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
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
22 <!--- @@WEB-TITLE@@=Reference Manual --->
25 This document describes GNU LilyPond and its input format. The last
26 revision of this document was made for LilyPond 1.4.1. It supposes a
27 passing familiarity with how LilyPond input works. New users are
28 encouraged to study the tutorial first.
33 * Easier music entry::
52 @c FIXME: Note entry vs Music entry at top level menu is confusing.
58 The most basic forms of music are notes. Notes on their own don't
59 form valid input, but for the sake of brevity we omit @code{\score}
60 blocks and @code{\paper} declarations.
66 * Chromatic alterations::
71 * Automatic note splitting ::
73 * Easy Notation note heads ::
81 A note is printed by specifying its pitch, and then its duration.
82 @lilypond[fragment,verbatim]
91 @cindex Note specification
93 @cindex entering notes
95 The verbose syntax for pitch specification is
102 @var{scmpitch} is a pitch scheme object.
104 In Note and Chord mode, pitches may be designated by names. The default
105 names are the Dutch note names. The notes are specified by the letters
106 @code{a} through @code{g} (where the octave is formed by notes ranging
107 from @code{c} to @code{b}). The pitch @code{c} is an octave below
108 middle C and the letters span the octave above that C.
110 @cindex note names, Dutch
112 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
113 name and a flat is formed by adding @code{-es}. Double sharps and double
114 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
115 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
116 both forms are accepted.
118 LilyPond has predefined sets of note names for various other languages.
119 To use them, simply include the language specific init file. For
120 example: @code{\include "english.ly"}. The available language files and
121 the names they define are:
124 Note Names sharp flat
125 nederlands.ly c d e f g a bes b -is -es
126 english.ly c d e f g a bf b -s/-sharp -f/-flat
127 deutsch.ly c d e f g a b h -is -es
128 norsk.ly c d e f g a b h -iss/-is -ess/-es
129 svenska.ly c d e f g a b h -iss -ess
130 italiano.ly do re mi fa sol la sib si -d -b
131 catalan.ly do re mi fa sol la sib si -d/-s -b
132 espanol.ly do re mi fa sol la sib si -s -b
141 The optional octave specification takes the form of a series of
142 single quote (`@code{'}') characters or a series of comma
143 (`@code{,}') characters. Each @code{'} raises the pitch by one
144 octave; each @code{,} lowers the pitch by an octave.
146 @lilypond[fragment,verbatim,center]
147 c' c'' es' g' as' gisis' ais'
150 @node Chromatic alterations
151 @subsection Chromatic alterations
153 Normally, accidentals are printed automatically, but you may force
154 accidentals in the following ways: A reminder accidental
155 @cindex reminder accidental
157 can be forced by adding an exclamation mark @code{!} after the pitch. A
158 cautionary accidental,
159 @cindex cautionary accidental
160 @cindex parenthesized accidental
161 i.e., an accidental within parentheses can be obtained by adding the
162 question mark `@code{?}' after the pitch.
164 The automatic production of accidentals can be tuned in many
165 ways. Refer to @ref{Accidentals} for more information.
172 A rest is entered like a note, with note name `@code{r}':
174 @lilypond[singleline,verbatim]
178 Whole bar rests centered in the bar are specified using @code{R}, see
179 @ref{Multi measure rests}. See also @seeinternals{Rest}.
181 For polyphonic music, it can be convenient to specify the rest position
182 directly. You can do that by entering a note, with the keyword
183 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
185 @lilypond[singleline,verbatim]
195 @cindex Invisible rest
198 An invisible rest, or skip, can be entered like a note with note name
199 @code{s}, or with @code{\skip @var{duration}}:
201 @lilypond[singleline,verbatim]
205 The @code{s} syntax is only available in Note mode and Chord mode.
206 In other situations, you should use the @code{\skip} command, and it is
207 only available in Note mode and Chord mode.
209 @c FIXME: in lyrics mode, we have " " and _
211 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
212 @lilypond[singleline,verbatim]
214 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
215 \notes\relative c'' { a2 a4 a a2 a4 a }
219 The unabbreviated `@code{\skip} @var{duration}' also works outside of
222 @lilypond[singleline,verbatim]
225 { \time 4/8 \skip 2 \time 4/4 }
226 \notes\relative c'' { a2 a1 }
231 The skip command is merely a empty musical placeholder. It does not
232 produce any output, not even transparent output.
237 @subsection Durations
241 @cindex @code{\duration}
244 In Note, Chord, and Lyrics mode, durations may be designated by numbers
245 and dots: durations are entered as their reciprocal values. For notes
246 longer than a whole you must use identifiers.
250 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
252 r1 r2 r4 r8 r16 r32 r64 r64
258 \notes \relative c'' {
260 a1 a2 a4 a8 a16 a32 a64 a64
262 r1 r2 r4 r8 r16 r32 r64 r64
267 \remove "Clef_engraver"
268 \remove "Staff_symbol_engraver"
269 \remove "Time_signature_engraver"
270 \consists "Pitch_squash_engraver"
277 If the duration is omitted then it is set to the previous duration
278 entered. At the start of parsing a quarter note is assumed. The
279 duration can be followed by dots (`@code{.}') to obtain dotted note
283 @lilypond[fragment,verbatim,center]
289 You can alter the length of duration by a fraction @var{N/M} by
290 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
291 will not affect the appearance of the notes or rests produced.
293 Durations can also be produced through GUILE extension mechanism.
294 @lilypond[verbatim,fragment]
295 c\duration #(make-duration 2 1)
301 Dot placement for chords is not perfect. In some cases, dots overlap:
303 \context Voice { <f,4. c'' d e f> }
314 A tie connects two adjacent note heads of the same pitch. The tie in
315 effect extends the length of a note. A tie is entered with @code{~}.
317 @lilypond[fragment,verbatim,center]
318 e' ~ e' <c' e' g'> ~ <c' e' g'>
321 When ties are used with chords, all note heads whose pitches match are
322 connected. Ties are indicated using the tilde symbol `@code{~}'. If
323 you try to tie together chords which have no common pitches then no
324 ties will be created.
326 If you want less ties created for a chord, you can set
327 @code{Voice.sparseTies} to true. In this case, a single tie is used
328 for every tied chord.
329 @lilypond[fragment,verbatim,center]
330 \property Voice.sparseTies = ##t
331 <c' e' g'> ~ <c' e' g'>
334 In its meaning a tie is just a way of extending a note duration, similar
335 to the augmentation dot: the following example are two ways of notating
336 exactly the same concept.
338 @lilypond[fragment, singleline]
339 \time 3/4 c'2. c'2 ~ c'4
341 Ties should not be confused with slurs, which indicate articulation,
342 and phrasing slurs, which indicate musical phrasing.
344 See also @seeinternals{Tie}.
349 At present, the tie is represented as a separate event, temporally
350 located in between the notes. Tieing only a subset of the note heads
351 of a chord is not supported in a simple way. It can be achieved by
352 moving the tie-engraver into the Thread context and turning on and off
355 Switching staffs when a tie is active will not work.
357 @node Automatic note splitting
358 @subsection Automatic note splitting
359 @c FIXME: This subsection doesn't belong in @ref{Note entry}.
361 There is a facility for automatically converting long notes to tied
362 notes. This is done by replacing the @code{Note_heads_engraver} by the
363 @code{Completion_heads_engraver}.
365 @lilypond[verbatim,center]
367 \notes\relative c'{ \time 2/4
368 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
372 \remove "Note_heads_engraver"
373 \consists "Completion_heads_engraver"
377 This engraver splits all running notes at the bar line, and inserts
378 ties. One of its uses is to debug complex scores: if the measures are
379 not entirely filled, then the ties exactly show how much each measure
384 Not all durations (especially those containing tuplets) can be
385 represented exactly; the engraver will not insert tuplets.
392 @cindex @code{\times}
394 Tuplets are made out of a music expression by multiplying all duration
397 @cindex @code{\times}
399 \times @var{fraction} @var{musicexpr}
402 The duration of @var{musicexpr} will be multiplied by the fraction.
403 In print, the fraction's denominator will be printed over the notes,
404 optionally with a bracket. The most common tuplet is the triplet in
405 which 3 notes have the length of 2, so the notes are 2/3 of
406 their written length:
408 @lilypond[fragment,verbatim,center]
409 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
412 The property @code{tupletSpannerDuration} specifies how long each bracket
413 should last. With this, you can make lots of tuplets while typing
414 @code{\times} only once, thus saving typing work.
416 @lilypond[fragment, relative, singleline, verbatim]
417 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
418 \times 2/3 { c'8 c c c c c }
421 The format of the number is determined by the property
422 @code{tupletNumberFormatFunction}. The default prints only the
423 denominator, but if you set it to the Scheme function
424 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
428 @cindex @code{tupletNumberFormatFunction}
429 @cindex tuplet formatting
431 See also @seeinternals{TupletBracket}.
435 Nested tuplets are not formatted automatically. In this case, outer
436 tuplet brackets should be moved automatically.
438 @node Easy Notation note heads
439 @subsection Easy Notation note heads
441 @cindex easy notation
444 A entirely different type of note head is the "easyplay" note head: a
445 note head that includes a note name. It is used in some publications by
446 Hal-Leonard Inc. music publishers.
448 @lilypond[singleline,verbatim,26pt]
450 \notes { c'2 e'4 f' | g'1 }
451 \paper { \translator { \EasyNotation } }
455 Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
456 probably will want to print it with magnification or a large font size to make it more
463 If you view the result with Xdvi, then staff lines will show through
464 the letters. Printing the PostScript file obtained with ly2dvi does
465 produce the correct result.
468 @node Easier music entry
469 @section Easier music entry
472 * Graphical interfaces::
476 * Skipping corrected music::
479 When entering music with LilyPond, it is easy to introduce errors. This
480 section deals with tricks and features that help you enter music, and
481 find and correct mistakes.
483 @node Graphical interfaces
484 @subsection Graphical interfaces
487 @cindex graphical interface
494 One way to avoid entering notes using the keyboard is to use a
495 graphical user interface. The following programs are known to have
496 a lilypond export option:
500 @uref{http://denemo.sourceforge.net/, Denemo} was once intended as
501 a LilyPond graphical user interface. It run on Gnome/GTK.
503 @uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html, Noteedit}
504 is a graphical score editor that runs under KDE/Qt.
506 @uref{http://rosegarden.sf.net/, RoseGarden}
507 was the inspiration for naming LilyPond. Nowadays it has been
508 rewritten from scratch and supports LilyPond export as of version
512 Another option is to enter the music using your favorite MIDI
513 sequencer, and then import it using midi2ly. midi2ly is described in
514 @ref{Importing MIDI}.
517 @node Relative octaves
518 @subsection Relative octaves
520 @cindex relative octave specification
522 Octaves are specified by adding @code{'} and @code{,} to pitch names.
523 When you copy existing music, it is easy to accidentally put a pitch in
524 the wrong octave and hard to find such an error. To prevent these
525 errors, LilyPond features octave entry.
527 @cindex @code{\relative}
529 \relative @var{startpitch} @var{musicexpr}
532 The octave of notes that appear in @var{musicexpr} are calculated as
533 follows: If no octave changing marks are used, the basic interval
534 between this and the last note is always taken to be a fourth or less
535 (This distance is determined without regarding alterations; a
536 @code{fisis} following a @code{ceses} will be put above the
539 The octave changing marks @code{'} and @code{,} can be added to raise or
540 lower the pitch by an extra octave. Upon entering relative mode, an
541 absolute starting pitch must be specified that will act as the
542 predecessor of the first note of @var{musicexpr}.
544 Entering music that changes octave frequently is easy in relative mode.
545 @lilypond[fragment,singleline,verbatim,center]
551 And octave changing marks are used for intervals greater than a fourth.
552 @lilypond[fragment,verbatim,center]
557 If the preceding item is a chord, the first note of the chord is used
558 to determine the first note of the next chord. However, other notes
559 within the second chord are determined by looking at the immediately
562 @lilypond[fragment,verbatim,center]
569 @cindex @code{\notes}
571 The pitch after the @code{\relative} contains a note name. To parse
572 the pitch as a note name, you have to be in note mode, so there must
573 be a surrounding @code{\notes} keyword (which is not
576 The relative conversion will not affect @code{\transpose},
577 @code{\chords} or @code{\relative} sections in its argument. If you
578 want to use relative within transposed music, you must place an
579 additional @code{\relative} inside the @code{\transpose}.
584 @subsection Bar check
588 @cindex @code{barCheckSynchronize}
592 Whenever a bar check is encountered during interpretation, a warning
593 message is issued if it doesn't fall at a measure boundary. This can
594 help you find errors in the input. Depending on the value of
595 @code{barCheckSynchronize}, the beginning of the measure will be
596 relocated, so this can also be used to shorten measures.
598 A bar check is entered using the bar symbol, @code{|}:
600 \time 3/4 c2 e4 | g2.
605 @cindex skipTypesetting
607 Failed bar checks are most often caused by entering incorrect
608 durations. Incorrect durations often completely garble up the score,
609 especially if it is polyphonic, so you should start correcting the score
610 by scanning for failed bar checks and incorrect durations. To speed up
611 this process, you can use @code{skipTypesetting} (See @ref{Skipping
614 @c . {Point and click}
615 @node Point and click
616 @subsection Point and click
617 @cindex poind and click
619 Point and click lets you find notes in the input by clicking on them in
620 the Xdvi window. This makes it very easy to find input that causes some
621 error in the sheet music.
623 To use it, you need the following software
625 @item A dvi viewer that supports src specials.
627 @item Xdvi, version 22.36 or newer. Available from
628 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
630 Note that most @TeX{} distributions ship with xdvik, which is always
631 a few versions behind the official Xdvi. To find out which xdvi you
632 are running, try @code{xdvi -version} or @code{xdvi.bin -version}.
633 @item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
634 newer. Enablle the menu Settings -> Inverse search.
636 @item An editor with a client/server interface (or a lightweight GUI editor).
638 @item Emacs. Emacs is an extensible text-editor. It is available from
639 @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
641 @item XEmacs. Xemacs is very similar to emacs.
642 @item NEdit. NEdit runs under Windows, and Unix.
643 It is available from @uref{http://www.nedit.org}.
644 @item GVim. GVim is a GUI variant of VIM, the popular VI
645 clone. It is available from @uref{http://www.vim.org}.
650 Xdvi must be configured to find the @TeX{} fonts and music
651 fonts. Refer to the Xdvi documentation for more information.
653 To use point-and-click, add one of these lines to the top of your .ly
656 #(set! point-and-click line-location)
658 @cindex line-location
660 When viewing, Control-Mousebutton 1 will take you to the originating
661 spot in the @file{.ly} file. Control-Mousebutton 2 will show all
664 If you correct large files with point-and-click, be sure to start
665 correcting at the end of the file. When you start at the top, and
666 insert one line, all following locations will be off by a line.
669 For using point-and-click with emacs, add the following
670 In your emacs startup file (usually @file{~/.emacs}),
675 Make sure that the environment variable @var{XEDITOR} is set to
677 emacsclient --no-wait +%l %f
679 @cindex @var{XEDITOR}
680 If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
681 your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
683 For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or use this
684 argument with xdvi's @code{-editor} option.
686 For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
687 use this argument with xdvi's @code{-editor} option.
689 If can also make your editor jump to the exact location of the note
690 you clicked. This is only supported on Emacs. Users of version 20 must
691 apply the patch @file{emacsclient.patch}. Users of version 21 must
692 apply @file{server.el.patch} (version 21.2 and earlier). At the top
693 of the @code{ly} file, replace the @code{set!} line with the following
696 #(set! point-and-click line-column-location)
698 @cindex line-colomn-location
699 and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
703 When you convert the @TeX{} file to PostScript using @code{dvips}, it
704 will complain about not finding @code{src:X:Y} files. These complaints
705 are harmless, and can be ignored.
707 @node Skipping corrected music
708 @subsection Skipping corrected music
710 The property @code{Score.skipTypesetting} can be used to switch on and
711 off typesetting completely during the interpretation phase. When
712 typesetting is switched off, the music is processed much more quickly.
713 You can use this to skip over the parts of a score that you have already
716 @lilypond[fragment,singleline,verbatim]
718 \property Score.skipTypesetting = ##t
720 \property Score.skipTypesetting = ##f
728 @section Staff notation
730 This section deals with music notation that occurs on staff level,
731 such as keys, clefs and time signatures.
733 @cindex Staff notation
745 @subsection Staff symbol
748 @cindex adjusting staff symbol
749 @cindex StaffSymbol, using \property
750 @cindex staff lines, setting number of
753 The lines of the staff symbol are formed by the
754 @internalsref{StaffSymbol} grob. This grob is created at the moment
755 that their context is created. You can not change the appearance of
756 the staff symbol by using @code{\override} or @code{\set}. At the
757 moment that @code{\property Staff} is interpreted, a Staff context is
758 made, and the StaffSymbol is created before any @code{\override} is
759 effective. You can deal with this either overriding properties in a
760 @code{\translator} definition, or by using @code{\outputproperty}.
765 If you end a staff half way a piece, the staff symbol may not end
766 exactly on the barline.
771 @subsection Key signature
776 Setting or changing the key signature is done with the @code{\key}
779 @code{\key} @var{pitch} @var{type}
782 @cindex @code{\minor}
783 @cindex @code{\major}
784 @cindex @code{\minor}
785 @cindex @code{\ionian}
786 @cindex @code{\locrian}
787 @cindex @code{\aeolian}
788 @cindex @code{\mixolydian}
789 @cindex @code{\lydian}
790 @cindex @code{\phrygian}
791 @cindex @code{\dorian}
793 Here, @var{type} should be @code{\major} or @code{\minor} to get
794 @var{pitch}-major or @var{pitch}-minor, respectively.
795 The standard mode names @code{\ionian},
796 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
797 @code{\phrygian}, and @code{\dorian} are also defined.
799 This command sets the context property @code{Staff.keySignature}.
800 Non-standard key signatures can be specified by setting this property
803 The printed signature is a @internalsref{KeySignature} grob, typically
804 created in @internalsref{Staff} context.
806 @cindex @code{keySignature}
813 The clef can be set or changed with the @code{\clef} command:
814 @lilypond[fragment,verbatim]
815 \key f\major c''2 \clef alto g'2
818 Supported clef-names include
819 @c Moved standard clefs to the top /MB
821 @item treble, violin, G, G2
830 G clef on 1st line, so-called French violin clef
845 By adding @code{_8} or @code{^8} to the clef name, the clef is
846 transposed one octave down or up, respectively. Note that you have to
847 enclose @var{clefname} in quotes if you use underscores or digits in the
853 The grob for this symbol is @internalsref{Clef}.
856 This command is equivalent to setting @code{clefGlyph},
857 @code{clefPosition} (which controls the Y position of the clef),
858 @code{centralCPosition} and @code{clefOctavation}. A clef is created
859 when any of these properties are changed.
862 @c . {Time signature}
864 @subsection Time signature
865 @cindex Time signature
869 The time signature is set or changed by the @code{\time}
871 @lilypond[fragment,verbatim]
872 \time 2/4 c'2 \time 3/4 c'2.
875 The actual symbol that's printed can be customized with the @code{style}
876 property. Setting it to @code{#'()} uses fraction style for 4/4 and
880 The grob for this symbol is @internalsref{TimeSignature}. There are
881 many more options for its layout. They are selected through the
882 @code{style} grob property. See @file{input/test/time.ly} for more
885 This command sets the property @code{timeSignatureFraction},
886 @code{beatLength} and @code{measureLength}. The property
887 @code{timeSignatureFraction} determine where bar lines should be
888 inserted, and how automatic beams should be generated. Changing the
889 value of @code{timeSignatureFraction} also causes a time signature
890 symbol to be printed.
897 @cindex partial measure
898 @cindex measure, partial
899 @cindex shorten measures
900 @cindex @code{\partial}
902 Partial measures, for example in upbeats, are entered using the
903 @code{\partial} command:
904 @lilypond[fragment,verbatim]
905 \partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
908 The syntax for this command is
910 \partial @var{duration}
912 This is internally translated into
914 \property Score.measurePosition = -@var{length of duration}
917 The property @code{measurePosition} contains a rational number
918 indicating how much of the measure has passed at this point.
921 @node Unmetered music
922 @subsection Unmetered music
924 Bar lines and bar numbers are calculated automatically. For unmetered
925 music (e.g. cadenzas), this is not desirable. The commands
926 @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
929 @lilypond[fragment,relative,singleline,verbatim]
937 The property @code{Score.timing} can be used to switch off this
942 @subsection Bar lines
946 @cindex measure lines
949 Bar lines are inserted automatically, but if you need a special type
950 of barline, you can force one using the @code{\bar} command:
951 @lilypond[fragment,verbatim] c4 \bar "|:" c4
954 The following bar types are available
955 @lilypond[fragment, relative, singleline, verbatim]
967 You are encouraged to use @code{\repeat} for repetitions. See
970 In scores with many staffs, the barlines are automatically placed at
971 top level, and they are connected between different staffs of a
972 @internalsref{StaffGroup}:
973 @lilypond[fragment, verbatim]
974 < \context StaffGroup <
975 \context Staff = up { e'4 d'
978 \context Staff = down { \clef bass c4 g e g } >
979 \context Staff = pedal { \clef bass c2 c2 } >
982 The grobs that are created at @internalsref{Staff} level. The name is
983 @internalsref{BarLine}.
985 The command @code{\bar @var{bartype}} is a short cut for
986 doing @code{\property Score.whichBar = @var{bartype}}
987 Whenever @code{whichBar} is set to a string, a bar line of that type is
988 created. @code{whichBar} is usually set automatically: at the start of
989 a measure it is set to @code{defaultBarType}. The contents of
990 @code{repeatCommands} is used to override default measure bars.
992 @code{whichBar} can also be set directly, using @code{\property} or
993 @code{\bar }. These settings take precedence over the automatic
994 @code{whichBar} settings.
997 @cindex Bar_line_engraver
999 @cindex repeatCommands
1000 @cindex defaultBarType
1009 The easiest way to enter such fragments with more than one voice on a
1010 staff is to split chords using the separator @code{\\}. You can use
1011 it for small, short-lived voices (make a chord of voices) or for
1014 @lilypond[verbatim,fragment]
1015 \context Voice = VA \relative c'' {
1016 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
1020 The separator causes @internalsref{Voice} contexts to be instantiated,
1021 bearing the names @code{"1"}, @code{"2"}, etc.
1023 Sometimes, it is necessary to instantiate these contexts by hand: For
1024 Instantiate a separate Voice context for each part, and use
1025 @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
1026 and horizontal shift for each part.
1029 @lilypond[singleline, verbatim]
1031 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1032 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1033 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1036 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
1037 ties, slurs and stems, and set shift directions.
1039 If you want more than four voices, you can also manually set
1040 horizontal shifts and stem directions, as is shown in the following example:
1041 @lilypond[fragment, verbatim]
1042 \context Staff \notes\relative c''<
1043 \context Voice=one {
1044 \shiftOff \stemUp e4
1046 \context Voice=two {
1047 \shiftOn \stemUp cis
1049 \context Voice=three {
1050 \shiftOnn \stemUp ais
1052 \context Voice=four {
1053 \shiftOnnn \stemUp fis
1059 Normally, note heads with a different number of dots are not merged, but
1060 if you set the grob property @code{merge-differently-dotted}, they are:
1061 @lilypond[verbatim,fragment,singleline]
1064 \property Staff.NoteCollision \override
1065 #'merge-differently-dotted = ##t
1067 } \\ { [g'8. f16] [g'8. f'16] }
1071 Similarly, you can merge half note heads with eighth notes, by setting
1072 @code{merge-differently-headed}:
1073 @lilypond[fragment, relative=2,verbatim]
1076 \property Staff.NoteCollision
1077 \override #'merge-differently-headed = ##t
1078 c8 c4. } \\ { c2 c2 } >
1081 LilyPond also vertically shifts rests that are opposite of a stem.
1083 @lilypond[singleline,fragment,verbatim]
1084 \context Voice < c''4 \\ r4 >
1087 See also @internalsref{NoteCollision} and @internalsref{RestCollision}
1091 Resolving collisions is a very intricate subject, and LilyPond only
1092 handles a few situations. When it can not cope, you are advised to use
1093 @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
1094 rests to override typesetting decisions.
1099 Beams are used to group short notes into chunks that are aligned with
1100 the metrum. They are inserted automatically in most cases.
1102 @lilypond[fragment,verbatim, relative=2]
1103 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1106 If you're not satisfied with the automatic beaming, you can enter the
1107 beams explicitly. If you have beaming patterns that differ from the
1108 defaults, you can also set the patterns for automatic beamer.
1110 See also @internalsref{Beam}.
1113 @cindex Automatic beams
1114 @subsection Manual beams
1115 @cindex beams, manual
1119 In some cases it may be necessary to override LilyPond's automatic
1120 beaming algorithm. For example, the auto beamer will not beam over
1121 rests or bar lines, If you want that, specify the begin and end point
1122 manually using a @code{[} before the first beamed note and a @code{]}
1123 after the last note:
1125 @lilypond[fragment,relative,verbatim]
1127 r4 [r8 g' a r8] r8 [g | a] r8
1131 @cindex @code{stemLeftBeamCount}
1133 Normally, beaming patterns within a beam are determined automatically.
1134 When this mechanism fouls up, the properties
1135 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1136 be used to control the beam subdivision on a stem. If you set either
1137 property, its value will be used only once, and then it is erased.
1139 @lilypond[fragment,relative,verbatim]
1142 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1145 @cindex @code{stemRightBeamCount}
1148 The property @code{subdivideBeams} can be set in order to subdivide
1149 all 16th or shorter beams at beat positions. This accomplishes the
1150 same effect as twiddling with @code{stemLeftBeamCount} and
1151 @code{stemRightBeamCount}, but it take less typing.
1156 \property Voice.subdivideBeams = ##t
1158 [c32 c c c c c c c c c c c c c c c]
1159 \property Score.beatLength = #(make-moment 1 8)
1160 [c32 c c c c c c c c c c c c c c c]
1164 \notes \relative c' {
1166 \property Voice.subdivideBeams = ##t
1168 [c32 c c c c c c c c c c c c c c c]
1169 \property Score.beatLength = #(make-moment 1 8)
1170 [c32 c c c c c c c c c c c c c c c]
1174 @cindex subdivideBeams
1176 Kneed beams are inserted automatically, when a large gap between two
1177 adjacent beamed notes is detected. This behavior can be tuned through
1178 the grob property @code{auto-knee-gap}.
1180 @cindex beams, kneed
1182 @cindex auto-knee-gap
1186 @c TODO -> why this ref? Document?
1187 @cindex @code{neutral-direction}
1191 Auto knee beams can not be used together with hara kiri staffs.
1195 The Automatic beamer does not put @strong{unfinished} beams on the
1196 last notes of a score.
1198 Formatting of ties is a difficult subject. LilyPond often does not
1199 give optimal results.
1202 * Setting automatic beam behavior ::
1206 @no de Beam typography
1207 @sub section Beam typography
1209 One of the strong points of LilyPond is how beams are formatted. Beams
1210 are quantized, meaning that the left and right endpoints beams start
1211 exactly on staff lines. Without quantization, small wedges of white
1212 space appear between the beam and staff line, and this looks untidy.
1214 Beams are also slope-damped: melodies that go up or down should also
1215 have beams that go up or down, but the slope of the beams should be
1216 less than the slope of the notes themselves.
1218 Some beams should be horizontal. These are so-called concave beams.
1220 [TODO: some pictures.]
1223 @c . {Automatic beams}
1224 @node Setting automatic beam behavior
1225 @subsection Setting automatic beam behavior
1227 @cindex @code{autoBeamSettings}
1228 @cindex @code{(end * * * *)}
1229 @cindex @code{(begin * * * *)}
1230 @cindex automatic beams, tuning
1231 @cindex tuning automatic beaming
1233 In normal time signatures, automatic beams can start on any note but can
1234 only end in a few positions within the measure: beams can end on a beat,
1235 or at durations specified by the properties in
1236 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1237 are defined in @file{scm/auto-beam.scm}.
1239 The value of @code{autoBeamSettings} is changed using
1240 @code{\override} and unset using @code{\revert}:
1242 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1243 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1245 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1246 whether the rule applies to begin or end-points. The quantity
1247 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1248 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1249 signature (wildcards, `@code{* *}' may be entered to designate all time
1252 For example, if you want automatic beams to end on every quarter note,
1253 you can use the following:
1255 \property Voice.autoBeamSettings \override
1256 #'(end * * * *) = #(make-moment 1 4)
1258 Since the duration of a quarter note is 1/4 of a whole note, it is
1259 entered as @code{(make-moment 1 4)}.
1261 The same syntax can be used to specify beam starting points. In this
1262 example, automatic beams can only end on a dotted quarter note.
1264 \property Voice.autoBeamSettings \override
1265 #'(end * * * *) = #(make-moment 3 8)
1267 In 4/4 time signature, this means that automatic beams could end only on
1268 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1269 3/8 has passed within the measure).
1271 You can also restrict rules to specific time signatures. A rule that
1272 should only be applied in @var{N}/@var{M} time signature is formed by
1273 replacing the second asterisks by @var{N} and @var{M}. For example, a
1274 rule for 6/8 time exclusively looks like
1276 \property Voice.autoBeamSettings \override
1277 #'(begin * * 6 8) = ...
1280 If you want a rule to apply to certain types of beams, you can use the
1281 first pair of asterisks. Beams are classified according to the shortest
1282 note they contain. For a beam ending rule that only applies to beams
1283 with 32nd notes (and no shorter notes), you would use @code{(end 1
1287 @c Automatic beams can not be put on the last note in a score.
1289 If a score ends while an automatic beam has not been ended and is still
1290 accepting notes, this last beam will not be typeset at all.
1292 @cindex automatic beam generation
1294 @cindex @code{Voice.autoBeaming}
1297 For melodies that have lyrics, you may want to switch off
1298 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1304 It is not possible to specify beaming parameters for beams with mixed
1305 durations, that differ from the beaming parameters of all separate
1306 durations, i.e., you'll have to specify manual beams to get:
1307 @lilypond[fragment,singleline,relative]
1308 \property Voice.autoBeamSettings
1309 \override #'(end * * * *) = #(make-moment 3 8)
1310 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1313 It is not possible to specify beaming parameters that act differently in
1314 different parts of a measure. This means that it is not possible to use
1315 automatic beaming in irregular meters such as @code{5/8}.
1318 @section Accidentals
1320 This section describes how to change the way that LilyPond automatically
1321 inserts accidentals before the running notes.
1324 * Using the predefined accidental macros::
1325 * Defining your own accidental typesettings::
1328 @node Using the predefined accidental macros
1329 @subsection Using the predefined accidental macros
1330 The constructs for describing the accidental typesetting rules are
1331 quite hairy, so non-experts should stick to the macros defined in
1332 @file{ly/property-init.ly}.
1333 @cindex @file{property-init.ly}
1335 The macros operate on the ``Current'' context (see @ref{Context properties}). This
1336 means that the macros shuold normally be invoked right after the
1337 creation of the context in which the accidental typesetting described
1338 by the macro is to take effect. I.e. if you want to use
1339 piano-accidentals in a pianostaff then you issue
1340 @code{\pianoAccidentals} first thing after the creation of the piano
1344 \notes \relative c'' <
1345 \context Staff = sa @{ cis4 d e2 @}
1346 \context GrandStaff <
1348 \context Staff = sb @{ cis4 d e2 @}
1349 \context Staff = sc @{ es2 c @}
1351 \context Staff = sd @{ es2 c @}
1355 @lilypond[singleline]
1357 \notes \relative c'' <
1358 \context Staff = sa { cis4 d e2 }
1359 \context GrandStaff <
1361 \context Staff = sb { cis4 d e2 }
1362 \context Staff = sc { es2 c }
1364 \context Staff = sd { es2 c }
1369 minimumVerticalExtent = #'(-4.0 . 4.0)
1377 @item \defaultAccidentals
1378 @cindex @code{\defaultAccidentals}
1379 This is the default typesetting behaviour. It should correspond
1380 to 18th century common practice: Accidentals are
1381 remembered to the end of the measure in which they occur and
1382 only on their own octave.
1384 @item \voiceAccidentals
1385 @cindex @code{\voiceAccidentals}
1386 The normal behaviour is to remember the accidentals on
1388 This macro, however, typesets accidentals individually for each
1390 Apart from that the rule is similar to
1391 @code{\defaultAccidentals}.
1393 Warning: This leads to some weird and often unwanted results
1394 because accidentals from one voice DO NOT get cancelled in other
1396 @lilypond[singleline,relative,fragment,verbatim]
1399 \context Voice=va { \voiceOne es g }
1400 \context Voice=vb { \voiceTwo c, e }
1403 Hence you should only use @code{\voiceAccidentals}
1404 if the voices are to be read solely by
1405 individual musicians. if the staff should be readable also
1406 by one musician/conductor then you should use
1407 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1410 @item \modernAccidentals
1411 @cindex @code{\modernAccidentals}
1412 This rule should correspond to the common practice in the 20th
1414 The rule is a bit more complex than @code{\defaultAccidentals}:
1415 You get all the same accidentals, but temporary
1416 accidentals also get cancelled in other octaves. Further more,
1417 in the same octave, they also get cancelled in the following measure:
1418 @lilypond[singleline,fragment,verbatim]
1420 cis' c'' cis'2 | c'' c'
1423 @item \modernCautionaries
1424 @cindex @code{\modernCautionaries}
1425 This rule is similar to @code{\modernAccidentals}, but the
1426 ``extra'' accidentals (the ones not typeset by
1427 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1428 (i.e. in reduced size):
1429 @lilypond[singleline,fragment,verbatim]
1431 cis' c'' cis'2 | c'' c'
1434 @item \modernVoiceAccidentals
1435 @cindex @code{\modernVoiceAccidentals}
1436 Multivoice accidentals to be read both by musicians playing one voice
1437 and musicians playing all voices.
1439 Accidentals are typeset for each voice, but they ARE cancelled
1440 across voices in the same @internalsref{Staff}.
1442 @item \modernVoiceCautionaries
1443 @cindex @code{\modernVoiceCautionaries}
1444 The same as @code{\modernVoiceAccidentals}, but with the
1445 extra accidentals (the ones not typeset by
1446 @code{\voiceAccidentals}) typeset as cautionaries.
1447 Notice that even though all accidentals typeset by
1448 @code{\defaultAccidentals} ARE typeset by this macro then some
1449 of them are typeset as cautionaries.
1451 @item \pianoAccidentals
1452 @cindex @code{\pianoAccidentals}
1453 20th century practice for piano notation. Very similar to
1454 @code{\modernAccidentals} but accidentals also get cancelled
1455 across the staves in the same @internalsref{GrandStaff} or
1456 @internalsref{PianoStaff}.
1458 @item \pianoCautionaries
1459 @cindex @code{\pianoCautionaries}
1460 As @code{\pianoAccidentals} but with the extra accidentals
1461 typeset as cationaries.
1464 @cindex @code{\noResetKey}
1465 Same as @code{\defaultAccidentals} but with accidentals lasting
1466 ``forever'' and not only until the next measure:
1467 @lilypond[singleline,fragment,verbatim,relative]
1472 @item \forgetAccidentals
1473 @cindex @code{\forgetAccidentals}
1474 This is sort of the opposite of @code{\noResetKey}: Accidentals
1475 are not remembered at all - and hence all accidentals are
1476 typeset relative to the key signature, regardless of what was
1477 before in the music:
1478 @lilypond[singleline,fragment,verbatim,relative]
1480 \key d\major c4 c cis cis d d dis dis
1484 @node Defining your own accidental typesettings
1485 @subsection Defining your own accidental typesettings
1487 This section must be considered gurus-only, and hence it must be
1488 sufficient with a short description of the system and a reference to
1489 the internal documentation.
1491 The idea of the algorithm is to try several different rules and then
1492 use the rule that gives the highest number of accidentals.
1493 Each rule cosists of
1496 In which context is the rule applied. I.e. if context is
1497 @internalsref{Score} then all staves share accidentals, and if
1498 context is @internalsref{Staff} then all voices in the same
1499 staff share accidentals, but staves don't - like normally.
1501 Whether the accidental changes all octaves or only the current
1504 Over how many barlines the accidental lasts.
1505 If lazyness is @code{-1} then the accidental is forget
1506 immidiately, and if lazyness is @code{#t} then the accidental
1510 As described in the internal documentation of
1511 @reng{Accidental_engraver}, the properties @code{autoAccidentals} and
1512 @code{autoCautionaries} contain lists of rule descriptions. Notice
1513 that the contexts must be listed from in to out - that is
1514 @internalsref{Thread} before @internalsref{Voice},
1515 @internalsref{Voice} before @internalsref{Staff}, etc.
1516 see the macros in @file{ly/property-init.ly} for examples of how the
1521 Currently the simultaneous notes are considered to be entered in
1522 sequential mode. This means that in a chord the accidentals are
1523 typeset as if the notes in the chord happened one at a time - in the
1524 order in which they appear in the input file.
1526 Of course this is only a problem when you have simultainous notes
1527 which accidentals should depend on each other.
1528 Notice that the problem only occurs when using non-default accidentals
1529 - as the default accidentals only depend on other accidentals on the
1530 same staff and same pitch and hence cannot depend on other
1533 This example shows two examples of the same music giving different
1534 accidentals depending on the order in which the notes occur in the
1537 @lilypond[singleline,fragment,verbatim]
1538 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1539 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
1542 The only solution is to manually insert the problematic
1543 accidentals using @code{!} and @code{?}.
1545 @node Expressive marks
1546 @section Expressive marks
1561 A slur indicates that notes are to be played bound or @emph{legato}.
1562 They are entered using parentheses:
1563 @lilypond[fragment,verbatim,center]
1564 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1567 See also @seeinternals{Slur}.
1569 Slurs avoid crossing stems, and are generally attached to note heads.
1570 However, in some situations with beams, slurs may be attached to stem
1571 ends. If you want to override this layout you can do this through the
1572 grob-property @code{attachment} of @internalsref{Slur} in
1573 @internalsref{Voice} context It's value is a pair of symbols, specifying
1574 the attachment type of the left and right end points.
1576 @lilypond[fragment,relative,verbatim]
1578 \property Voice.Stem \set #'length = #5.5
1580 \property Voice.Slur \set #'attachment = #'(stem . stem)
1584 If a slur would strike through a stem or beam, the slur will be moved
1585 away upward or downward. If this happens, attaching the slur to the
1586 stems might look better:
1588 @lilypond[fragment,relative,verbatim]
1591 \property Voice.Slur \set #'attachment = #'(stem . stem)
1596 Similarly, the curvature of a slur is adjusted to stay clear of note
1597 heads and stems. When that would increase the curvature too much, the
1598 slur is reverted to its default shape. The threshold for this
1599 decision is in @internalsref{Slur}'s grob-property @code{beautiful}.
1600 It is loosely related to the enclosed area between the slur and the
1601 notes. Usually, the default setting works well, but in some cases you
1602 may prefer a curved slur when LilyPond decides for a vertically moved
1603 one. You can indicate this preference by increasing the
1604 @code{beautiful} value:
1606 @lilyp ond[verbatim,singleline,relative]
1608 c16( a' f' a a f a, )c,
1609 c( a' f' a a f d, )c
1610 \property Voice.Slur \override #'beautiful = #5.0
1611 c( a' f' a a f d, )c
1617 Producing nice slurs is a difficult problem, and LilyPond currently
1618 uses a simple, empiric method to produce slurs. In some cases, the
1619 results of this method are ugly.
1622 This is reflected by the
1623 @code{beautiful} property, which it is an arbitrary parameter in the
1624 slur formatter. Useful values can only be determined by trial and
1628 @cindex Adjusting slurs
1630 @node Phrasing slurs
1631 @subsection Phrasing slurs
1633 @cindex phrasing slurs
1634 @cindex phrasing marks
1636 A phrasing slur (or phrasing mark) connects chords and is used to
1637 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1640 @lilypond[fragment,verbatim,center,relative]
1641 \time 6/4 c' \( d () e f () e \) d
1644 Typographically, the phrasing slur behaves almost exactly like a normal
1645 slur. See also @seeinternals{PhrasingSlur}.
1649 @subsection Breath marks
1651 Breath marks are entered using @code{\breathe}. See also
1652 @seeinternals{BreathingSign}.
1654 @lilypond[fragment,relative]
1663 @cindex beats per minute
1664 @cindex metronome marking
1666 Metronome settings can be entered as follows:
1668 @cindex @code{\tempo}
1670 \tempo @var{duration} = @var{perminute}
1673 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1678 The tempo setting is not printed, but is only used in the MIDI
1679 output. You can trick lily into producing a metronome mark,
1680 though. Details are in @ref{Text markup}.
1685 @subsection Text spanners
1686 @cindex Text spanners
1688 Some textual indications, e.g. rallentando or accelerando, often extend
1689 over many measures. This is indicated by following the text with a
1690 dotted line. You can create such texts using text spanners. The syntax
1693 \spanrequest \start "text"
1694 \spanrequest \stop "text"
1696 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1697 in @internalsref{Voice} context). The string to be printed, as well as the
1698 style is set through grob properties.
1700 An application---or rather, a hack---is to fake octavation indications.
1701 @lilypond[fragment,relative,verbatim]
1702 \relative c' { a''' b c a
1703 \property Voice.TextSpanner \set #'type = #'dotted-line
1704 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1705 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1706 \property Staff.centralCPosition = #-13
1707 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1725 @subsection Articulations
1726 @cindex Articulations
1728 @cindex articulations
1732 A variety of symbols can appear above and below notes to indicate
1733 different characteristics of the performance. They are added to a note
1734 by adding a dash and the the character signifying the
1735 articulation. They are demonstrated here.
1736 @lilypond[singleline]
1738 \notes \context Voice {
1739 \property Voice.TextScript \set #'font-family = #'typewriter
1740 \property Voice.TextScript \set #'font-shape = #'upright
1746 c''4-^_"c-\\^{ }" s4
1751 The script is automatically placed, but if you need to force
1752 directions, you can use @code{_} to force them down, or @code{^} to
1754 @lilypond[fragment, verbatim]
1759 Other symbols can be added using the syntax
1760 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1761 using @code{^} and @code{_}.
1765 @cindex staccatissimo
1773 @cindex organ pedal marks
1782 @cindex prallmordent
1786 @cindex thumb marking
1793 \property Score.LyricText \override #'font-family =#'typewriter
1794 \property Score.LyricText \override #'font-shape = #'upright
1795 \context Staff \notes {
1796 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1797 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1798 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1799 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1800 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1801 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1802 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1803 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1805 \context Lyrics \lyrics {
1806 accent__ marcato__ staccatissimo__ fermata
1807 stopped__ staccato__ tenuto__ upbow
1808 downbow__ lheel__ rheel__ ltoe
1809 rtoe__ turn__ open__ flageolet
1810 reverseturn__ trill__ prall__ mordent
1811 prallprall__ prallmordent__ uprall__ downprall
1812 upmordent__ downmordent__ pralldown__ prallup__
1813 lineprall__ thumb__ segno__ coda
1817 linewidth = 5.875\in
1826 Fingering instructions can also be entered in this shorthand. For
1827 finger changes, use markup texts:
1829 @lilypond[verbatim, singleline, fragment]
1830 c'4-1 c'4-2 c'4-3 c'4-4
1835 @cindex @code{\script}
1840 See also @seeinternals{Script} and @seeinternals{Fingering}.
1844 All of these note ornaments appear in the printed output but have no
1845 effect on the MIDI rendering of the music.
1847 Unfortunately, there is no support for adding fingering instructions or
1848 ornaments to individual note heads. Some hacks exist, though. See
1849 @file{input/test/script-horizontal.ly}.
1854 @subsection Text scripts
1855 @cindex Text scripts
1857 In addition, it is possible to place arbitrary strings of text or markup
1858 text (see @ref{Text markup}) above or below notes by using a string:
1861 By default, these indications do not influence the note spacing, but
1862 by using the command @code{\fatText}, the widths will be taken into
1865 @lilypond[fragment,singleline,verbatim] \relative c' {
1866 c4^"longtext" \fatText c4_"longlongtext" c4 }
1869 It is possible to use @TeX{} commands in the strings, but this should be
1870 avoided because it makes it impossible for LilyPond to compute the
1871 exact length of the string, which may lead to collisions. Also, @TeX{}
1872 commands won't work with direct PostScript output.
1873 @c (see @ref{PostScript output}).
1875 Text scripts are created in form of @internalsref{TextScript} grobs, in
1876 @internalsref{Voice} context.
1878 @ref{Text markup} describes how to change the font or access
1879 special symbols in text scripts.
1884 @subsection Grace notes
1888 @cindex @code{\grace}
1892 Grace notes are ornaments are written out ornaments
1893 @lilypond[relative=2,verbatim,ifragment]
1894 c4 \grace c16 c4 \grace { [c16 d16] } c4
1897 In normal notation, grace notes are supposed to take up no logical
1898 time in a measure. Such an idea is practical for normal notation, but
1899 is not strict enough to put it into a program. The model that LilyPond
1900 uses for grace notes internally is that all timing is done in two
1903 Every point in musical time consists of two rational numbers: one
1904 denotes the logical time, one denotes the grace timing. The above
1905 example is shown here with timing tuples.
1908 \score { \notes \relative c''{
1909 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1910 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1912 \paper { linewidth = 8.\cm }
1916 The advantage of this approach is that you can use almost any lilypond
1917 construction together with grace notes, for example slurs and clef
1918 changes may appear halfway in between grace notes:
1920 @lilypond[relative=2,verbatim,fragment]
1921 c4 \grace { [ c16 c, \clef bass c, b(] } )c4
1924 The placement of these grace notes is synchronized between different
1925 staffs, using this grace timing.
1927 @lilypond[relative=2,verbatim,fragment]
1928 < \context Staff = SA { e4 \grace { c16 d e f } e4 }
1929 \context Staff = SB { c4 \grace { g8 b } c4 } >
1933 Unbeamed eighth notes and shorter by default have a slash through the
1934 stem. This can be controlled with grob property @code{flag-style} of
1935 @internalsref{Stem}. The change in formatting is accomplished by
1936 inserting @code{\startGraceMusic} before handling the grace notes, and
1937 @code{\stopGraceMusic} after finishing the grace notes. You can add to
1938 these definitions to globally change grace note formatting. The
1939 standard definitions are in @file{ly/grace-init.ly}.
1942 @lilypond[fragment,verbatim]
1943 \relative c'' \context Voice {
1944 \grace c8 c4 \grace { [c16 c16] } c4
1946 \property Voice.Stem \override #'flag-style = #'()
1948 \property Voice.Stem \revert #'flag-style
1953 If you want to end a note with a grace note, then the standard trick
1954 is to put the grace notes before a phantom ``space note'', e.g.
1955 @lilypond[fragment,verbatim, relative=2]
1958 { s2 \grace { [c16 d] } } >
1966 Grace note synchronization can also lead to surprises. Staff notation,
1967 such as key signatures, barlines, etc. are also synchronized. Take
1968 care when you mix staffs with grace notes and staffs without.
1970 @lilypond[relative=2,verbatim,fragment]
1971 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
1972 \context Staff = SB { c4 \bar "|:" d4 } >
1975 Grace sections should only be used within sequential music
1976 expressions. Nesting, juxtaposing, or ending sequential music with a
1977 grace section is not supported, and might produce crashes or other
1989 @subsection Glissando
1992 @cindex @code{\glissando}
1994 A glissando line can be requested by attaching a @code{\glissando} to
1997 @lilypond[fragment,relative,verbatim]
2003 Printing of an additional text (such as @emph{gliss.}) must be done
2004 manually. See also @seeinternals{Glissando}.
2010 @subsection Dynamics
2023 @cindex @code{\ffff}
2033 Absolute dynamic marks are specified using an identifier after a
2034 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2035 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2036 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2037 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2039 @lilypond[verbatim,singleline,fragment,relative]
2040 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2046 @cindex @code{\decr}
2047 @cindex @code{\rced}
2053 A crescendo mark is started with @code{\cr} and terminated with
2054 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
2055 started with @code{\decr} and terminated with @code{\rced}. There are
2056 also shorthands for these marks. A crescendo can be started with
2057 @code{\<} and a decrescendo can be started with @code{\>}. Either one
2058 can be terminated with @code{\!}. Note that @code{\!} must go before
2059 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
2060 after the last note. Because these marks are bound to notes, if you
2061 want several marks during one note, you have to use spacer notes.
2063 @lilypond[fragment,verbatim,center]
2064 c'' \< \! c'' d'' \decr e'' \rced
2065 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
2068 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2069 is an example how to do it:
2071 @lilypond[fragment,relative=2,verbatim]
2072 c4 \cresc c4 \endcresc c4
2079 You can also supply your own texts:
2080 @lilypond[fragment,relative,verbatim]
2082 \property Voice.crescendoText = "cresc. poco"
2083 \property Voice.crescendoSpanner = #'dashed-line
2090 Dynamics are grobs of @internalsref{DynamicText} and
2091 @internalsref{Hairpin}. Vertical positioning of these symbols is
2092 handled by the @internalsref{DynamicLineSpanner} grob. If you want to
2093 adjust padding or vertical direction of the dynamics, you must set
2094 properties for the @internalsref{DynamicLineSpanner} grob. Predefined
2095 identifiers to set the vertical direction are \dynamicUp and
2098 @cindex direction, of dynamics
2099 @cindex @code{\dynamicDown}
2100 @cindex @code{\dynamicUp}
2108 @cindex @code{\repeat}
2110 To specify repeats, use the @code{\repeat} keyword. Since repeats
2111 should work differently when played or printed, there are a few
2112 different variants of repeats.
2116 Repeated music is fully written (played) out. Useful for MIDI
2117 output, and entering repetitive music.
2120 This is the normal notation: Repeats are not written out, but
2121 alternative endings (voltas) are printed, left to right.
2124 Alternative endings are written stacked. This has limited use but may be
2125 used to typeset two lines of lyrics in songs with repeats, see
2126 @file{input/star-spangled-banner.ly}.
2132 Make beat or measure repeats. These look like percent signs.
2138 * Repeats and MIDI::
2139 * Manual repeat commands::
2141 * Tremolo subdivisions::
2146 @subsection Repeat syntax
2148 The syntax for repeats is
2151 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2154 If you have alternative endings, you may add
2155 @cindex @code{\alternative}
2157 \alternative @code{@{} @var{alternative1}
2159 @var{alternative3} @dots{} @code{@}}
2161 where each @var{alternative} is a music expression.
2163 Normal notation repeats are used like this:
2164 @lilypond[fragment,verbatim]
2166 \repeat volta 2 { c'4 d' e' f' }
2167 \repeat volta 2 { f' e' d' c' }
2170 With alternative endings:
2171 @lilypond[fragment,verbatim]
2173 \repeat volta 2 {c'4 d' e' f'}
2174 \alternative { {d'2 d'} {f' f} }
2177 Folded repeats look like this:
2180 @lilypond[fragment,verbatim]
2182 \repeat fold 2 {c'4 d' e' f'}
2183 \alternative { {d'2 d'} {f' f} }
2187 If you don't give enough alternatives for all of the repeats, then
2188 the first alternative is assumed to be repeated often enough to equal
2189 the specified number of repeats.
2191 @lilypond[fragment,verbatim]
2195 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2196 \alternative { { g4 g g } { a | a a a a | b2. } }
2201 @node Repeats and MIDI
2202 @subsection Repeats and MIDI
2204 @cindex expanding repeats
2206 For instructions on how to unfoldi repeats for MIDI output, see
2207 the example file @file{input/test/unfold-all-repeats.ly}.
2212 Notice that timing information is not remembered at the start of an
2213 alternative, so you have to reset timing information after a repeat,
2214 e.g. using a bar-check (See @ref{Bar check}), setting
2215 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
2216 are also not repeated.
2218 It is possible to nest @code{\repeat}s, although this probably is only
2219 meaningful for unfolded repeats.
2221 Folded repeats offer little more over simultaneous music.
2223 @node Manual repeat commands
2224 @subsection Manual repeat commands
2226 @cindex @code{repeatCommands}
2228 The property @code{repeatCommands} can be used to control the layout of
2229 repeats. Its value is a Scheme list of repeat commands, where each repeat
2237 @item (volta . @var{text})
2238 Print a volta bracket saying @var{text}.
2240 Stop a running volta bracket
2243 @lilypond[verbatim, fragment]
2245 \property Score.repeatCommands = #'((volta "93") end-repeat)
2247 \property Score.repeatCommands = #'((volta #f))
2252 Repeats brackets are @internalsref{VoltaBracket} grobs.
2254 @node Tremolo repeats
2255 @subsection Tremolo repeats
2256 @cindex tremolo beams
2258 To place tremolo marks between notes, use @code{\repeat} with tremolo
2260 @lilypond[verbatim,center,singleline]
2262 \context Voice \notes\relative c' {
2263 \repeat "tremolo" 8 { c16 d16 }
2264 \repeat "tremolo" 4 { c16 d16 }
2265 \repeat "tremolo" 2 { c16 d16 }
2266 \repeat "tremolo" 4 c16
2271 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
2272 @internalsref{StemTremolo}. The single stem tremolo @emph{must} be
2273 entered without @code{@{} and @code{@}}.
2277 Only powers of two and undotted notes are supported repeat counts.
2279 @node Tremolo subdivisions
2280 @subsection Tremolo subdivisions
2281 @cindex tremolo marks
2282 @cindex @code{tremoloFlags}
2284 Tremolo marks can be printed on a single note by adding
2285 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2286 A @var{length} value of 8 gives one line across the note stem. If the
2287 length is omitted, then then the last value (stored in
2288 @code{Voice.tremoloFlags}) is used.
2290 @lilypond[verbatim,fragment,center]
2291 c'2:8 c':32 | c': c': |
2297 Tremolos in this style do not carry over into the MIDI output.
2300 @node Measure repeats
2301 @subsection Measure repeats
2303 @cindex percent repeats
2304 @cindex measure repeats
2306 In the @code{percent} style, a note pattern can be repeated. It is
2307 printed once, and then the pattern is replaced with a special sign.
2308 Patterns of a one and two measures are replaced by percent-like signs,
2309 patterns that divide the measure length are replaced by slashes.
2311 @lilypond[verbatim,singleline]
2312 \context Voice { \repeat "percent" 4 { c'4 }
2313 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2317 The signs are represented by these grobs: @internalsref{RepeatSlash} and
2318 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
2322 You can not nest percent repeats, e.g. by filling in the first measure
2323 with slashes, and repeating that measure with percents.
2325 @node Rhythmic music
2326 @section Rhythmic music
2328 Sometimes you might want to show only the rhythm of a melody. This can
2329 be done with the rhythmic staff. All pitches of notes on such a staff
2330 are squashed, and the staff itself looks has a single staff line:
2332 @lilypond[fragment,relative,verbatim]
2333 \context RhythmicStaff {
2335 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2340 * Percussion staves::
2343 @node Percussion staves
2344 @subsection Percussion staves
2347 To typeset more than one piece of percussion to be played by the same
2348 musician one typically uses a multiline staff where each staff
2349 position refers to a specific piece of percussion.
2351 LilyPond is shipped with a bunch of scheme functions which allows you
2352 to do this fairly easily.
2354 The system is based on the general midi drum-pitches.
2355 In order to use the drum pitches you include
2356 @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
2357 variable @code{drum-pitch-names} - which definition can be read in
2358 @file{scm/drums.scm}. You see that each piece of percussion has a full
2359 name and an abbreviated name - and you may freely select whether to
2360 refer to the full name or the abbreviation in your music definition.
2362 To typeset the music on a staff you apply the scheme function
2363 @code{drums->paper} to the percussion music. This function takes a
2364 list of percussion instrument names, notehead scripts and staff
2365 positions (that is: pitches relative to the C-clef) and uses this to
2366 transform the input music by moving the pitch, changing the notehead
2367 and (optionally) adding a script:
2368 @lilypond[singleline,verbatim]
2369 \include "drumpitch-init.ly"
2370 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2371 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2373 \apply #(drums->paper 'drums) \context Staff <
2375 \context Voice = up { \voiceOne \up }
2376 \context Voice = down { \voiceTwo \down }
2381 In the above example the music was transformed using the list @code{'drums}.
2382 Currently the following lists are defined in @file{scm/drums.scm}:
2385 To typeset a typical drum kit on a five line staff.
2387 \include "drumpitch-init.ly"
2388 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2389 bd sn ss tomh tommh tomml toml tomfh tomfl }
2390 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2391 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2394 \apply #(drums->paper 'drums) \context Staff <
2398 \context Lyrics \nam
2403 \remove Bar_engraver
2404 \remove Time_signature_engraver
2405 minimumVerticalExtent = #'(-4.0 . 5.0)
2409 \remove Stem_engraver
2414 Notice that the scheme supports six different toms.
2415 If you are using fewer toms then you simply select the toms that produce
2416 the desired result - i.e. to get toms on the three middle lines you
2417 use @code{tommh}, @code{tomml} and @code{tomfh}.
2419 Because the general midi contain no rimshots we use the sidestick for
2420 this purpose instead.
2422 To typeset timbales on a two line staff.
2423 @lilypond[singleline]
2424 \include "drumpitch-init.ly"
2425 nam = \lyrics { timh ssh timl ssl cb }
2426 mus = \notes { timh ssh timl ssl cb s16 }
2429 \apply #(drums->paper 'timbales) \context Staff <
2433 \context Lyrics \nam
2438 \remove Bar_engraver
2439 \remove Time_signature_engraver
2440 StaffSymbol \override #'line-count = #2
2441 StaffSymbol \override #'staff-space = #2
2442 minimumVerticalExtent = #'(-3.0 . 4.0)
2446 \remove Stem_engraver
2453 To typeset congas on a two line staff.
2454 @lilypond[singleline]
2455 \include "drumpitch-init.ly"
2456 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2457 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2460 \apply #(drums->paper 'congas) \context Staff <
2464 \context Lyrics \nam
2469 \remove Bar_engraver
2470 \remove Time_signature_engraver
2471 StaffSymbol \override #'line-count = #2
2472 StaffSymbol \override #'staff-space = #2
2473 minimumVerticalExtent = #'(-3.0 . 4.0)
2477 \remove Stem_engraver
2483 To typeset bongos on a two line staff.
2484 @lilypond[singleline]
2485 \include "drumpitch-init.ly"
2486 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2487 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2490 \apply #(drums->paper 'bongos) \context Staff <
2494 \context Lyrics \nam
2499 \remove Bar_engraver
2500 \remove Time_signature_engraver
2501 StaffSymbol \override #'line-count = #2
2502 StaffSymbol \override #'staff-space = #2
2503 minimumVerticalExtent = #'(-3.0 . 4.0)
2507 \remove Stem_engraver
2513 To typeset all kinds of simple percussion on one line staves.
2514 @lilypond[singleline]
2515 \include "drumpitch-init.ly"
2516 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2517 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2520 \apply #(drums->paper 'percussion) \context Staff <
2524 \context Lyrics \nam
2529 \remove Bar_engraver
2530 \remove Time_signature_engraver
2531 StaffSymbol \override #'line-count = #1
2532 minimumVerticalExtent = #'(-2.0 . 3.0)
2536 \remove Stem_engraver
2543 If you don't like any of the predefined lists you can define your own
2544 list at the top of your file:
2546 @lilypond[singleline, verbatim]
2548 (bassdrum default #f ,(make-pitch -1 2 0))
2549 (snare default #f ,(make-pitch 0 1 0))
2550 (hihat cross #f ,(make-pitch 0 5 0))
2551 (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0))
2552 (lowtom diamond #f ,(make-pitch -1 6 0))
2554 \include "drumpitch-init.ly"
2555 up = \notes { hh8 hh hh hh hhp4 hhp }
2556 down = \notes { bd4 sn bd toml8 toml }
2558 \apply #(drums->paper 'mydrums) \context Staff <
2560 \context Voice = up { \voiceOne \up }
2561 \context Voice = down { \voiceTwo \down }
2566 To use a modified existing list instead of building your own from
2567 scratch you can append your modifications to the start of the existing
2571 #(define mydrums (append `(
2572 (bassdrum default #f ,(make-pitch -1 2 0))
2573 (lowtom diamond #f ,(make-pitch -1 6 0))
2577 @c FIXME: Too many levels of headers when using subsubsections.
2578 @c Perhaps junk subsection ``Percussion staves''
2579 @subsubsection Percussion staves with normal staves
2580 When you include @file{drumpitch-init.ly} then the default pitches
2581 are overridden so that you after the inclusion cannot use the common
2582 dutch pitch names anymore. Hence you might wan't to reinclude
2583 @file{nederlands.ly} after the drum-pattern-definitions:
2584 @lilypond[singleline,verbatim]
2585 \include "drumpitch-init.ly"
2586 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2587 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2588 \include "nederlands.ly"
2589 bass = \notes \transpose c, { a4. e8 r e g e }
2592 \apply #(drums->paper 'drums) \context Staff = drums <
2594 \context Voice = up { \voiceOne \up }
2595 \context Voice = down { \voiceTwo \down }
2597 \context Staff = bass { \clef "F_8" \bass }
2602 @subsubsection Percussion midi output
2603 In order to produce correct midi output you need to produce two score
2604 blocks - one for the paper and one for the midi.
2605 To use the percussion channel you set the property @code{instrument}
2606 to @code{'drums}. Because the drum-pitches themself are similar to the
2607 general midi pitches all you have to do is to insert the voices with
2608 none of the scheme functions to get the correct midi output:
2612 \apply #(drums->paper 'mydrums) \context Staff <
2614 \context Voice = up @{ \voiceOne \up @}
2615 \context Voice = down @{ \voiceTwo \down @}
2621 \property Staff.instrument = #'drums
2630 This scheme is to be considered a temporary implementation. Even
2631 though the scheme will probably keep on working then the future might
2632 bring some other way of typesetting drums, and probably
2633 there will be made no great efforts in keeping things downwards
2638 @section Piano music
2640 Piano music is an odd type of notation. Piano staves are two normal
2641 staves coupled with a brace. The staves are largely independent, but
2642 sometimes voices can cross between the two staves. The
2643 @internalsref{PianoStaff} is especially built to handle this cross-staffing
2644 behavior. In this section we discuss the @internalsref{PianoStaff} and some
2645 other pianistic peculiarities.
2648 * Automatic staff changes::
2649 * Manual staff switches::
2652 * Voice follower lines::
2656 @c . {Automatic staff changes}
2657 @node Automatic staff changes
2658 @subsection Automatic staff changes
2659 @cindex Automatic staff changes
2661 Voices can switch automatically between the top and the bottom
2662 staff. The syntax for this is
2664 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2666 The autochanger switches on basis of pitch (central C is the turning
2667 point), and it looks ahead skipping over rests to switch rests in
2668 advance. Here is a practical example:
2670 @lilypond[verbatim,singleline]
2671 \score { \notes \context PianoStaff <
2672 \context Staff = "up" {
2673 \autochange Staff \context Voice = VA < \relative c' {
2674 g4 a b c d r4 a g } > }
2675 \context Staff = "down" {
2680 Spacer rests are used to prevent the bottom staff from
2681 terminating too soon.
2684 @node Manual staff switches
2685 @subsection Manual staff switches
2687 @cindex manual staff switches
2688 @cindex staff switch, manual
2690 Voices can be switched between staves manually, using the following command:
2692 \translator Staff = @var{staffname} @var{music}
2694 The string @var{staffname} is the name of the staff. It switches the
2695 current voice from its current staff to the Staff called
2696 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2704 Piano pedal instruction can be expressed using
2705 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2706 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
2708 These identifiers are shorthands for spanner commands of the types
2709 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
2711 @lilypond[fragment,verbatim]
2712 c''4 \spanrequest \start "Sustain" c''4
2713 c''4 \spanrequest \stop "Sustain"
2716 The symbols that are printed can be modified by setting
2717 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2718 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
2719 @rgrob{SustainPedal}, for example, for more information.
2721 Pedals can also be indicated by a sequence of brackets, by setting the
2722 @code{pedal-type} property of SustainPedal grobs:
2724 @lilypond[fragment,verbatim]
2725 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2726 c''4 \sustainDown d''4 e''4 a'4
2727 \sustainUp \sustainDown
2728 f'4 g'4 a'4 \sustainUp
2731 A third style of pedal notation is a mixture of text and brackets,
2732 obtained by setting @code{pedal-type} to @code{mixed}:
2734 @lilypond[fragment,verbatim]
2735 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2736 c''4 \sustainDown d''4 e''4 c'4
2737 \sustainUp \sustainDown
2738 f'4 g'4 a'4 \sustainUp
2741 The default '*Ped' style for sustain and damper pedals corresponds to
2742 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2743 for a sostenuto pedal:
2745 @lilypond[fragment,verbatim]
2746 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2749 For fine-tuning of the appearance of a pedal bracket, the properties
2750 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2751 @code{PianoPedalBracket} grobs (see the detailed documentation of
2752 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2753 may be extended to the end of the note head.
2755 @lilypond[fragment,verbatim]
2756 \property Staff.PianoPedalBracket \override
2757 #'shorten-pair = #'(0 . -1.0)
2758 c''4 \sostenutoDown d''4 e''4 c'4
2759 f'4 g'4 a'4 \sostenutoUp
2766 @subsection Arpeggio
2769 @cindex broken arpeggio
2770 @cindex @code{\arpeggio}
2772 You can specify an arpeggio sign on a chord by attaching an
2773 @code{\arpeggio} to a note of the chord.
2776 @lilypond[fragment,relative,verbatim]
2777 \context Voice <c\arpeggio e g c>
2780 When an arpeggio crosses staves in piano music, you attach an arpeggio
2781 to the chords in both staves, and set
2782 @code{PianoStaff.connectArpeggios}.
2784 @lilypond[fragment,relative,verbatim]
2785 \context PianoStaff <
2786 \property PianoStaff.connectArpeggios = ##t
2787 \context Voice = one { <c'\arpeggio e g c> }
2788 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2792 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
2793 are @code{PianoStaff.Arpeggio}.
2795 To add an arrow head to explicitly specify the direction of the
2796 arpeggio, you should set the arpeggio grob property
2797 @code{arpeggio-direction}.
2799 @lilypond[fragment,relative,verbatim]
2801 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2803 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2808 A square bracket on the left indicates that the player should not
2809 arpeggiate the chord. To draw these brackets, set the
2810 @code{molecule-callback} property of @code{Arpeggio} or
2811 @code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
2812 @code{\arpeggio} statements within the chords as before.
2814 @lilypond[fragment,relative,verbatim]
2815 \context PianoStaff <
2816 \property PianoStaff.connectArpeggios = ##t
2817 \property PianoStaff.Arpeggio \override
2818 #'molecule-callback = \arpeggioBracket
2819 \context Voice = one { <c'\arpeggio e g c> }
2820 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2827 It is not possible to mix connected arpeggios and unconnected
2828 arpeggios in one PianoStaff at the same time.
2832 @node Voice follower lines
2833 @subsection Voice follower lines
2835 @cindex follow voice
2836 @cindex staff switching
2839 @cindex @code{followVoice}
2841 Whenever a voice switches to another staff a line connecting the notes
2842 can be printed automatically. This is enabled if the property
2843 @code{PianoStaff.followVoice} is set to true:
2845 @lilypond[fragment,relative,verbatim]
2846 \context PianoStaff <
2847 \property PianoStaff.followVoice = ##t
2848 \context Staff \context Voice {
2850 \translator Staff=two
2853 \context Staff=two {\clef bass \skip 1*2 }
2857 The associated grob is @internalsref{VoiceFollower}.
2863 Tablature notation is used music for plucked string instruments. It
2864 notates pitches not by using note heads, but by indicating on which
2865 string and fret a note must be played. LilyPond offers limited
2866 support for tablature, by abusing the fingering system.
2869 * Tablatures basic::
2870 * Non-guitar tablatures::
2871 * Tablature in addition to normal staff::
2874 @node Tablatures basic
2875 @subsection Tablatures basic
2876 @cindex Tablatures basic
2878 Tablature can be typeset with Lilypond by using the
2879 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
2880 tablature is a recent feature in Lilypond, most of the guitar special
2881 effects such as hammer, pull, bend are not yet supported.
2883 With the @internalsref{TabStaff}, the string number associated to a note
2884 is given though the fingering mechanism, e.g. @code{c4-3} for a C
2885 quarter on the third string. The string 1 is the lowest one, and the
2886 tuning defaults to the standard guitar tuning (with 6 strings).
2888 @lilypond[fragment,verbatim]
2891 \property Staff.Stem \override #'direction = #1
2900 @node Non-guitar tablatures
2901 @subsection Non-guitar tablatures
2902 @cindex Non-guitar tablatures
2904 There are many ways to customize Lilypond tablatures.
2906 First you can change the number of strings, by setting the number of
2907 lines in the @internalsref{TabStaff}. You can change the strings
2908 tuning. A string tuning is given as a Scheme list with one integer
2909 number for each string, the number being the pitch of an open string.
2911 Finally, it is possible to change the Scheme function to format the
2912 tablature note text. The default is @var{fret-number-tablature-format},
2913 which uses the fret number, but for some instruments that may not use
2914 this notation, just create your own tablature-format function. This
2915 function takes three argument: the string number, the string tuning and
2919 @node Tablature in addition to normal staff
2920 @subsection Tablature in addition to normal staff
2921 @cindex Tablature in addition to normal staff
2923 It is possible to typeset both tablature and a "normal" staff, as
2924 commonly done in many parts.
2926 A common trick for that is to put the notes in a variables, and to hide
2927 the fingering information (which correspond to the string number) for
2936 \context StaffGroup <
2938 % Hide fingering number
2939 \property Staff.Fingering \override #'transparent = ##t
2944 \property Staff.Stem \override #'direction = #1
2958 LilyPond has support for both entering and printing chords.
2959 @lilypond[verbatim,singleline]
2960 twoWays = \notes \transpose c'' {
2970 < \context ChordNames \twoWays
2971 \context Voice \twoWays > }
2974 This example also shows that the chord printing routines do not try to
2975 be intelligent. If you enter @code{f bes d}, it does not interpret
2976 this as an inversion.
2978 As you can see chords really are a set of pitches. They are internally
2979 stored as simultaneous music expressions. This means you can enter
2980 chords by name and print them as notes, enter them as notes and print
2981 them as chord names, or (the most common case) enter them by name, and
2986 * Printing named chords::
2991 @subsection Chords mode
2994 Chord mode is a mode where you can input sets of pitches using common
2995 names. It is introduced by the keyword @code{\chords}. It is similar
2996 to note mode, but words are also looked up in a chord modifier table
2997 (containing @code{maj}, @code{dim}, etc). Dashes and carets are used
2998 to indicate chord additions and subtractions, so articulation scripts
2999 can not be entered in Chord mode.
3001 Throughout these examples, chords have been shifted around the staff
3002 using @code{\transpose}.
3004 @lilypond[fragment,verbatim]
3008 c:9 c:9-.5+.7+ c:3-.5-
3018 The second type of modifier that may appear after the @code{:} is a
3019 named modifier. Named modifiers are listed in the file
3020 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
3021 @code{min} which lower the 3rd half a step, `@code{aug}' which
3022 raises the 5th, `@code{dim}' which lowers the 5th,
3023 `@code{maj}' which adds a raised 7th, and `@code{sus}'
3024 which replaces the 5th with a 4th.
3026 @lilypond[fragment,verbatim]
3029 c1:m c:min7 c:maj c:aug c:dim c:sus
3035 Chord subtractions are used to eliminate notes from a chord. The
3036 notes to be subtracted are listed after a @code{^} character,
3039 @lilypond[fragment,verbatim,center]
3048 Chord inversions can be specified by appending `@code{/}' and the name
3049 of a single note to a chord. In a chord inversion, the inverted note is
3050 transposed down until it is the lowest note in the chord. If the note
3051 is not in the chord, a warning will be printed.
3053 @lilypond[fragment,verbatim,center]
3063 Bass notes can be added by `@code{/+}' and
3064 the name of a single note to a chord. This has the effect of
3065 adding the specified note to the chord, lowered by an octave,
3066 so it becomes the lowest note in the chord.
3068 @lilypond[fragment,verbatim,center]
3077 The formal syntax for named chords is as follows:
3079 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
3082 @var{tonic} should be the tonic note of the chord, and @var{duration} is
3083 the chord duration in the usual notation. There are two kinds of
3084 modifiers. One type is formed by @emph{chord additions}. Additions are
3085 obtained by listing intervals separated by dots. An interval is written
3086 by its number with an optional @code{+} or @code{-} to indicate raising
3087 or lowering by half a step. Chord additions have two effects: they adds
3088 the specified interval and all lower odd numbered intervals to the
3089 chord, and they may lower or raise the specified interval.
3094 Implementation details are gory. For example @code{c:4} not only adds
3095 a fourth, but also removes the third.
3098 @c . {Printing named chords}
3099 @node Printing named chords
3100 @subsection Printing named chords
3102 @cindex printing chord names
3106 For displaying printed chord names, use the @internalsref{ChordNames} context.
3107 The chords may be entered either using the notation described above, or
3108 directly using simultaneous music.
3110 @lilypond[verbatim,singleline]
3112 \chords {a1 b c} <d f g> <e g b>
3116 \context ChordNames \scheme
3117 \context Staff \transpose c'' \scheme
3122 You can make the chord changes stand out by setting
3123 @code{ChordNames.chordChanges} to true. This will only display chord
3124 names when there's a change in the chords scheme and at the start of a
3129 c1:m c:m \break c:m c:m d
3133 \context ChordNames {
3134 \property ChordNames.chordChanges = ##t
3136 \context Staff \transpose c'' \scheme
3138 \paper{linewidth= 9.\cm}
3142 LilyPond examines chords specified as lists of notes to determine a name
3143 to give the chord. LilyPond will not try to identify chord inversions or
3144 an added bass note, which may result in strange chord names when chords
3145 are entered as a list of pitches:
3147 @lilypond[verbatim,center,singleline]
3156 \context ChordNames \scheme
3157 \context Staff \scheme
3163 By default, a chord name system proposed by Harald Banter (See
3164 @ref{Literature}) is used. The system is very regular and predictable.
3165 Typical American style chord names may be selected by setting the
3166 @code{style} property of the @code{ChordNames.ChordName} grob to
3167 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
3169 Routines that determine the names to be printed are written in Scheme,
3170 and may be customized by the user. The code can be found in
3171 @file{scm/chord-name.scm}. Here's an example showing the differences in
3175 @c maybe just junk verbatim option?
3176 @lilypond[verbatim,singleline]
3186 \context ChordNames = banter \scheme
3187 \context ChordNames = american {
3188 \property ChordNames.ChordName \override
3189 #'style = #'american \scheme }
3190 \context ChordNames = jazz {
3191 \property ChordNames.ChordName \override
3192 #'style = #'jazz \scheme }
3193 \context Staff \transpose c'' \scheme
3200 @section Writing parts
3202 Orchestral music involves some special notation, both in the full score,
3203 as in the individual parts. This section explains how to tackle common
3204 problems in orchestral music.
3211 * Instrument names::
3213 * Multi measure rests::
3214 * Automatic part combining::
3215 * Hara kiri staves::
3216 * Sound output for transposing instruments::
3219 @c . {Rehearsal marks}
3220 @node Rehearsal marks
3221 @subsection Rehearsal marks
3222 @cindex Rehearsal marks
3224 @cindex @code{\mark}
3226 To print a rehearsal mark, use the @code{\mark} command.
3227 @lilypond[fragment,verbatim]
3238 As you can see, the mark is incremented automatically if you use
3239 @code{\mark \default}. The value to use is stored in the property
3240 @code{rehearsalMark} is used and automatically incremented. The grob
3241 is @internalsref{RehearsalMark} in @internalsref{Score} context. See
3242 @code{input/test/boxed-molecule.ly} if you need boxes around the
3245 The @code{\mark} command can also be used to put signs like coda,
3246 segno and fermatas on a barline. The trick is to use the text markup
3247 mechanism to access the fermata symbol.
3248 @lilypond[fragment,verbatim,relative=1]
3249 c1 \mark #'(music "scripts-ufermata")
3253 The problem is that marks that occur at a line break are typeset only
3254 at the beginning of the next line, opposite to what you want for the
3255 fermata. This can be corrected by the following property setting
3257 \property Score.RehearsalMark \override
3258 #'visibility-lambda = #begin-of-line-invisible
3264 @cindex barlines, putting symbols on
3268 @subsection Bar numbers
3272 @cindex measure numbers
3273 @cindex currentBarNumber
3275 Bar numbers are printed by default at the start of the line. The
3276 number itself is a property that can be set by modifying the
3277 @code{currentBarNumber} property, i.e.
3279 \property Score.currentBarNumber = #217
3282 If you want boxed bar numbers, see the example file
3283 @code{input/test/boxed-molecule.ly}.
3285 See also @seeinternals{BarNumber}.
3289 Printing bar numbers at regular intervals is not implemented.
3290 Barnumbers can collide with the StaffGroup, if there is one at the
3291 top. To solve this, You have to twiddle with the
3292 @internalsref{padding} property of @internalsref{BarNumber} if your
3293 score starts with a @internalsref{StaffGroup}.
3295 @node Instrument names
3296 @subsection Instrument names
3298 In scores, the instrument name is printed before the staff. This can
3299 be done by setting @code{Staff.instrument} and
3300 @code{Staff.instr}. This will print a string before the start of the
3301 staff. For the first start, @code{instrument} is used, for the next
3302 ones @code{instr} is used.
3304 @lilypond[verbatim,singleline]
3305 \property Staff.instrument = "ploink " { c''4 }
3308 You can also use markup texts to construct more complicated instrument
3312 @lilypond[verbatim,singleline]
3314 '((font-relative-size . -2 ) (music "accidentals--1")))
3317 \property Staff.instrument = #`((kern . 0.5) (lines
3318 "2 Clarinetti" (columns " (B" ,text-flat ")")))
3326 When you put a name on a grand staff or piano staff the width of the
3327 brace is not taken into account. You must add extra spaces to the end of
3328 the name to avoid a collision.
3331 @subsection Transpose
3333 @cindex transposition of pitches
3334 @cindex @code{\transpose}
3336 A music expression can be transposed with @code{\transpose}. The syntax
3339 \transpose @var{pitch} @var{musicexpr}
3342 This means that middle C in @var{musicexpr} is transposed to
3345 @code{\transpose} distinguishes between enharmonic pitches: both
3346 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
3347 a tone. The first version will print sharps and the second version
3350 @lilypond[singleline, verbatim]
3351 mus =\notes { \key d \major cis d fis g }
3352 \score { \notes \context Staff {
3360 If you want to use both @code{\transpose} and @code{\relative}, then
3361 you must use @code{\transpose} first. @code{\relative} will have no
3362 effect music that appears inside a @code{\transpose}.
3364 @c . {Multi measure rests}
3365 @node Multi measure rests
3366 @subsection Multi measure rests
3367 @cindex Multi measure rests
3371 Multi measure rests are entered using `@code{R}'. It is specifically
3372 meant for full bar rests and for entering parts: the rest can expand to
3374 rests, or it can be printed as a single multimeasure rest This expansion
3375 is controlled by the property @code{Score.skipBars}. If this is set to true,
3376 Lily will not expand empty measures, and the appropriate number is added
3379 @lilypond[fragment,verbatim]
3380 \time 3/4 r2. | R2. | R2.*2
3381 \property Score.skipBars = ##t R2.*17 R2.*4
3384 Notice that the @code{R2.} is printed as a whole rest, centered in the
3387 @cindex whole rests for a full measure
3389 The grob for this object is @internalsref{MultiMeasureRest}.
3393 Currently, there is no way to automatically condense multiple rests
3394 into a single multimeasure rest. Multi measure rests do not take part
3397 @cindex condensing rests
3399 @node Automatic part combining
3400 @subsection Automatic part combining
3401 @cindex automatic part combining
3402 @cindex part combiner
3405 Automatic part combining is used to merge two parts of music onto a
3406 staff in an intelligent way. It is aimed primarily at typesetting
3407 orchestral scores. When the two parts are identical for a period of
3408 time, only one is shown. In places where the two parts differ, they
3409 are typeset as separate voices, and stem directions are set
3410 automatically. Also, solo and @emph{a due} parts can be identified
3413 The syntax for part combining is
3416 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3418 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3419 combined into one context of type @var{context}. The music expressions
3420 must be interpreted by contexts whose names should start with @code{one}
3423 The most useful function of the part combiner is to combine parts into
3424 one voice, as common for wind parts in orchestral scores:
3426 @lilypond[verbatim,singleline,fragment]
3428 \context Voice=one \partcombine Voice
3429 \context Thread=one \relative c'' {
3432 \context Thread=two \relative c'' {
3438 Notice that the first @code{g} appears only once, although it was
3439 specified twice (once in each part). Stem, slur and tie directions are
3440 set automatically, depending whether there is a solo or unisono. The
3441 first part (with context called @code{one}) always gets up stems, and
3442 `solo', while the second (called @code{two}) always gets down stems and
3445 If you just want the merging parts, and not the textual markings, you
3446 may set the property @var{soloADue} to false.
3448 @lilypond[verbatim,singleline,fragment]
3450 \property Staff.soloADue = ##f
3451 \context Voice=one \partcombine Voice
3452 \context Thread=one \relative c'' {
3455 \context Thread=two \relative c'' {
3461 There are a number of other properties that you can use to tweak the
3462 behavior of part combining, refer to the automatically generated
3463 documentation of @reng{Thread_devnull_engraver} and
3464 @reng{Voice_devnull_engraver}. Look at the documentation of the
3465 responsible engravers, @code{Thread_devnull_engraver},
3466 @code{Voice_devnull_engraver} and @code{A2_engraver}.
3470 In @code{soloADue} mode, when the two voices play the same notes on and
3471 off, the part combiner may typeset @code{a2} more than once in a
3474 @lilypond[fragment,singleline]
3476 \context Voice=one \partcombine Voice
3477 \context Thread=one \relative c'' {
3480 \context Thread=two \relative c'' {
3486 @cindex @code{Thread_devnull_engraver}
3487 @cindex @code{Voice_engraver}
3488 @cindex @code{A2_engraver}
3490 @node Hara kiri staves
3491 @subsection Hara kiri staves
3493 In orchestral scores, staff lines that only have rests are usually removed.
3494 This saves some space. LilyPond also supports this through the hara
3495 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
3496 the Japanese Samourai warriors.} staff. This staff commits suicide when
3497 it finds itself to be empty after the line-breaking process. It will
3498 not disappear when it contains normal rests, you must use multi measure
3501 The hara kiri staff is specialized version of the @internalsref{Staff}
3502 context. It is available as the context identifier
3503 @code{\HaraKiriStaffContext}. Observe how the second staff in this
3504 example disappears in the second line.
3508 \notes \relative c' <
3509 \context Staff = SA { e4 f g a \break c1 }
3510 \context Staff = SB { c4 d e f \break R1 }
3514 \translator { \HaraKiriStaffContext }
3520 @node Sound output for transposing instruments
3521 @subsection Sound output for transposing instruments
3523 When you want to make a MIDI file from a score containing transposed
3524 and untransposed instruments, you have to instruct LilyPond the pitch
3525 offset (in semitones) for the transposed instruments. This is done
3526 using the @code{transposing} property. It does not affect printed
3529 @cindex @code{transposing}
3532 \property Staff.instrument = #"Cl. in B-flat"
3533 \property Staff.transposing = #-2
3539 @node Ancient notation
3540 @section Ancient notation
3543 * Ancient note heads::
3550 @node Ancient note heads
3551 @subsection Ancient note heads
3553 To get a longa note head, you have to use mensural note heads. This
3554 is accomplished by setting the @code{style} property of the
3555 NoteHead grob to @code{mensural}. There is also a note head style
3556 @code{baroque} which gives mensural note heads for @code{\longa} and
3557 @code{\breve} but standard note heads for shorter notes.
3559 @lilypond[fragment,singleline,verbatim]
3560 \property Voice.NoteHead \set #'style = #'mensural
3561 \property Voice.NoteHead \set #'font-family = #'ancient
3566 @subsection Custodes
3571 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
3572 staff context symbol that appears at the end of a staff line. It
3573 anticipates the pitch of the first note(s) of the following line and
3574 thus helps the player or singer to manage line breaks during
3575 performance, thus enhancing readability of a score.
3580 \property Staff.Custos \set #'style = #'mensural
3585 \consists Custos_engraver
3591 Custodes were frequently used in music notation until the 17th century.
3592 There were different appearances for different notation styles.
3593 Nowadays, they have survived only in special forms of musical notation
3594 such as via the @emph{editio vaticana} dating back to the beginning of
3597 For typesetting custodes, just put a @code{Custos_engraver} into the
3598 @internalsref{Staff} context when declaring the @code{\paper} block. In this
3599 block, you can also globally control the appearance of the custos symbol
3600 by setting the custos @code{style} property. Currently supported styles
3601 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
3608 \consists Custos_engraver
3609 Custos \override #'style = #'mensural
3614 The property can also be set locally, for example in a @code{\notes}
3619 \property Staff.Custos \override #'style = #'vaticana
3620 c'1 d' e' d' \break c' d' e' d'
3625 @subsection Ancient clefs
3627 LilyPond supports a variety of clefs, many of them ancient. These can
3628 be selected from the @code{ancient} font family, by setting
3629 @code{Staff.clefGlyph}) to one of the following values
3638 @item clefs-vaticana_do
3639 Editio Vaticana style do clef
3640 @item clefs-vaticana_fa
3641 Editio Vaticana style fa clef
3642 @item clefs-medicaea_do
3643 Editio Medicaea style do clef
3644 @item clefs-medicaea_fa
3645 Editio Medicaea style fa clef
3646 @item clefs-mensural1_c
3647 modern style mensural C clef
3648 @item clefs-mensural2_c
3649 historic style small mensural C clef
3650 @item clefs-mensural3_c
3651 historic style big mensural C clef
3652 @item clefs-mensural1_f
3653 historic style traditional mensural F clef
3654 @item clefs-mensural2_f
3655 historic style new mensural F clef
3656 @item clefs-mensural_g
3657 historic style mensural G clef
3658 @item clefs-hufnagel_do
3659 historic style hufnagel do clef
3660 @item clefs-hufnagel_fa
3661 historic style hufnagel fa clef
3662 @item clefs-hufnagel_do_fa
3663 historic style hufnagel combined do/fa clef
3664 @item clefs-percussion
3665 modern style percussion clef
3668 @emph{Modern style} means ``as is typeset in current editions.''
3669 @emph{Historic style} means ``as was typeset or written in contemporary
3670 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
3673 @cindex Vaticana, Editio
3674 @cindex Medicaea, Editio
3675 @cindex hufnagel clefs
3679 @subsection Figured bass
3681 @cindex Basso continuo
3683 LilyPond has limited support for figured bass:
3685 @lilypond[verbatim,fragment]
3687 \context FiguredBass
3692 \context Voice { c4 g8 }
3696 The support for figured bass consists of two parts: there is an input
3697 mode, introduced by @code{\figures}, where you can enter bass figures
3698 as numbers, and there is a context called @internalsref{FiguredBass}
3699 that takes care of making @internalsref{BassFigure} grobs.
3701 In figures input mode, a group of bass figures is delimited by
3702 @code{<} and @code{>}. The duration is entered after the @code{>}.
3707 \context FiguredBass
3711 Accidentals are added to the numbers if you alterate them by
3712 appending @code{-}, @code{!} and @code{+}.
3718 \context FiguredBass
3719 \figures { <4- 6+ 7!> }
3722 Spaces or dashes may be inserted by using @code{_}. Brackets are
3723 introduced with @code{[} and @code{]}.
3729 \context FiguredBass
3730 \figures { < [4 6] 8 [_ 12]> }
3733 Although the support for figured bass may superficially resemble chord
3734 support, it works much simpler: in figured bass simply stores the
3735 numbers, and then prints the numbers you entered. There is no
3736 conversion to pitches, and no realizations of the bass are played in
3740 @c . {Tuning output}
3742 @section Tuning output
3744 LilyPond tries to take as much formatting as possible out of your
3745 hands. Nevertheless, there are situations where it needs some help, or
3746 where you want to override its decisions. In this section we discuss
3747 ways to do just that.
3749 Formatting is internally done by manipulating so called grobs (graphic
3750 objects). Each grob carries with it a set of properties (grob
3751 properties) specific to that object. For example, a stem grob has
3752 properties that specify its direction, length and thickness.
3754 The most direct way of tuning the output is by altering the values of
3755 these properties. There are two ways of doing that: first, you can
3756 temporarily change the definition of a certain type of grob, thus
3757 affecting a whole set of objects. Second, you can select one specific
3758 object, and set a grob property in that object.
3761 * Tuning groups of grobs ::
3762 * Tuning per grob ::
3767 @node Tuning groups of grobs
3768 @subsection Tuning groups of grobs
3770 @cindex grob description
3774 A grob definition is a Scheme association list, that is stored in a
3775 context property. By assigning to that property (using plain
3776 @code{\property}), you can change the resulting grobs.
3778 @lilypond[verbatim, fragment]
3779 c'4 \property Voice.Stem = #'()
3782 The @code{\property} assignment effectively empties the definition of
3783 the Stem object. One of the effects is that the recipe of how it should be
3784 printed is erased, with the effect of rendering it invisible. The above
3785 assignment is available as a standard identifier, for the case that you
3789 \property Voice.Stem = \turnOff
3796 This mechanism is fairly crude, since you can only set, but not modify,
3797 the definition of a grob. For this reason, there is a more advanced
3800 The definition of a grob is actually a list of default grob
3801 properties. For example, the definition of the Stem grob (available in
3802 @file{scm/grob-description.scm}), defines the following values for
3807 (beamed-lengths . (0.0 2.5 2.0 1.5))
3808 (Y-extent-callback . ,Stem::height)
3812 You can add a property on top of the existing definition, or remove a
3813 property, thus overriding the system defaults:
3815 c'4 \property Voice.Stem \override #'thickness = #4.0
3816 c'4 \property Voice.Stem \revert #'thickness
3819 You should balance @code{\override} and @code{\revert}. If that's too
3820 much work, you can use the @code{\set} shorthand. It performs a revert
3821 followed by an override. The following example gives exactly the same
3822 result as the previous one.
3824 c'4 \property Voice.Stem \set #'thickness = #4.0
3825 c'4 \property Voice.Stem \set #'thickness = #0.8
3828 If you use @code{\set}, you must explicitly restore the default.
3831 Formally the syntax for these constructions is
3833 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
3834 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
3835 \property @var{context}.@var{grobname} \revert @var{symbol}
3837 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
3838 and @var{grobname} are strings and @var{value} is a Scheme expression.
3841 If you revert a setting which was not set in the first place, then it
3842 has no effect. However, if the setting was set as a system default, it
3843 may remove the default value, and this may give surprising results,
3844 including crashes. In other words, @code{\override} and @code{\revert},
3845 must be carefully balanced.
3847 These are examples of correct nesting of @code{\override}, @code{\set},
3850 A clumsy but correct form:
3852 \override \revert \override \revert \override \revert
3855 Shorter version of the same:
3857 \override \set \set \revert
3860 A short form, using only @code{\set}. This requires you to know the
3863 \set \set \set \set @var{to default value}
3866 If there is no default (i.e. by default, the grob property is unset),
3869 \set \set \set \revert
3872 For the digirati, the grob description is an Scheme association
3873 list. Since a Scheme list is a singly linked list, we can treat it as a
3874 stack, and @code{\override} and @code{\revert} are just push and pop
3875 operations. This pushing and popping is also used for overriding
3876 automatic beaming settings.
3880 LilyPond will hang or crash if @var{value} contains cyclic references.
3881 The backend is not very strict in type-checking grob properties. If you
3882 @code{\revert} properties that are expected to be set by default,
3888 @node Tuning per grob
3889 @subsection Tuning per grob
3891 @cindex \outputproperty
3893 A second way of tuning grobs is the more arcane @code{\outputproperty}
3894 feature. The syntax is as follows:
3896 \outputproperty @var{predicate} @var{symbol} = @var{value}
3898 Here @code{predicate} is a Scheme function taking a grob argument, and
3899 returning a boolean. This statement is processed by the
3900 @code{Output_property_engraver}. It instructs the engraver to feed all
3901 grobs that it sees to @var{predicate}. Whenever the predicate returns
3902 true, the grob property @var{symbol} will be set to @var{value}.
3904 You will need to combine this statement with @code{\context} to select
3905 the appropriate context to apply this to.
3907 Here are some random examples.
3910 In the following example, all note heads occurring at current staff
3911 level, are shifted up and right by setting their @code{extra-offset}
3914 @lilypond[fragment,verbatim,singleline]
3916 \context Staff \outputproperty
3917 #(make-type-checker 'note-head-interface)
3918 #'extra-offset = #'(0.5 . 0.75)
3922 @cindex @code{extra-offset}
3924 In this example, the predicate checks the @code{text} grob property, to
3925 shift only the `m.d.' text, but not the fingering instruction "2".
3926 @lilypond[verbatim,singleline]
3927 #(define (make-text-checker text)
3928 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3931 \notes\relative c''' {
3932 \property Voice.Stem \set #'direction = #1
3933 \outputproperty #(make-text-checker "m.d.")
3934 #'extra-offset = #'(-3.5 . -4.5)
3942 If possible, avoid this feature: the semantics are not very clean, and
3943 the syntax and semantics are up for rewrite.
3948 @node Font selection
3949 @subsection Font selection
3951 The most common thing to change about the appearance of fonts is
3952 their size. The font size of a @internalsref{Voice},
3953 @internalsref{Staff} or @internalsref{Thread} context, can be easily
3954 changed by setting the @code{fontSize} property for that context:
3955 @lilypond[fragment,relative=1]
3956 c4 c4 \property Voice.fontSize = #-1
3959 This command will not change the size of variable symbols, such as
3960 beams or slurs. You can use this command to get smaller symbol for
3961 cue notes, but that involves some more subtleties. An elaborate
3962 example of those is in @file{input/test/cue-notes.ly}.
3968 The font used for printing a grob can be selected by setting
3969 @code{font-name}, e.g.
3971 \property Staff.TimeSignature
3972 \set #'font-name = #"cmr17"
3974 You may use any font which is available to @TeX{}, such as foreign
3975 fonts or fonts that do not belong to the Computer Modern font family.
3976 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
3977 can also be adjusted with a more fine-grained mechanism. By setting
3978 the grob properties described below, you can select a different font.
3979 All three mechanisms work for every grob that supports
3980 @code{font-interface}.
3984 A symbol indicating the general class of the typeface. Supported are
3985 @code{roman} (Computer Modern), @code{braces} (for piano staff
3986 braces), @code{music} (the standard music font), @code{ancient} (the
3987 ancient notation font) @code{dynamic} (font for dynamic signs) and
3991 A symbol indicating the shape of the font, there are typically several
3992 font shapes available for each font family. Choices are @code{italic},
3993 @code{caps} and @code{upright}
3996 A symbol indicating the series of the font. There are typically several
3997 font series for each font family and shape. Choices are @code{medium}
4000 @item font-relative-size
4001 A number indicating the size relative the standard size. For example,
4002 with 20pt staff height, relative size -1 corresponds to 16pt staff
4003 height, and relative size +1 corresponds to 23 pt staff height.
4005 @item font-design-size
4006 A number indicating the design size of the font.
4008 This is a feature of the Computer Modern Font: each point size has a
4009 slightly different design. Smaller design sizes are relatively wider,
4010 which enhances readability.
4013 For any of these properties, the value @code{*} (i.e. the @emph{symbol},
4014 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
4015 to override default setting, which are always present. For example:
4017 \property Lyrics . LyricText \override #'font-series = #'bold
4018 \property Lyrics . LyricText \override #'font-family = #'typewriter
4019 \property Lyrics . LyricText \override #'font-shape = #'*
4022 @cindex @code{font-style}
4024 There are also pre-cooked font selection qualifiers. These are
4025 selected through the grob property @code{font-style}. For example,
4026 the style @code{finger} selects family @code{number} and relative size
4027 @code{-3}. Styles available include @code{volta}, @code{finger},
4028 @code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
4029 @code{large}, @code{Large} and @code{dynamic}. The style sheets and
4030 tables for selecting fonts are located in @file{scm/font.scm}. Refer
4031 to this file for more information.
4033 @cindex magnification
4035 The size of the font may be scaled with the grob property
4036 @code{font-magnification}. For example, @code{2.0} blows up all
4037 letters by a factor 2 in both directions.
4041 Relative size is not linked to any real size.
4043 There is no style sheet provided for other fonts besides the @TeX{}
4044 family, and the style sheet can not be modified easiyl.
4046 @cindex font selection
4047 @cindex font magnification
4048 @cindex @code{font-interface}
4052 @subsection Text markup
4056 LilyPond has an internal mechanism to typeset texts. You can
4057 form text markup expressions by composing scheme expressions
4058 in the following way.
4060 @lilypond[verbatim, singleline]
4065 c^#'(italic "italic")
4066 d_#'((bold italic) "ff")
4068 f_#'(lines "one" (bold "two"))
4069 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
4073 Normally, the Scheme markup text is stored in the @code{text} property
4074 of a grob. Formally, it is defined as follows:
4077 text: string | (head? text+)
4078 head: markup | (markup+)
4079 markup-item: property | abbrev
4080 property: (@var{key} . @var{value})
4081 abbrev: @code{columns lines roman music bold italic named super sub}
4082 @code{overstrike text finger volta timesig mmrest mark script}
4083 @code{large Large dynamic}
4086 The markup is broken down and converted into a list of grob properties,
4087 which are prepended to the property list. The @var{key}-@var{value}
4088 pair is a grob property. A list of properties available is included in
4089 the generated documentation for @rint{Text_interface}.
4091 The following abbreviations are defined:
4094 horizontal mode: set all text on one line (default)
4096 vertical mode: set every text on a new line
4100 selects the Feta font (the standard font for music notation glyphs),
4101 and uses named lookup
4108 lookup by character name
4110 plain text lookup (by character value)
4116 the next text or character overstrikes this one
4118 select fingering number fontstyle
4120 select volta number fontstyle
4122 select time signature number fontstyle
4124 select multi measure rest number fontstyle
4126 select mark number fontstyle
4128 select scriptsize roman fontstyle
4130 select large roman fontstyle
4132 select Large roman fontstyle
4134 select dynamics fontstyle
4138 @cindex metronome mark
4140 One practical application of complicated markup is to fake a metronome
4144 #(define note '(columns
4145 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
4146 #(define eight-note `(columns ,note ((kern . -0.1)
4147 (music ((raise . 3.5) "flags-u3")))))
4148 #(define dotted-eight-note
4149 `(columns ,eight-note (music "dots-dot")))
4152 \notes\relative c'' {
4153 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
4159 TextScript \override #'font-shape = #'upright
4167 The syntax and semantics of markup texts are not clean, and both
4168 syntax and semantics are slated for a rewrite.
4170 LilyPond does not do kerning, and there generally spaces texts
4176 @section Global layout
4178 The global layout determined by three factors: the page layout, the
4179 iline breaks and the spacing. These all influence each other: The
4180 choice of spacing determines how densely each system of music is set,
4181 whree line breaks breaks are chosen, and thus ultimately how many
4182 pages a piece of music takes. In this section we will explain how the
4183 lilypond spacing engine works, and how you can tune its results.
4185 Globally spoken, this procedure happens in three steps: first,
4186 flexible distances (``springs'') are chosen, based on durations. All
4187 possible line breaking combination are tried, and the one with the
4188 best results---a layout that has uniform density and requires as
4189 little stretching or cramping as possible---is chosen. When the score
4190 is processed by @TeX{}, page are filled with systems, and page breaks
4191 are chosen whenever the page gets full.
4194 * Vertical spacing::
4195 * Horizontal spacing::
4202 @node Vertical spacing
4203 @subsection Vertical spacing
4205 @cindex vertical spacing
4206 @cindex distance between staffs
4207 @cindex staff distance
4208 @cindex between staves, distance
4210 The height of each system is determined automatically by lilypond, to
4211 keep systems from bumping into each other, some minimum distances are
4212 set. By changing these, you can put staffs closer together, and thus
4213 put more systems onto one page.
4215 Normally staves are stacked vertically. To make
4216 staves maintain a distance, their vertical size is padded. This is
4217 done with the property @code{minimumVerticalExtent}. It takes a pair
4218 of numbers, so if you want to make it smaller from its, then you could
4221 \property Staff.minimumVerticalExtent = #'(-4 . 4)
4223 This sets the vertical size of the current staff to 4 staff-space on
4224 either side of the center staff line. The argument of
4225 @code{minimumVerticalExtent} is interpreted as an interval, where the
4226 center line is the 0, so the first number is generally negative. you
4227 could also make the staff larger at the bottom by setting it to
4228 @code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
4230 Vertical aligment of staves is handled by the
4231 @internalsref{VerticalAlignment} grob, which lives at
4232 @internalsref{Score} level.
4234 The piano staffs are handled a little differently: to make cross-staff
4235 beaming work correctly, it necessary that the distance between staves
4236 is fixed. This is also done with a @internalsref{VerticalAlignment}
4237 grob, created in @internalsref{PianoStaff}, but a forced distance is
4238 set. This is done with the grob property #'forced-distance. If you
4239 want to override this, use a @code{\translator} block as follows:
4243 VerticalAlignment \override #'forced-distance = #9
4246 This would bring the staffs together at a distance of 9 staff spaces,
4247 and again this is measured from the center line of each staff.
4251 @node Horizontal spacing
4252 @subsection Horizontal Spacing
4254 The spacing engine translates differences in durations into
4255 stretchable distances (``springs'') of differing lengths. Longer
4256 durations get more space, shorter durations get less. The basis for
4257 assigning spaces to durations, is that the shortest durations get a
4258 fixed amount of space, and the longer durations get more: doubling a
4259 duration adds a fixed amount of space to the note.
4261 For example, the following piece contains lots of half, quarter and
4262 8th notes, the eighth note is followed by 1 note head width. The The
4263 quarter note is followed by 2 NHW, the half by 3 NHW, etc.
4264 @lilypond[fragment, verbatim, relative=1]
4265 c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
4268 These two amounts of space are @code{shortest-duration-space}
4269 @code{spacing-increment}, grob properties of
4270 @internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
4271 set to 1.2, which is the width of a note head, and
4272 @code{shortest-duration-space} is set to 2.0, meaning that the
4273 shortest note gets 2 noteheads of space. For normal notes, this space
4274 is always counted from the left edge of the symbol, so the short notes
4275 in a score is generally followed by one note head width of space.
4277 If one would follow the above procedure exactly, then adding a single
4278 32th note to a score that uses 8th and 16th notes, would widen up the
4279 entire score a lot. The shortest note is no longer a 16th, but a 64th,
4280 thus adding 2 noteheads of space to every note. To prevent this, the
4281 shortest duration for spacing is not the shortest note in the score,
4282 but the most commonly found shortest note. Notes that are even
4283 shorter this are followed by a space that is proportonial to their
4284 duration relative to the common shortest note. So if we were to add
4285 only a few 16th notes to the example above, they would be followed by
4288 @lilypond[fragment, verbatim, relative=1]
4289 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
4292 The most common shortest duration is determined as follows: in every
4293 measure, the shortest duration is determined. The most common short
4294 duration, is taken as the basis for the spacing, with the stipulation
4295 that this shortest duration should always be equal to or shorter than
4296 1/8th note. The shortest duration is printed when you run lilypond
4297 with @code{--verbose}. These durations may also be customized. If you
4298 set the @code{common-shortest-duration} in
4299 @internalsref{SpacingSpanner}, then this sets the base duration for
4300 spacing. The maximum duration for this base (normally 1/8th), is set
4301 through @code{base-shortest-duration}.
4303 @cindex @code{common-shortest-duration}
4304 @cindex @code{base-shortest-duration}
4305 @cindex @code{stem-spacing-correction}
4306 @cindex @code{spacing}
4308 In the introduction it was explained that stem directions influence
4309 spacing. This is controlled with @code{stem-spacing-correction} in
4310 @internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the
4311 same property for controlling the stem/barline spacing. In the
4312 following example shows these corrections, once with default settings,
4313 and once with exaggerated corrections.
4319 \property Staff.NoteSpacing \override #'stem-spacing-correction
4321 \property Staff.StaffSpacing \override #'stem-spacing-correction
4326 \paper { linewidth = -1. } }
4333 Spacing is determined on a score wide basis. If you have a score that
4334 changes its character (measured in durations) half way during the
4335 score, the part containing the longer durations will be spaced too
4338 Generating optically pleasing spacing is black magic. LilyPond tries
4339 to deal with a number of frequent cases. Here is an example that is
4340 not handled correctly, due to the combination of chord collisions and
4345 \context PianoStaff \notes \transpose c''' <
4346 \context Staff = up { s1 }
4347 \context Staff = down { [c8 c \translator Staff=up <c d> c
4348 \translator Staff=down c c c] }
4350 \paper { linewidth = -1 }
4357 @subsection Font size
4358 @cindex font size, setting
4359 @cindex staff size, setting
4360 @cindex @code{paper} file
4362 The Feta font provides musical symbols at seven different sizes.
4363 These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
4364 point, and 26 point. The point size of a font is the height of the
4365 five lines in a staff when displayed in the font.
4367 Definitions for these sizes are the files @file{paperSZ.ly}, where
4368 @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
4369 of these files, the identifiers @code{paperEleven},
4370 @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
4371 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
4372 are defined respectively. The default @code{\paper} block is also
4373 set. These files should be imported at toplevel, i.e.
4375 \include "paper26.ly"
4379 The font definitions are generated using a Scheme function. For more
4380 details, see the file @file{scm/font.scm}.
4385 @subsection Line breaking
4388 @cindex breaking lines
4390 Line breaks are normally computed automatically. They are chosen such
4391 that it looks neither cramped nor loose, and that consecutive lines have
4394 Occasionally you might want to override the automatic breaks; you can
4395 do this by specifying @code{\break}. This will force a line break at
4396 this point. Line breaks can only occur at places where there are bar
4397 lines. If you want to have a line break where there is no bar line,
4398 you can force an invisible bar line by entering @code{\bar
4399 ""}. Similarly, @code{\noBreak} forbids a line break at a certain
4403 @cindex regular line breaks
4404 @cindex four bar music.
4406 If you want linebreaks at regular intervals, you can use the following:
4408 < \repeat 7 unfold @{ s1 * 4 \break @}
4412 This makes the following 28 measures (assuming 4/4 time) be broken every
4416 @subsection Page layout
4419 @cindex breaking pages
4421 @cindex @code{indent}
4422 @cindex @code{linewidth}
4424 The most basic settings influencing the spacing are @code{linewidth}
4425 and @code{indent}, both set in the @code{\paper} block. They control
4426 the indentation of the first line of music, and the lengths of the
4427 lines. If @code{linewidth} set to a negative value, a single
4428 unjustified line is produced. A similar effect for scores that are
4429 longer than one line, can be produced by setting @code{raggedright} to
4430 true in the @code{\paper} block.
4434 The page layout process happens outside lilypond. Ly2dvi sets page
4435 layout instructions. Ly2dvi responds to the following variables in the
4436 @code{\paper} block. The variable @code{textheight} sets the total
4437 height of the music on each page. The spacing between systems is
4438 controlled with @code{interscoreline}, its default is 16pt.
4439 The distance between the score lines will stretch in order to fill the
4440 full page @code{interscorelinefill} is set to a positive number. In
4441 that case @code{interscoreline} specifies the minimum spacing.
4443 @cindex @code{textheight}
4444 @cindex @code{interscoreline}
4445 @cindex @code{interscorelinefill}
4447 If the variable @code{lastpagefill} is defined (that is, it gets any
4448 value assigned in the @code{\paper} block), systems are evenly
4449 distributed vertically on the last page. This might produce ugly
4450 results in case there are not enough systems on the last page. Note
4451 that @command{lilypond-book} ignores @code{lastpagefill}. See
4452 @ref{Insert music snippets into your texts using lilypond-book} for
4455 @cindex @code{lastpagefill}
4457 Page breaks are normally computed by @TeX{}, so they are not under
4458 direct control of LilyPond. However, you can insert a commands into
4459 the @file{.tex} output to instruct @TeX{} where to break pages. You
4460 can insert a @code{\newpage} from within lilypond. This is done by
4461 setting the @code{between-systems-strings} on the
4462 @internalsref{NonMusicalPaperColumn} where the system is broken.
4466 @cindex @code{papersize}
4468 To change the paper size, you must first set the
4469 @code{papersize} paper variable variable. Set it to
4470 the strings @code{a4}, @code{letter}, or @code{legal}. After this
4471 specification, you must set the font as described above. If you want
4472 the default font, then use the 20 point font.
4475 \paper@{ papersize = "a4" @}
4476 \include "paper16.ly"
4479 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
4480 will set the paper variables @code{hsize} and @code{vsize} (used by
4481 Lilypond and @code{ly2dvi})
4491 LilyPond can produce MIDI output. The performance lacks lots of
4492 interesting effects, such as swing, articulation, slurring, etc., but it
4493 is good enough for proof-hearing the music you have entered. Ties,
4494 dynamics and tempo changes are interpreted.
4496 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4497 levels. Dynamic marks translate to a fixed fraction of the available
4498 MIDI volume range, crescendi and decrescendi make the the volume vary
4499 linearly between their two extremities. The fractions be adjusted by
4500 overriding the @code{absolute-volume-alist} defined in
4501 @file{scm/midi.scm}.
4503 For each type of musical instrument (that MIDI supports), a volume range
4504 can be defined. This gives you basic equalizer control, which can
4505 enhance the quality of the MIDI output remarkably. You can add
4506 instruments and ranges or change the default settings by overriding the
4507 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4509 Both loudness controls are combined to produce the final MIDI volume.
4515 * MIDI instrument names::
4520 @subsection MIDI block
4524 The MIDI block is analogous to the paper block, but it is somewhat
4525 simpler. The @code{\midi} block can contain:
4529 @item a @code{\tempo} definition
4530 @item context definitions
4533 Assignments in the @code{\midi} block are not allowed.
4537 @cindex context definition
4539 Context definitions follow precisely the same syntax as within the
4540 \paper block. Translation modules for sound are called performers.
4541 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
4544 @node MIDI instrument names
4545 @subsection MIDI instrument names
4547 @cindex instrument names
4548 @cindex @code{Staff.midiInstrument}
4549 @cindex @code{Staff.instrument}
4551 The MIDI instrument name is set by the @code{Staff.midiInstrument}
4552 property or, if that property is not set, the @code{Staff.instrument}
4553 property. The instrument name should be chosen from the list in
4554 @ref{MIDI instruments}.
4558 If the selected string does not exactly match, then LilyPond uses the
4559 default (Grand Piano). It is not possible to select an instrument by