. These may be scaled with
8055 @code{font-magnification}.
8059 The following commands set @code{fontSize} for the current voice.
8061 @cindex @code{\tiny}
8063 @cindex @code{\small}
8065 @cindex @code{\normalsize}
8070 Init files: @file{ly/paper20.ly} contains hints how new fonts may be
8075 There is no style sheet provided for other fonts besides the @TeX{}
8076 Computer Modern family.
8078 @cindex font selection
8079 @cindex font magnification
8080 @cindex @code{font-interface}
8084 @subsection Text markup
8089 @cindex typeset text
8091 LilyPond has an internal mechanism to typeset texts. You can access it
8092 with the keyword @code{\markup}. Within markup mode, you can enter texts
8093 similar to lyrics: simply enter them, surrounded by spaces:
8096 @lilypond[verbatim,fragment,relative=1]
8097 c1^\markup { hello }
8098 c1_\markup { hi there }
8099 c1^\markup { hi \bold there, is \italic anyone home? }
8102 @cindex font switching
8104 The markup in the example demonstrates font switching commands. The
8105 command @code{\bold} and @code{\italic} only apply to the first
8106 following word; enclose a set of texts with braces to apply a command
8109 \markup @{ \bold @{ hi there @} @}
8113 For clarity, you can also do this for single arguments, e.g.
8115 \markup @{ is \italic @{ anyone @} home @}
8118 @cindex font size, texts
8120 The following size commands set absolute sizes:
8122 @cindex @code{\teeny}
8123 @cindex @code{\tiny}
8124 @cindex @code{\small}
8125 @cindex @code{\large}
8126 @cindex @code{\huge}
8136 You can also make letter larger or smaller relative to their neighbors,
8137 with the commands @code{\larger} and @code{\smaller}.
8141 @cindex font style, for texts
8142 @cindex @code{\bold}
8143 @cindex @code{\dynamic}
8144 @cindex @code{\number}
8145 @cindex @code{\italic}
8147 The following font change commands are defined:
8150 changes to the font used in dynamic signs. This font does not
8151 contain all characters of the alphabet, so when producing ``piu f'',
8152 the ``piu'' should be done in a different font.
8156 changes to the font used in time signatures. It only contains
8157 numbers and a few punctuation marks.
8159 changes @code{font-shape} to @code{italic}.
8161 changes @code{font-series} to @code{bold}.
8164 @cindex raising text
8165 @cindex lowering text
8167 @cindex translating text
8170 @cindex @code{\super}
8172 Raising and lowering texts can be done with @code{\super} and
8175 @lilypond[verbatim,fragment,relative=1]
8176 c1^\markup { E "=" mc \super "2" }
8179 @cindex @code{\raise}
8181 If you want to give an explicit amount for lowering or raising, use
8182 @code{\raise}. This command takes a Scheme valued first argument, and
8183 a markup object as second argument:
8185 @lilypond[verbatim,fragment,relative=1,quote]
8186 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8188 The argument to @code{\raise} is the vertical displacement amount,
8189 measured in (global) staff spaces. @code{\raise} and @code{\super}
8190 raise objects in relation to their surrounding markups. They cannot be
8191 used to move a single text up or down, when it is above or below a
8192 note, since the mechanism that positions it next to the note cancels
8193 any vertical shift. For vertical positioning, use the @code{padding}
8194 and/or @code{extra-offset} properties.
8196 Other commands taking single arguments include
8199 @item \bracket, \hbracket
8200 Bracket the argument markup with normal and horizontal brackets
8204 @cindex @code{\musicglyph}
8205 This is converted to a musical symbol, e.g. @code{\musicglyph
8206 #"accidentals-0"} will select the natural sign from the music font.
8207 See @ref{The Feta font} for a complete listing of the possible glyphs.
8210 This produces a single character, e.g. @code{\char #65} produces the
8213 @item \note @var{duration} @var{dir}
8214 @cindex @code{\note}
8216 This produces a note with a stem pointing in @var{dir} direction, with
8217 the @var{duration} for the note head type and augmentation dots. For
8218 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8219 a shortened down stem.
8221 @item \hspace #@var{amount}
8222 @cindex @code{\hspace}
8223 This produces a invisible object taking horizontal space.
8225 \markup @{ A \hspace #2.0 B @}
8227 will put extra space between A and B, on top of the space that is
8228 normally inserted before elements on a line.
8230 @item \fontsize #@var{size}
8231 @cindex @code{\fontsize}
8232 This sets the relative font size, eg.
8234 A \fontsize #2 @{ B C @} D
8238 This will enlarge the B and the C by two steps.
8239 @item \translate #(cons @var{x} @var{y})
8241 This translates an object. Its first argument is a cons of numbers
8243 A \translate #(cons 2 -3) @{ B C @} D
8245 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8246 surroundings. This command cannot be used to move isolated scripts
8247 vertically, for the same reason that @code{\raise} cannot be used for
8250 @item \magnify #@var{mag}
8251 @cindex @code{\magnify}
8252 This sets the font magnification for the its argument. In the following
8253 example, the middle A will be 10% larger:
8255 A \magnify #1.1 @{ A @} A
8259 @item \override #(@var{key} . @var{value})
8260 @cindex @code{\override}
8261 This overrides a formatting property for its argument. The argument
8262 should be a key/value pair, e.g.
8264 m \override #'(font-family . math) m m
8268 In markup mode you can compose expressions, similar to mathematical
8269 expressions, XML documents and music expressions. The braces group
8270 notes into horizontal lines. Other types of lists also exist: you can
8271 stack expressions grouped with @code{<}, and @code{>} vertically with
8272 the command @code{\column}. Similarly, @code{\center} aligns texts by
8275 @lilypond[verbatim,fragment,relative=1]
8276 c1^\markup { \column < a bbbb c > }
8277 c1^\markup { \center < a bbbb c > }
8278 c1^\markup { \line < a b c > }
8282 Markups can be stored in variables, and these variables
8283 may be attached to notes, like
8285 allegro = \markup { \bold \large { Allegro } }
8286 \notes { a^\allegro b c d }
8289 The markup mechanism is extensible. Refer to
8290 @file{scm/new-markup.scm} for more information.
8293 Some objects have alignment procedures of their own, which cancel out
8294 any effects of alignments applied to their markup arguments as a
8295 whole. For example, the @internalsref{RehearsalMark} is horizontally
8296 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8297 effect. Similarly, whole texts over notes cannot be moved vertically
8298 with @code{\raise}. For moving and aligning complete objects, grob
8299 properties should be used.
8303 Internals: @internalsref{Markup-functions} contains a complete list of
8304 all markup commands.
8306 Init files: @file{scm/new-markup.scm}.
8313 Text layout is ultimately done by @TeX{}, which does kerning of
8314 letters. LilyPond does not account for kerning, so texts will be
8315 spaced slightly too wide.
8317 Syntax errors for markup mode are confusing.
8319 Markup texts cannot be used in the titling of the @code{\header}
8320 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8329 @section Global layout
8331 The global layout determined by three factors: the page layout, the
8332 line breaks and the spacing. These all influence each other. The
8333 choice of spacing determines how densely each system of music is set,
8334 which influences where line breaks breaks are chosen, and thus
8335 ultimately how many pages a piece of music takes. This section
8336 explains how to tune the algorithm for spacing.
8338 Globally spoken, this procedure happens in three steps: first,
8339 flexible distances (``springs'') are chosen, based on durations. All
8340 possible line breaking combination are tried, and the one with the
8341 best results---a layout that has uniform density and requires as
8342 little stretching or cramping as possible---is chosen. When the score
8343 is processed by @TeX{}, each page is filled with systems, and page breaks
8344 are chosen whenever the page gets full.
8349 * Vertical spacing::
8350 * Horizontal spacing::
8357 @node Vertical spacing
8358 @subsection Vertical spacing
8360 @cindex vertical spacing
8361 @cindex distance between staves
8362 @cindex staff distance
8363 @cindex between staves, distance
8364 @cindex staffs per page
8365 @cindex space between staves
8367 The height of each system is determined automatically by LilyPond, to
8368 keep systems from bumping into each other, some minimum distances are
8369 set. By changing these, you can put staves closer together, and thus
8370 put more systems onto one page.
8372 Normally staves are stacked vertically. To make
8373 staves maintain a distance, their vertical size is padded. This is
8374 done with the property @code{minimumVerticalExtent}. It takes a pair
8375 of numbers, so if you want to make it smaller from its, then you could
8378 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8380 This sets the vertical size of the current staff to 4 staff spaces on
8381 either side of the center staff line. The argument of
8382 @code{minimumVerticalExtent} is interpreted as an interval, where the
8383 center line is the 0, so the first number is generally negative. The
8384 staff can be made larger at the bottom by setting it to @code{(-6
8387 The piano staves are handled a little differently: to make cross-staff
8388 beaming work correctly, it is necessary that the distance between staves
8389 is fixed beforehand. This is also done with a
8390 @internalsref{VerticalAlignment} object, created in
8391 @internalsref{PianoStaff}. In this object the distance between the
8392 staves is fixed by setting @code{forced-distance}. If you want to
8393 override this, use a @code{\translator} block as follows:
8397 VerticalAlignment \override #'forced-distance = #9
8400 This would bring the staves together at a distance of 9 staff spaces,
8401 measured from the center line of each staff.
8405 Internals: Vertical alignment of staves is handled by the
8406 @internalsref{VerticalAlignment} object.
8410 @node Horizontal spacing
8411 @subsection Horizontal Spacing
8413 The spacing engine translates differences in durations into
8414 stretchable distances (``springs'') of differing lengths. Longer
8415 durations get more space, shorter durations get less. The shortest
8416 durations get a fixed amount of space (which is controlled by
8417 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8418 /The longer the duration, the more space it gets: doubling a
8419 duration adds a fixed amount (this amount is controlled by
8420 @code{spacing-increment}) of space to the note.
8422 For example, the following piece contains lots of half, quarter and
8423 8th notes, the eighth note is followed by 1 note head width (NHW).
8424 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8425 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8429 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8430 width of a note head, and @code{shortest-duration-space} is set to
8431 2.0, meaning that the shortest note gets 2 NHW (2 times
8432 @code{shortest-duration-space}) of space. For normal notes, this space
8433 is always counted from the left edge of the symbol, so the shortest
8434 notes are generally followed by one NHW of space.
8436 If one would follow the above procedure exactly, then adding a single
8437 32th note to a score that uses 8th and 16th notes, would widen up the
8438 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8439 thus adding 1 NHW to every note. To prevent this, the
8440 shortest duration for spacing is not the shortest note in the score,
8441 but the most commonly found shortest note. Notes that are even
8442 shorter this are followed by a space that is proportional to their
8443 duration relative to the common shortest note. So if we were to add
8444 only a few 16th notes to the example above, they would be followed by
8447 @lilypond[fragment, verbatim, relative=2]
8448 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8451 The most common shortest duration is determined as follows: in every
8452 measure, the shortest duration is determined. The most common short
8453 duration, is taken as the basis for the spacing, with the stipulation
8454 that this shortest duration should always be equal to or shorter than
8455 1/8th note. The shortest duration is printed when you run lilypond
8456 with @code{--verbose}. These durations may also be customized. If you
8457 set the @code{common-shortest-duration} in
8458 @internalsref{SpacingSpanner}, then this sets the base duration for
8459 spacing. The maximum duration for this base (normally 1/8th), is set
8460 through @code{base-shortest-duration}.
8462 @cindex @code{common-shortest-duration}
8463 @cindex @code{base-shortest-duration}
8464 @cindex @code{stem-spacing-correction}
8465 @cindex @code{spacing}
8467 In the introduction it was explained that stem directions influence
8468 spacing. This is controlled with @code{stem-spacing-correction}
8469 property in @internalsref{NoteSpacing}, which are generated for every
8470 @internalsref{Voice} context. The @code{StaffSpacing} object
8471 (generated at @internalsref{Staff} context) contains the same property
8472 for controlling the stem/barline spacing. The following example
8473 shows these corrections, once with default settings, and once with
8474 exaggerated corrections:
8480 \property Staff.NoteSpacing \override #'stem-spacing-correction
8482 \property Staff.StaffSpacing \override #'stem-spacing-correction
8487 \paper { raggedright = ##t } }
8490 @cindex SpacingSpanner, overriding properties
8492 Properties of the @internalsref{SpacingSpanner} must be overridden
8493 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8494 created before any @code{\property} statements are interpreted.
8496 \paper @{ \translator @{
8498 SpacingSpanner \override #'spacing-increment = #3.0
8505 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8506 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8507 @internalsref{SeparatingGroupSpanner}.
8511 Spacing is determined on a score wide basis. If you have a score that
8512 changes its character (measured in durations) halfway during the
8513 score, the part containing the longer durations will be spaced too
8516 There is no convenient mechanism to manually override spacing.
8521 @subsection Font size
8522 @cindex font size, setting
8523 @cindex staff size, setting
8524 @cindex @code{paper} file
8526 The Feta font provides musical symbols at eight seven different
8527 sizes. Each font is tuned for a different staff size: at smaller sizes
8528 the font gets heavier, to match the relatively heavier staff lines.
8529 The recommended font sizes are listed in the following table:
8531 @multitable @columnfractions .25 .25 .25 .25
8534 @tab @b{staff height (pt)}
8535 @tab @b{staff height (mm)}
8577 @c modern rental material ?
8581 These fonts are available in any sizes. The context property
8582 @code{fontSize} and the layout property @code{staff-space} (in
8583 @internalsref{StaffSymbol}) can be used to tune size for individual
8584 staffs. The size of individual staffs are relative to the global size,
8585 which can be set in the following manner:
8588 #(set-staff-size 14)
8591 This sets the global default size to 14pt staff height, and scales all
8597 @subsection Line breaking
8600 @cindex breaking lines
8602 Line breaks are normally computed automatically. They are chosen such
8603 that lines look neither cramped nor loose, and that consecutive lines
8604 have similar density.
8606 Occasionally you might want to override the automatic breaks; you can
8607 do this by specifying @code{\break}. This will force a line break at
8608 this point. Line breaks can only occur at places where there are bar
8609 lines. If you want to have a line break where there is no bar line,
8610 you can force an invisible bar line by entering @code{\bar
8611 ""}. Similarly, @code{\noBreak} forbids a line break at a
8615 @cindex regular line breaks
8616 @cindex four bar music.
8618 For linebreaks at regular intervals use @code{\break} separated by
8619 skips and repeated with @code{\repeat}:
8621 << \repeat unfold 7 @{
8622 s1 \noBreak s1 \noBreak
8623 s1 \noBreak s1 \break @}
8624 @emph{the real music}
8629 This makes the following 28 measures (assuming 4/4 time) be broken every
8630 4 measures, and only there.
8634 @code{\break}, @code{\noBreak}
8635 @cindex @code{\break}
8636 @cindex @code{\noBreak}
8640 Internals: @internalsref{BreakEvent}.
8644 @subsection Page layout
8647 @cindex breaking pages
8649 @cindex @code{indent}
8650 @cindex @code{linewidth}
8652 The most basic settings influencing the spacing are @code{indent} and
8653 @code{linewidth}. They are set in the @code{\paper} block. They
8654 control the indentation of the first line of music, and the lengths of
8657 If @code{raggedright} is set to true in the @code{\paper}
8658 block, then the lines are justified at their natural length. This
8659 useful for short fragments, and for checking how tight the natural
8663 @cindex vertical spacing
8665 The page layout process happens outside the LilyPond formatting
8666 engine: variables controlling page layout are passed to the output,
8667 and are further interpreted by @code{lilypond} wrapper program. It
8668 responds to the following variables in the @code{\paper} block. The
8669 variable @code{textheight} sets the total height of the music on each
8670 page. The spacing between systems is controlled with
8671 @code{interscoreline}, its default is 16pt. The distance between the
8672 score lines will stretch in order to fill the full page
8673 @code{interscorelinefill} is set to a positive number. In that case
8674 @code{interscoreline} specifies the minimum spacing.
8676 @cindex @code{textheight}
8677 @cindex @code{interscoreline}
8678 @cindex @code{interscorelinefill}
8680 If the variable @code{lastpagefill} is defined,
8681 @c fixme: this should only be done if lastpagefill == #t
8682 systems are evenly distributed vertically on the last page. This
8683 might produce ugly results in case there are not enough systems on the
8684 last page. The @command{lilypond-book} command ignores
8685 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8688 @cindex @code{lastpagefill}
8690 Page breaks are normally computed by @TeX{}, so they are not under
8691 direct control of LilyPond. However, you can insert a commands into
8692 the @file{.tex} output to instruct @TeX{} where to break pages. This
8693 is done by setting the @code{between-systems-strings} on the
8694 @internalsref{NonMusicalPaperColumn} where the system is broken.
8695 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8696 The predefined command @code{\newpage} also does this.
8700 @cindex @code{papersize}
8702 To change the paper size, use the following Scheme code:
8705 #(set-paper-size "a4")
8712 @cindex @code{\newpage}
8718 In this manual @ref{Invoking lilypond}
8720 Examples: @inputfileref{input/regression,between-systems.ly}
8722 Internals: @internalsref{NonMusicalPaperColumn}.
8726 LilyPond has no concept of page layout, which makes it difficult to
8727 reliably choose page breaks in longer pieces.
8736 Entered music can also be converted to MIDI output. The performance
8737 is good enough for proof-hearing the music for errors.
8739 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8740 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8741 marks translate to a fixed fraction of the available MIDI volume
8742 range, crescendi and decrescendi make the volume vary linearly between
8743 their two extremities. The fractions can be adjusted by
8744 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8745 For each type of MIDI instrument, a volume range can be defined. This
8746 gives a basic equalizer control, which can enhance the quality of
8747 the MIDI output remarkably. The equalizer can be controlled by
8748 setting @code{instrumentEqualizer}.
8752 Many musically interesting effects, such as swing, articulation,
8753 slurring, etc., are not translated to MIDI.
8758 * MIDI instrument names::
8763 @subsection MIDI block
8767 The MIDI block is analogous to the paper block, but it is somewhat
8768 simpler. The @code{\midi} block can contain:
8772 @item a @code{\tempo} definition, and
8773 @item context definitions.
8776 Assignments in the @code{\midi} block are not allowed.
8778 A number followed by a period is interpreted as a real number, so
8779 for setting the tempo for dotted notes, an extra space should be
8780 inserted, for example:
8783 \midi @{ \tempo 4 . = 120 @}
8787 @cindex context definition
8789 Context definitions follow precisely the same syntax as within the
8790 \paper block. Translation modules for sound are called performers.
8791 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8794 @node MIDI instrument names
8795 @subsection MIDI instrument names
8797 @cindex instrument names
8798 @cindex @code{Staff.midiInstrument}
8800 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8801 property. The instrument name should be chosen from the list in
8802 @ref{MIDI instruments}.
8806 If the selected string does not exactly match, then the default is
8807 used, which is the Grand Piano.