2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @c FIXME: singular vs. plural: Beams/Beam
12 @chapter Notation manual
14 This chapter describes all the different types of notation supported
15 by LilyPond. It is intended as a reference for users that are already
16 somewhat familiar with using LilyPond.
20 * Easier music entry::
34 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
48 The basic elements of any piece of music are the notes. This section
49 is about basic notation elements notes, rests and related constructs,
50 such as stems, tuplets and ties.
55 * Chromatic alterations::
70 A note is printed by specifying its pitch and then its duration:
71 @footnote{Notes constitute the most basic elements of LilyPond input,
72 but they do not form valid input on their own without a @code{\score}
73 block. However, for the sake of brevity and simplicity we will
74 generally omit @code{\score} blocks and @code{\paper} declarations in
77 @lilypond[fragment,verbatim]
86 @cindex Note specification
88 @cindex entering notes
90 The most common syntax for pitch entry is used in @code{\chords} and
91 @code{\notes} mode. In Note and Chord mode, pitches may be designated
92 by names. The notes are specified by the letters @code{a} through
93 @code{g}, while the octave is formed with notes ranging from @code{c}
94 to @code{b}. The pitch @code{c} is an octave below middle C and the
95 letters span the octave above that C:
97 @lilypond[fragment,verbatim]
99 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
102 @cindex note names, Dutch
104 A sharp is formed by adding @code{-is} to the end of a pitch name and
105 a flat is formed by adding @code{-es}. Double sharps and double flats
106 are obtained by adding @code{-isis} or @code{-eses}. These
107 names are the Dutch note names. In Dutch, @code{aes} is contracted to
108 @code{as}, but both forms are accepted. Similarly, both
109 @code{es} and @code{ees} are accepted.
111 Half-flats and half-sharps are formed by adding @code{-eh} and
112 @code{-ih}; the following is a series of Cs with increasing pitches:
114 @cindex quarter tones
115 @cindex semi-flats, semi-sharps
117 @lilypond[verbatim,relative=2]
129 There are predefined sets of note names for various other languages.
130 To use them, include the language specific init file. For
131 example: @code{\include "english.ly"}. The available language files
132 and the note names they define are:
137 Note Names sharp flat
138 nederlands.ly c d e f g a bes b -is -es
139 english.ly c d e f g a bf b -s/-sharp -f/-flat
141 deutsch.ly c d e f g a b h -is -es
142 norsk.ly c d e f g a b h -iss/-is -ess/-es
143 svenska.ly c d e f g a b h -iss -ess
144 italiano.ly do re mi fa sol la sib si -d -b
145 catalan.ly do re mi fa sol la sib si -d/-s -b
146 espanol.ly do re mi fa sol la sib si -s -b
155 The optional octave specification takes the form of a series of
156 single quote (`@code{'}') characters or a series of comma
157 (`@code{,}') characters. Each @code{'} raises the pitch by one
158 octave; each @code{,} lowers the pitch by an octave:
160 @lilypond[fragment,verbatim,center]
161 c' c'' es' g' as' gisis' ais'
167 Notes can be hidden and unhidden with the following commands:
169 @cindex @code{\hideNotes}
171 @cindex @code{\unHideNotes}
177 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
179 @node Chromatic alterations
180 @subsection Chromatic alterations
182 Normally accidentals are printed automatically, but you may also
183 print them manually. A reminder accidental
184 @cindex reminder accidental
186 can be forced by adding an exclamation mark @code{!}
187 after the pitch. A cautionary accidental
188 @cindex cautionary accidental
189 @cindex parenthesized accidental
190 (i.e. an accidental within parentheses) can be obtained by adding the
191 question mark `@code{?}' after the pitch:
193 @lilypond[fragment,verbatim]
194 cis' cis' cis'! cis'?
198 The automatic production of accidentals can be tuned in many
199 ways. For more information, refer to @ref{Accidentals}.
204 A chord is formed by a enclosing a set of pitches in @code{<} and
205 @code{>}. A chord may be followed by a duration, and a set of
206 articulations, just like simple notes.
216 Rests are entered like notes, with the note name @code{r}:
218 @lilypond[raggedright,verbatim]
222 Whole bar rests, centered in middle of the bar,
223 must be done with multi measure rests. They are discussed in
224 @ref{Multi measure rests}.
227 A rest's vertical position may be explicitly specified by entering a
228 note with the @code{\rest} keyword appended. This makes manual
229 formatting in polyphonic music easier. Rest collision testing will
230 leave these rests alone:
232 @lilypond[raggedright,verbatim]
238 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
245 @cindex Invisible rest
248 An invisible rest (also called a `skip') can be entered like a note
249 with note name `@code{s}' or with @code{\skip @var{duration}}:
251 @lilypond[raggedright,verbatim]
255 The @code{s} syntax is only available in note mode and chord mode. In
256 other situations, you should use the @code{\skip} command:
258 @lilypond[raggedright,verbatim]
261 { \time 4/8 \skip 2 \time 4/4 }
262 \notes\relative c'' { a2 a1 }
267 The skip command is merely an empty musical placeholder. It does not
268 produce any output, not even transparent output.
270 The @code{s} skip command does create @internalsref{Staff} and
271 @internalsref{Voice} when necessary, similar to note and rest
272 commands. For example, the following results in an empty staff.
274 @lilypond[raggedright,verbatim]
275 \score { \notes { s4 } }
278 The same fragment using @code{\skip} results in an empty page.
282 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
287 @subsection Durations
293 In Note, Chord, and Lyrics mode, durations are designated by numbers
294 and dots: durations are entered as their reciprocal values. For example,
295 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
296 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
297 longer than a whole you must use variables:
301 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \notes \relative c'' {
310 a1 a2 a4 a8 a16 a32 a64 a64
312 r1 r2 r4 r8 r16 r32 r64 r64
317 \remove "Clef_engraver"
318 \override StaffSymbol #'transparent = ##t
319 \override TimeSignature #'transparent = ##t
320 \consists "Pitch_squash_engraver"
327 If the duration is omitted then it is set to the previously entered
328 duration. The default for the first note is a quarter note. The duration
329 can be followed by dots (`@code{.}') in order to obtain dotted note
333 @lilypond[fragment,verbatim,center]
334 a' b' c''8 b' a'4 a'4. b'4.. c'8.
339 You can alter the length of duration by a fraction @var{N/M}
340 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
341 will not affect the appearance of the notes or rests produced.
342 In the following example, the first three notes take up exactly two
344 @lilypond[fragment,relative=2,verbatim]
346 a4*2/3 gis4*2/3 a4*2/3
353 Dots are normally moved up to avoid staff lines, except in polyphonic
354 situations. The following commands may be used to force a particular
357 @cindex @code{\dotsUp}
359 @cindex @code{\dotsDown}
361 @cindex @code{\dotsBoth}
366 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
371 Whenever a note is found, a @internalsref{Stem} object is created
372 automatically. For whole notes and rests, they are also created but
377 @cindex @code{\stemUp}
379 @cindex @code{\stemDown}
381 @cindex @code{\stemBoth}
392 A tie connects two adjacent note heads of the same pitch. The tie in
393 effect extends the length of a note. Ties should not be confused with
394 slurs, which indicate articulation, or phrasing slurs, which indicate
395 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
397 @lilypond[fragment,verbatim,center]
398 e' ~ e' <c' e' g'> ~ <c' e' g'>
401 When a tie is applied to a chord, all note heads whose pitches match
402 are connected. When no note heads match, no ties will be created.
404 In its meaning a tie is just a way of extending a note duration, similar
405 to the augmentation dot; in the following example there are two ways of
406 notating exactly the same concept:
408 @lilypond[fragment,raggedright,quote]
409 \time 3/4 c'2. c'2 ~ c'4
411 If you need to tie a lot of notes over bars, it may be easier to use automatic
412 note splitting (see @ref{Automatic note splitting}).
417 @cindex @code{\tieUp}
419 @cindex @code{\tieDown}
421 @cindex @code{\tieBoth}
423 @cindex @code{\tieDotted}
425 @cindex @code{\tieSolid}
430 In this manual: @ref{Automatic note splitting}.
432 Internals: @internalsref{TieEvent}, @internalsref{Tie}.
434 Examples: if you want less ties created for a chord, see
435 @inputfileref{input/test,tie-sparse.ly}.
437 For tying only a subset of the note heads of a pair of chords, see
438 @inputfileref{input/regression,tie-chord-partial.ly}.
443 Switching staves when a tie is active will not produce a slanted tie.
445 Formatting of ties is a difficult subject. The results are often not
455 @cindex @code{\times}
457 Tuplets are made out of a music expression by multiplying all durations
460 @cindex @code{\times}
462 \times @var{fraction} @var{musicexpr}
466 The duration of @var{musicexpr} will be multiplied by the fraction.
467 The fraction's denominator will be printed over the notes, optionally
468 with a bracket. The most common tuplet is the triplet in which 3
469 notes have the length of 2, so the notes are 2/3 of their written
472 @lilypond[fragment,verbatim,center]
473 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
476 The property @code{tupletSpannerDuration} specifies how long each
477 bracket should last. With this, you can make lots of tuplets while
478 typing @code{\times} only once, saving lots of typing. In the next
479 example, there are two triplets shown, while @code{\times} was only
482 @lilypond[fragment,relative,raggedright,verbatim]
483 \set tupletSpannerDuration = #(ly:make-moment 1 4)
484 \times 2/3 { c'8 c c c c c }
487 The format of the number is determined by the property
488 @code{tupletNumberFormatFunction}. The default prints only the
489 denominator, but if it is set to the Scheme function
490 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
494 @cindex @code{tupletNumberFormatFunction}
495 @cindex tuplet formatting
500 @cindex @code{\tupletUp}
502 @cindex @code{\tupletDown}
504 @cindex @code{\tupletBoth}
509 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
511 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
515 Nested tuplets are not formatted automatically. In this case, outer
516 tuplet brackets should be moved manually, which is demonstrated in
517 @inputfileref{input/regression,tuplet-nest.ly}.
521 @node Easier music entry
522 @section Easier music entry
525 When entering music it is easy to introduce errors. This section deals
526 with tricks and features of the input language that were added solely
527 to help entering music, and find and correct mistakes.
529 It is also possible to use external programs, for example GUI
530 interfaces, or MIDI transcription programs, to enter or edit
531 music. Refer to the website for more information. Finally, there are
532 tools make debugging easier, by linking the input file and the output
533 shown on screen. See @ref{Point and click} for more information.
540 * Skipping corrected music::
541 * Automatic note splitting::
547 @node Relative octaves
548 @subsection Relative octaves
550 @cindex relative octave specification
552 Octaves are specified by adding @code{'} and @code{,} to pitch names.
553 When you copy existing music, it is easy to accidentally put a pitch
554 in the wrong octave and hard to find such an error. The relative
555 octave mode prevents these errors: a single error puts the rest of the
556 piece off by one octave:
558 @cindex @code{\relative}
560 \relative @var{startpitch} @var{musicexpr}
563 The octave of notes that appear in @var{musicexpr} are calculated as
564 follows: If no octave changing marks are used, the basic interval
565 between this and the last note is always taken to be a fourth or less
566 (; this distance is determined without regarding alterations: a
567 @code{fisis} following a @code{ceses} will be put above the
570 The octave changing marks @code{'} and @code{,} can be added to raise
571 or lower the pitch by an extra octave. Upon entering relative mode,
572 an absolute starting pitch must be specified that will act as the
573 predecessor of the first note of @var{musicexpr}.
575 Here is the relative mode shown in action:
576 @lilypond[fragment,raggedright,verbatim,center]
582 Octave changing marks are used for intervals greater than a fourth:
583 @lilypond[fragment,verbatim,center]
588 If the preceding item is a chord, the first note of the chord is used
589 to determine the first note of the next chord:
591 @lilypond[fragment,verbatim,center]
598 @cindex @code{\notes}
600 The pitch after the @code{\relative} contains a note name. To parse
601 the pitch as a note name, you have to be in note mode, so there must
602 be a surrounding @code{\notes} keyword (which is not
605 The relative conversion will not affect @code{\transpose},
606 @code{\chords} or @code{\relative} sections in its argument. If you
607 want to use relative within transposed music, you must place an
608 additional @code{\relative} inside the @code{\transpose}.
611 @subsection Octave check
614 Octave checks make octave errors easier to correct: a note may be
615 followed by @code{=}@var{quotes} which indicates what its absolute
616 octave should be. In the following example,
618 \relative c'' @{ c='' b=' d,='' @}
622 @c take care with @code, adds confusing quotes.
623 the d will generate a warning, because a d'' is expected, but a d' is
624 found. In the output, the octave is corrected this and the following
629 There is also a syntax that is separate from the notes.
634 This checks that @var{pitch} (without octave) yields @var{pitch} (with
635 octave) in \relative mode. If not, a warning is printed, and the
636 octave is corrected, for example, the first check is passed
637 successfully. The second check fails with an error message. The
638 octave is adjusted so the following notes are in the correct octave
649 The octave of a note following an octave check is determined with
650 respect to the note preceding it. In the next fragment, the last note
651 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
652 be deleted without changing the meaning of the piece.
654 @lilypond[verbatim,fragment]
663 @subsection Bar check
667 @cindex @code{barCheckSynchronize}
670 Bar checks help detect errors in the durations. A bar check is
671 entered using the bar symbol, `@code{|}'. Whenever it is encountered
672 during interpretation, it should fall on a measure boundary. If it
673 does not, a warning is printed. Depending on the value of
674 @code{barCheckSynchronize}, the beginning of the measure will be
677 In the next example, the second bar check will signal an error:
679 \time 3/4 c2 e4 | g2 |
682 Bar checks can also be used in lyrics, for example
687 Twin -- kle | Twin -- kle
692 @cindex skipTypesetting
694 Failed bar checks are caused by entering incorrect
695 durations. Incorrect durations often completely garble up the score,
696 especially if it is polyphonic, so you should start correcting the
697 score by scanning for failed bar checks and incorrect durations. To
698 speed up this process, you can use @code{skipTypesetting}, described
701 @node Skipping corrected music
702 @subsection Skipping corrected music
704 The property @code{Score.skipTypesetting} can be used to switch on and
705 off typesetting completely during the interpretation phase. When
706 typesetting is switched off, the music is processed much more quickly.
707 This can be used to skip over the parts of a score that have already
708 been checked for errors:
710 @lilypond[fragment,raggedright,verbatim]
712 \set Score.skipTypesetting = ##t
714 \set Score.skipTypesetting = ##f
718 @node Automatic note splitting
719 @subsection Automatic note splitting
721 Long notes can be converted automatically to tied notes. This is done
722 by replacing the @internalsref{Note_heads_engraver} by the
723 @internalsref{Completion_heads_engraver}.
724 In the following examples, notes crossing the bar line are split and tied.
727 @lilypond[noindent,verbatim,relative=1]
729 \remove "Note_heads_engraver"
730 \consists "Completion_heads_engraver"
732 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
736 This engraver splits all running notes at the bar line, and inserts
737 ties. One of its uses is to debug complex scores: if the measures are
738 not entirely filled, then the ties exactly show how much each measure
743 Not all durations (especially those containing tuplets) can be
744 represented exactly; the engraver will not insert tuplets.
748 Examples: @inputfileref{input/regression,completion-heads.ly}.
750 Internals: @internalsref{Completion_heads_engraver}.
754 @section Staff notation
756 This section describes music notation that occurs on staff level,
757 such as keys, clefs and time signatures.
759 @cindex Staff notation
773 @subsection Staff symbol
775 @cindex adjusting staff symbol
777 Notes, dynamic signs, etc. are grouped
778 with a set of horizontal lines, into a staff (plural `staves'). In our
779 system, these lines are drawn using a separate layout object called
783 @cindex staff lines, setting number of
784 @cindex staff lines, setting thickness of
785 @cindex thickness of staff lines, setting
786 @cindex number of staff lines, setting
790 Internals: @internalsref{StaffSymbol}.
792 Examples: @inputfileref{input/test,staff-lines.ly},
793 @inputfileref{input/test,staff-size.ly}.
797 If a staff is ended halfway a piece, the staff symbol may not end
798 exactly on the bar line.
802 @subsection Key signature
803 @cindex Key signature
807 The key signature indicates the scale in which a piece is played. It
808 is denoted by a set of alterations (flats or sharps) at the start of
813 Setting or changing the key signature is done with the @code{\key}
816 @code{\key} @var{pitch} @var{type}
819 @cindex @code{\minor}
820 @cindex @code{\major}
821 @cindex @code{\minor}
822 @cindex @code{\ionian}
823 @cindex @code{\locrian}
824 @cindex @code{\aeolian}
825 @cindex @code{\mixolydian}
826 @cindex @code{\lydian}
827 @cindex @code{\phrygian}
828 @cindex @code{\dorian}
830 Here, @var{type} should be @code{\major} or @code{\minor} to get
831 @var{pitch}-major or @var{pitch}-minor, respectively.
832 The standard mode names @code{\ionian},
833 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
834 @code{\phrygian}, and @code{\dorian} are also defined.
836 This command sets the context property
837 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
838 can be specified by setting this property directly.
840 Accidentals and key signatures often confuse new users, because
841 unaltered notes get natural signs depending on the key signature. The
842 tutorial explains why this is so in @ref{More about pitches}.
846 The ordering of a key cancellation is wrong when it is combined with
847 repeat bar lines. The cancellation is also printed after a line break.
851 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
853 @cindex @code{keySignature}
860 The clef indicates which lines of the staff correspond to which
865 The clef can be set or changed with the @code{\clef} command:
866 @lilypond[fragment,verbatim]
867 \key f\major c''2 \clef alto g'2
870 Supported clef-names include:
871 @c Moved standard clefs to the top /MB
875 @item treble, violin, G, G2
888 G clef on 1st line, so-called French violin clef
893 @cindex mezzosoprano clef
896 @cindex baritone clef
899 @cindex varbaritone clef
908 By adding @code{_8} or @code{^8} to the clef name, the clef is
909 transposed one octave down or up, respectively, and @code{_15} and
910 @code{^15} transposes by two octaves. The argument @var{clefname}
911 must be enclosed in quotes when it contains underscores or digits. For
915 @cindex choral tenor clef
916 @lilypond[verbatim,fragment,relative]
920 This command is equivalent to setting @code{clefGlyph},
921 @code{clefPosition} (which controls the Y position of the clef),
922 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
923 when any of these properties are changed.
927 Internals: the object for this symbol is @internalsref{Clef}.
931 @node Ottava brackets
932 @subsection Ottava brackets
934 ``Ottava'' brackets introduce an extra transposition of an octave for
935 the staff. They are created by invoking the function
936 @code{set-octavation}:
942 @lilypond[verbatim,fragment]
951 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
952 (for 15ma) as arguments. Internally the function sets the properties
953 @code{ottavation} (e.g. to @code{"8va"}) and
954 @code{centralCPosition}. For overriding the text of the bracket, set
955 @code{ottavation} after invoking @code{set-octavation}, i.e.,
959 \set Staff.ottavation = #"8"
964 Internals: @internalsref{OttavaBracket}.
966 Examples: @inputfileref{input/regression,ottava.ly},
967 @inputfileref{input/regression,ottava-broken.ly}.
971 @code{set-octavation} will get confused when clef changes happen
972 during an octavation bracket.
975 @subsection Time signature
976 @cindex Time signature
980 Time signature indicates the metrum of a piece: a regular pattern of
981 strong and weak beats. It is denoted by a fraction at the start of the
986 The time signature is set or changed by the @code{\time}
988 @lilypond[fragment,verbatim]
989 \time 2/4 c'2 \time 3/4 c'2.
992 The symbol that is printed can be customized with the @code{style}
993 property. Setting it to @code{#'()} uses fraction style for 4/4 and
994 2/2 time. There are many more options for its layout. See
995 @inputfileref{input/test,time.ly} for more examples.
998 This command sets the property @code{timeSignatureFraction},
999 @code{beatLength} and @code{measureLength} in the @code{Timing}
1000 context, which is normally aliased to @internalsref{Score}. The
1001 property @code{measureLength} determines where bar lines should be
1002 inserted, and how automatic beams should be generated. Changing the
1003 value of @code{timeSignatureFraction} also causes the symbol to be
1006 More options are available through the Scheme function
1007 @code{set-time-signature}. In combination with the
1008 @internalsref{Measure_grouping_engraver}, it will create
1009 @internalsref{MeasureGrouping} signs. Such signs ease reading
1010 rhythmically complex modern music. In the following example, the 9/8
1011 measure is subdivided in 2, 2, 2 and 3. This is passed to
1012 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1015 \score { \notes \relative c'' {
1016 #(set-time-signature 9 8 '(2 2 2 3))
1017 g8[ g] d[ d] g[ g] a8[( bes g]) |
1018 #(set-time-signature 5 8 '(3 2))
1023 \translator { \StaffContext
1024 \consists "Measure_grouping_engraver"
1030 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1035 Automatic beaming does not use measure grouping specified with
1036 @code{set-time-signature}.
1038 @node Partial measures
1039 @subsection Partial measures
1042 @cindex partial measure
1043 @cindex measure, partial
1044 @cindex shorten measures
1045 @cindex @code{\partial}
1047 Partial measures, for example in upsteps, are entered using the
1048 @code{\partial} command:
1049 @lilypond[fragment,verbatim,relative=1]
1050 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1053 The syntax for this command is
1055 \partial @var{duration}
1057 This is internally translated into
1059 \set Timing.measurePosition = -@var{length of duration}
1062 The property @code{measurePosition} contains a rational number
1063 indicating how much of the measure has passed at this point.
1065 @node Unmetered music
1066 @subsection Unmetered music
1068 Bar lines and bar numbers are calculated automatically. For unmetered
1069 music (e.g. cadenzas), this is not desirable. By setting
1070 @code{Score.timing} to false, this automatic timing can be switched
1076 @cindex @code{\cadenzaOn}
1078 @cindex @code{\cadenzaOff}
1082 @subsection Bar lines
1086 @cindex measure lines
1090 Bar lines delimit measures, but are also used to indicate repeats.
1091 Normally, they are inserted automatically. Line breaks may only
1092 happen on bar lines.
1097 of bar lines can be forced with the @code{\bar} command:
1099 @lilypond[relative=1,fragment,verbatim]
1103 The following bar types are available:
1104 @lilypond[fragment,relative,raggedright,verbatim]
1117 For allowing line breaks, there is a special command,
1121 This will insert an invisible bar line, and allow line breaks at this
1124 In scores with many staves, a @code{\bar} command in one staff is
1125 automatically applied to all staves. The resulting bar lines are
1126 connected between different staves of a @internalsref{StaffGroup}:
1128 @lilypond[fragment,verbatim]
1129 << \context StaffGroup <<
1133 \new Staff { \clef bass c4 g e g } >>
1134 \new Staff { \clef bass c2 c2 } >>
1138 The command @code{\bar @var{bartype}} is a short cut for doing
1139 @code{\set Score.whichBar = @var{bartype}} Whenever
1140 @code{whichBar} is set to a string, a bar line of that type is
1141 created. At the start of a measure it is set to
1142 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1143 to override default measure bars.
1145 Property @code{whichBar} can also be set directly, using @code{\set}
1146 or @code{\bar}. These settings take precedence over the automatic
1147 @code{whichBar} settings.
1150 @cindex repeatCommands
1151 @cindex defaultBarType
1153 You are encouraged to use @code{\repeat} for repetitions. See
1160 In this manual: @ref{Repeats}.
1163 Internals: the bar line objects that are created at
1164 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1165 lines that span staves are @internalsref{SpanBar}s.
1167 @cindex bar lines at start of system
1168 @cindex start of system
1170 The bar lines at the start of each system are
1171 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1172 @internalsref{SystemStartBracket}. Only one of these types is created
1173 in every context, and that type is determined by the property
1174 @code{systemStartDelimiter}.
1176 Examples: @inputfileref{input/test,bar-lines.ly},
1182 The easiest way to enter fragments with more than one voice on a staff
1183 is to split chords using the separator @code{\\}. You can use it for
1184 small, short-lived voices or for single chords:
1186 @lilypond[verbatim,fragment]
1187 \context Staff \relative c'' {
1188 c4 << { f d e } \\ { b c2 } >>
1189 c4 << g' \\ b, \\ f' \\ d >>
1193 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1194 voices are sometimes called "layers" other notation packages}
1196 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1197 each of these contexts, vertical direction of slurs, stems, etc. is set
1200 @cindex @code{\voiceOne}
1201 @cindex @code{\voiceFour}
1203 This can also be done by instantiating @internalsref{Voice} contexts
1204 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1205 a stem directions and horizontal shift for each part:
1208 @lilypond[raggedright,verbatim]
1210 \context Staff << \new Voice { \voiceOne cis2 b }
1211 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1212 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1216 The command @code{\oneVoice} will revert back to the normal setting.
1217 @cindex @code{\oneVoice}
1220 Normally, note heads with a different number of dots are not merged, but
1221 when the object property @code{merge-differently-dotted} is set in
1222 the @internalsref{NoteCollision} object, they are merged:
1223 @lilypond[verbatim,fragment,raggedright]
1224 \relative c'' \context Voice << {
1226 \override Staff.NoteCollision
1227 #'merge-differently-dotted = ##t
1229 } \\ { g8.[ f16] g8.[ f16] }
1233 Similarly, you can merge half note heads with eighth notes, by setting
1234 @code{merge-differently-headed}:
1235 @lilypond[fragment,relative=2,verbatim]
1238 \override Staff.NoteCollision
1239 #'merge-differently-headed = ##t
1240 c8 c4. } \\ { c2 c2 } >>
1243 LilyPond also vertically shifts rests that are opposite of a stem:
1246 @lilypond[raggedright,fragment,verbatim]
1247 \context Voice << c''4 \\ r4 >>
1255 @cindex @code{\oneVoice}
1257 @cindex @code{\voiceOne}
1259 @cindex @code{\voiceTwo}
1261 @cindex @code{\voiceThree}
1263 @cindex @code{\voiceFour}
1267 The following commands specify in what chords of the current voice
1268 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1269 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1272 @cindex @code{\shiftOn}
1274 @cindex @code{\shiftOnn}
1276 @cindex @code{\shiftOnnn}
1278 @cindex @code{\shiftOff}
1285 Internals: the objects responsible for resolving collisions are
1286 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1288 Examples: See also example files
1289 @inputfileref{input/regression,collision-dots.ly},
1290 @inputfileref{input/regression,collision-head-chords.ly},
1291 @inputfileref{input/regression,collision-heads.ly},
1292 @inputfileref{input/regression,collision-mesh.ly}, and
1293 @inputfileref{input/regression,collisions.ly}.
1298 Resolving collisions is a intricate subject, and only a few situations
1299 are handled. When LilyPond cannot cope, the @code{force-hshift}
1300 property of the @internalsref{NoteColumn} object and pitched rests can
1301 be used to override typesetting decisions.
1303 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1304 note, and a downstem half note, the 8th note gets the wrong offset.
1306 There is no support for clusters where the same note occurs with
1307 different accidentals in the same chord. In this case, it is
1308 recommended to use enharmonic transcription, or to use special cluster
1309 notation (see @ref{Clusters}).
1314 Beams are used to group short notes into chunks that are aligned with
1315 the metrum. They are inserted automatically in most cases:
1317 @lilypond[fragment,verbatim,relative=2]
1318 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1321 When these automatic decisions are not good enough, beaming can be
1322 entered explicitly. It is also possible to define beaming patterns
1323 that differ from the defaults.
1325 Individual notes may be marked with @code{\noBeam}, to prevent them
1328 @lilypond[fragment,verbatim,relative=2]
1329 \time 2/4 c8 c\noBeam c c
1335 Internals: @internalsref{Beam}.
1338 @cindex Automatic beams
1341 * Setting automatic beam behavior::
1345 @subsection Manual beams
1346 @cindex beams, manual
1350 In some cases it may be necessary to override the automatic beaming
1351 algorithm. For example, the autobeamer will not put beams over rests
1352 or bar lines. Such beams are specified by manually: the begin and end
1353 point are marked with @code{[} and @code{]}:
1355 @lilypond[fragment,relative,verbatim]
1357 r4 r8[ g' a r8] r8 g[ | a] r8
1361 @cindex @code{stemLeftBeamCount}
1363 Normally, beaming patterns within a beam are determined automatically.
1364 When this mechanism fouls up, the properties
1365 @code{stemLeftBeamCount} and @code{stemRightBeamCount} can
1366 be used to control the beam subdivision on a stem. If either property
1367 is set, its value will be used only once, and then it is erased:
1369 @lilypond[fragment,relative,verbatim]
1372 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1375 @cindex @code{stemRightBeamCount}
1378 The property @code{subdivideBeams} can be set in order to subdivide
1379 all 16th or shorter beams at beat positions, as defined by the
1380 @code{beatLength} property. This accomplishes the same effect as
1381 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1382 but it take less typing:
1385 @lilypond[relative=1,verbatim,noindent]
1387 \set subdivideBeams = ##t
1389 \set Score.beatLength = #(ly:make-moment 1 8)
1392 @cindex subdivideBeams
1394 Kneed beams are inserted automatically, when a large gap is detected
1395 between the note heads. This behavior can be tuned through the object
1396 property @code{auto-knee-gap}.
1398 Normally, line breaks are forbidden when beams cross bar lines. This
1399 behavior can be changed by setting @code{allowBeamBreak}.
1401 @cindex @code{allowBeamBreak}
1402 @cindex beams and line breaks
1404 @cindex beams, kneed
1406 @cindex auto-knee-gap
1412 @cindex Frenched staves
1414 Automatically kneed beams cannot be used together with hidden staves.
1419 @node Setting automatic beam behavior
1420 @subsection Setting automatic beam behavior
1422 @cindex @code{autoBeamSettings}
1423 @cindex @code{(end * * * *)}
1424 @cindex @code{(begin * * * *)}
1425 @cindex automatic beams, tuning
1426 @cindex tuning automatic beaming
1428 @c [TODO: use \applycontext]
1430 In normal time signatures, automatic beams can start on any note but can
1431 only end in a few positions within the measure: beams can end on a beat,
1432 or at durations specified by the properties in
1433 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1434 are defined in @file{scm/auto-beam.scm}.
1436 The value of @code{autoBeamSettings} is changed with two functions:
1438 #(override-auto-beam-setting
1439 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1441 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1443 Here, @var{be} is the symbol @code{begin} or @code{end}. It determines
1444 whether the rule applies to begin or end-points. The quantity
1445 @var{p}/@var{q} refers to the length of the beamed notes (and `@code{*
1446 *}' designates notes of any length), @var{n}/@var{M} refers to a time
1447 signature (wildcards `@code{* *}' may be entered to designate all time
1448 signatures), @var{a}/@var{b} is a duration. By default, this command
1449 changes settings for the current voice. It is also possible to adjust
1450 settings at higher contexts, by adding a @var{context} argument.
1452 For example, if automatic beams should end on every quarter note, use
1455 #(override-auto-beam-setting '(end * * * *) 1 4)
1457 Since the duration of a quarter note is 1/4 of a whole note, it is
1458 entered as @code{(ly:make-moment 1 4)}.
1460 The same syntax can be used to specify beam starting points. In this
1461 example, automatic beams can only end on a dotted quarter note:
1463 #(override-auto-beam-setting '(end * * * *) 3 8)
1465 In 4/4 time signature, this means that automatic beams could end only on
1466 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1467 3/8, has passed within the measure).
1469 Rules can also be restricted to specific time signatures. A rule that
1470 should only be applied in @var{N}/@var{M} time signature is formed by
1471 replacing the second asterisks by @var{N} and @var{M}. For example, a
1472 rule for 6/8 time exclusively looks like
1474 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1477 If a rule should be to applied only to certain types of beams, use the
1478 first pair of asterisks. Beams are classified according to the
1479 shortest note they contain. For a beam ending rule that only applies
1480 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1483 If a score ends while an automatic beam has not been ended and is still
1484 accepting notes, this last beam will not be typeset at all.
1486 @cindex automatic beam generation
1488 @cindex @code{autoBeaming}
1491 For melodies that have lyrics, you may want to switch off
1492 automatic beaming. This is done by setting @code{autoBeaming} to
1497 @cindex @code{\autoBeamOff}
1498 @code{\autoBeamOff},
1499 @cindex @code{\autoBeamOn}
1505 The rules for ending a beam depend on the shortest note in a beam.
1506 So, while it is possible to have different ending rules for eight
1507 beams and sixteenth beams, a beam that contains both eight and
1508 sixteenth notes will use the rules for the sixteenth beam.
1510 In the example below, the autobeamer makes eight beams and sixteenth
1511 end at 3 eights; the third beam can only be corrected by specifying
1514 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1515 #(override-auto-beam-setting '(end * * * *) 3 8)
1516 % rather show case where it goes wrong
1517 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1518 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1520 It is not possible to specify beaming parameters that act differently in
1521 different parts of a measure. This means that it is not possible to use
1522 automatic beaming in irregular meters such as @code{5/8}.
1525 @section Accidentals
1528 This section describes how to change the way that accidentals are
1529 inserted automatically before the running notes.
1533 * Using the predefined accidental variables::
1534 * Customized accidental rules::
1537 @node Using the predefined accidental variables
1538 @subsection Using the predefined accidental variables
1541 Common rules for typesetting macros have been canned in a
1542 function. This function is called as follows:
1544 @cindex @code{set-accidental-style}
1546 #(set-accidental-style 'modern 'Voice)
1549 The function takes two arguments: a symbol that denotes the style (in
1550 the example, @code{modern}), and another symbol that denotes the
1551 context name (in this example, @code{Staff}). If no context name is
1552 supplied, @code{Staff} is the default.
1554 The following styles are supported:
1557 This is the default typesetting behavior. It should correspond
1558 to 18th century common practice: Accidentals are
1559 remembered to the end of the measure in which they occur and
1560 only on their own octave.
1564 The normal behavior is to remember the accidentals on
1565 Staff-level. This variable, however, typesets accidentals
1566 individually for each voice. Apart from that, the rule is similar to
1569 This leads to some weird and often unwanted results
1570 because accidentals from one voice do not get canceled in other
1572 @lilypond[raggedright,relative,fragment,verbatim,quote]
1574 #(set-accidental-style 'voice)
1580 Hence you should only use @code{voice} if the voices
1581 are to be read solely by individual musicians. If the staff is to be
1582 used by one musician (e.g. a conductor) then you use
1583 @code{modern} or @code{modern-cautionary}
1587 @cindex @code{modern} style accidentals
1588 This rule corresponds to the common practice in the 20th
1590 This rule prints the same accidentals as @code{default}, but temporary
1591 accidentals also are canceled in other octaves. Furthermore,
1592 in the same octave, they also get canceled in the following
1595 @lilypond[raggedright,fragment,verbatim]
1596 #(set-accidental-style 'modern)
1597 cis' c'' cis'2 | c'' c'
1600 @item @code{modern-cautionary}
1601 @cindex @code{modern-cautionary}
1602 This rule is similar to @code{modern}, but the
1603 ``extra'' accidentals (the ones not typeset by
1604 @code{default}) are typeset as cautionary accidentals.
1605 They are printed in reduced size or with parentheses:
1606 @lilypond[raggedright,fragment,verbatim]
1607 #(set-accidental-style 'modern-cautionary)
1608 cis' c'' cis'2 | c'' c'
1611 @cindex @code{modern-voice}
1613 is used for multivoice accidentals to be read both by musicians
1614 playing one voice and musicians playing all voices. Accidentals are
1615 typeset for each voice, but they @emph{are} canceled across voices in
1616 the same @internalsref{Staff}.
1618 @cindex @code{modern-voice-cautionary}
1619 @item modern-voice-cautionary
1620 is the same as @code{modern-voice}, but with the extra
1621 accidentals (the ones not typeset by @code{voice}) typeset
1622 as cautionaries. Even though all accidentals typeset by
1623 @code{default} @emph{are} typeset by this variable then
1624 some of them are typeset as cautionaries.
1627 @cindex @code{piano} accidentals
1628 20th century practice for piano notation. Very similar to
1629 @code{modern} but accidentals also get canceled
1630 across the staves in the same @internalsref{GrandStaff} or
1631 @internalsref{PianoStaff}.
1633 @item piano-cautionary
1634 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1635 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1636 typeset as cautionaries.
1639 @cindex @code{no-reset} accidental style
1640 Same as @code{default} but with accidentals lasting
1641 ``forever'' and not only until the next measure:
1642 @lilypond[raggedright,fragment,verbatim,relative]
1643 #(set-accidental-style 'no-reset)
1648 This is sort of the opposite of @code{no-reset}: Accidentals
1649 are not remembered at all---and hence all accidentals are
1650 typeset relative to the key signature, regardless of what was
1651 before in the music:
1653 @lilypond[raggedright,fragment,verbatim,relative]
1654 #(set-accidental-style 'forget)
1655 \key d\major c4 c cis cis d d dis dis
1659 @node Customized accidental rules
1660 @subsection Customized accidental rules
1662 For determining when to print an accidental, several different rules
1663 are tried. The rule that gives the highest number of accidentals is
1664 used. Each rule consists of
1667 In which context is the rule applied. For example, if
1668 @var{context} is @internalsref{Score} then all staves share
1669 accidentals, and if @var{context} is @internalsref{Staff} then all
1670 voices in the same staff share accidentals, but staves do not.
1673 Whether the accidental changes all octaves or only the current
1674 octave. Valid choices are
1678 This is the default algorithm. Accidentals are typeset if the note changes
1679 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1680 and then as many measures as specified in the value. I.e. 1 means to the end
1681 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1683 Accidentals are typeset if the note is different from
1684 the previous note on the same pitch in any octave. The value has same meaning as in
1690 Over how many bar lines the accidental lasts.
1691 If @var{laziness} is @code{-1} then the accidental is forget
1692 immediately, and if @var{laziness} is @code{#t} then the accidental
1699 Internals: @internalsref{Accidental_engraver},
1700 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1705 Currently the simultaneous notes are considered to be entered in
1706 sequential mode. This means that in a chord the accidentals are
1707 typeset as if the notes in the chord happened once at a time - in the
1708 order in which they appear in the input file.
1710 This is only a problem when there are simultaneous notes whose
1711 accidentals depend on each other. The problem only occurs when using
1712 non-default accidentals. In the default scheme, accidentals only
1713 depend on other accidentals with the same pitch on the same staff, so
1714 no conflicts possible.
1716 This example shows two examples of the same music giving different
1717 accidentals depending on the order in which the notes occur in the
1720 @lilypond[raggedright,fragment,verbatim]
1721 \set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1722 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1723 | <cis' c''> r | <c'' cis'> r |
1726 This problem can be solved by manually inserting @code{!} and @code{?}
1727 for the problematic notes.
1729 @node Expressive marks
1730 @section Expressive marks
1733 @c todo: should change ordering
1734 @c where to put text spanners, metronome marks,
1743 * Analysis brackets::
1745 * Fingering instructions::
1756 A slur indicates that notes are to be played bound or @emph{legato}.
1760 They are entered using parentheses:
1761 @lilypond[relative=1,fragment,verbatim,center]
1762 f( g)( a) a8 b( a4 g2 f4)
1767 @c TODO: should explain that ^( and _( set directions
1768 @c should set attachments with ^ and _ ?
1770 Slurs avoid crossing stems, and are generally attached to note heads.
1771 However, in some situations with beams, slurs may be attached to stem
1772 ends. If you want to override this layout you can do this through the
1773 object property @code{attachment} of @internalsref{Slur} in
1774 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1775 the attachment type of the left and right end points:
1777 @lilypond[fragment,relative,verbatim]
1779 \override Stem #'length = #5.5
1781 \override Slur #'attachment = #'(stem . stem)
1785 If a slur would strike through a stem or beam, the slur will be moved
1786 away upward or downward. If this happens, attaching the slur to the
1787 stems might look better:
1789 @lilypond[fragment,relative,verbatim]
1792 \override Slur #'attachment = #'(stem . stem)
1799 @cindex @code{\slurUp}
1801 @cindex @code{\slurDown}
1803 @cindex @code{\slurBoth}
1805 @cindex @code{\slurDotted}
1807 @cindex @code{\slurSolid}
1812 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1817 Producing nice slurs is a difficult problem, and LilyPond currently
1818 uses a simple, empiric method to produce slurs. In some cases, its
1822 @cindex Adjusting slurs
1824 @node Phrasing slurs
1825 @subsection Phrasing slurs
1827 @cindex phrasing slurs
1828 @cindex phrasing marks
1830 A phrasing slur (or phrasing mark) connects chords and is used to
1831 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1834 @lilypond[fragment,verbatim,center,relative]
1835 \time 6/4 c'\( d( e) f( e) d\)
1838 Typographically, the phrasing slur behaves almost exactly like a
1839 normal slur. However, they are treated as different objects. A
1840 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1841 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1842 @code{\phrasingSlurBoth}.
1844 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1845 will only affect normal slurs and not phrasing slurs.
1849 @cindex @code{\phrasingSlurUp}
1850 @code{\phrasingSlurUp},
1851 @cindex @code{\phrasingSlurDown}
1852 @code{\phrasingSlurDown},
1853 @cindex @code{\phrasingSlurBoth}
1854 @code{\phrasingSlurBoth}.
1858 Internals: see also @internalsref{PhrasingSlur}, and
1859 @internalsref{PhrasingSlurEvent}.
1863 Phrasing slurs have the same limitations in their formatting as normal
1864 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1867 @subsection Breath marks
1869 Breath marks are entered using @code{\breathe}:
1872 @lilypond[fragment,relative,verbatim]
1876 The glyph of the breath mark can be tweaked by overriding the
1877 @code{text} property of the @code{BreathingSign} layout object with
1878 any markup text. For example,
1879 @lilypond[fragment,verbatim,relative]
1881 \override BreathingSign #'text
1882 = #(make-musicglyph-markup "scripts-rvarcomma")
1889 Internals: @internalsref{BreathingSign},
1890 @internalsref{BreathingSignEvent}.
1892 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1895 @node Metronome marks
1896 @subsection Metronome marks
1899 @cindex beats per minute
1900 @cindex metronome marking
1902 Metronome settings can be entered as follows:
1904 \tempo @var{duration} = @var{per-minute}
1907 In the MIDI output, they are interpreted as a tempo change, and in the
1908 paper output, a metronome marking is printed:
1909 @cindex @code{\tempo}
1910 @lilypond[fragment,verbatim]
1916 Internals: @internalsref{MetronomeChangeEvent}.
1921 @subsection Text spanners
1922 @cindex Text spanners
1924 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1925 are written as texts, and extended over many measures with dotted
1926 lines. You can create such texts using text spanners: attach
1927 @code{\startTextSpan} and @code{\stopTextSpan} to the
1928 start and ending note of the spanner.
1930 The string to be printed, as well as the style, is set through object
1933 @lilypond[fragment,relative,verbatim]
1935 \override TextSpanner #'direction = #-1
1936 \override TextSpanner #'edge-text = #'("rall " . "")
1937 c2\startTextSpan b c\stopTextSpan a }
1943 Internals @internalsref{TextSpanEvent},
1944 @internalsref{TextSpanner}.
1946 Examples: @inputfileref{input/regression,text-spanner.ly}.
1949 @node Analysis brackets
1950 @subsection Analysis brackets
1952 @cindex phrasing brackets
1953 @cindex musicological analysis
1954 @cindex note grouping bracket
1956 Brackets are used in musical analysis to indicate structure in musical
1957 pieces. LilyPond supports a simple form of nested horizontal brackets.
1958 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1959 @internalsref{Staff} context. A bracket is started with
1960 @code{\startGroup} and closed with @code{\stopGroup}:
1962 @lilypond[raggedright,verbatim]
1963 \score { \notes \relative c'' {
1964 c4\startGroup\startGroup
1967 c4\stopGroup\stopGroup
1969 \paper { \translator {
1970 \StaffContext \consists "Horizontal_bracket_engraver"
1976 Internals: @internalsref{HorizontalBracket},
1977 @internalsref{NoteGroupingEvent}.
1979 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1983 @subsection Articulations
1984 @cindex Articulations
1986 @cindex articulations
1990 A variety of symbols can appear above and below notes to indicate
1991 different characteristics of the performance. They are added to a note
1992 by adding a dash and the character signifying the
1993 articulation. They are demonstrated here:
1995 @lilypondfile[]{script-abbreviations.ly}
1997 The meanings of these shorthands can be changed: see
1998 @file{ly/script-init.ly} for examples.
2001 The script is automatically placed, but if you need to force
2002 directions, you can use @code{_} to force them down, or @code{^} to
2004 @lilypond[fragment,verbatim]
2008 Other symbols can be added using the syntax
2009 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2010 can be forced up or down using @code{^} and @code{_},
2013 @lilypond[verbatim,fragment,relative=2]
2014 c\fermata c^\fermata c_\fermata
2021 @cindex staccatissimo
2030 @cindex organ pedal marks
2039 @cindex prallmordent
2043 @cindex thumb marking
2048 @lilypondfile[]{script-chart.ly}
2053 @cindex @code{\scriptUp}
2055 @cindex @code{\scriptDown}
2057 @cindex @code{\scriptBoth}
2062 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2066 These note ornaments appear in the printed output but have no
2067 effect on the MIDI rendering of the music.
2070 @node Fingering instructions
2071 @subsection Fingering instructions
2075 Fingering instructions can be entered using
2077 @var{note}-@var{digit}
2079 For finger changes, use markup texts:
2081 @lilypond[verbatim,raggedright,fragment]
2082 c'4-1 c'4-2 c'4-3 c'4-4
2083 c'^\markup { \fontsize #-3 \number "2-3" }
2086 @cindex finger change
2091 You can use the thumb-script to indicate that a note should be
2092 played with the thumb (e.g. in cello music):
2094 @lilypond[verbatim,raggedright,fragment]
2095 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2096 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2099 Fingerings for chords can also be added to individual notes
2100 of the chord by adding them after the pitches:
2101 @lilypond[verbatim,raggedright,fragment,relative=1]
2102 < c-1 e-2 g-3 b-5 > 4
2106 In this case, setting @code{fingeringOrientations} will put fingerings next
2109 @lilypond[verbatim,raggedright,fragment,relative=1]
2110 \set fingeringOrientations = #'(left down)
2111 <c-1 es-2 g-4 bes-5 > 4
2112 \set fingeringOrientations = #'(up right down)
2113 <c-1 es-2 g-4 bes-5 > 4
2116 By using single note chords, fingering instructions can be put close
2117 to note heads in monophonic music.
2121 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2123 Examples: @inputfileref{input/regression,finger-chords.ly}.
2126 @subsection Text scripts
2127 @cindex Text scripts
2129 @cindex text items, non-empty
2130 @cindex non-empty texts
2132 It is possible to place arbitrary strings of text or markup text (see
2133 @ref{Text markup}) above or below notes by using a string:
2134 @code{c^"text"}. By default, these indications do not influence the
2135 note spacing, but by using the command @code{\fatText}, the widths
2136 will be taken into account:
2138 @lilypond[fragment,raggedright,verbatim] \relative c' {
2139 c4^"longtext" \fatText c4_"longlongtext" c4 }
2142 It is possible to use @TeX{} commands in the strings, but this should
2143 be avoided because the exact dimensions of the string can then no
2148 @cindex @code{\fatText}
2150 @cindex @code{\emptyText}
2155 In this manual: @ref{Text markup}.
2157 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2163 @subsection Grace notes
2166 @c should have blurb about accaciatura / appogiatura
2168 @cindex @code{\grace}
2172 Grace notes are ornaments that are written out. The most common ones
2173 are acciaccatura, which should be played as very short. It is denoted
2174 by a slurred small note with a slashed stem. The appoggiatura is a
2175 grace note that takes a fixed fraction of the main note, is and
2176 denoted as a slurred note in small print without a slash.
2177 They are entered with the commands @code{\acciaccatura} and
2178 @code{\appoggiatura}, as demonstrated in the following example:
2181 @cindex appoggiatura
2182 @cindex acciaccatura
2184 @lilypond[relative=2,verbatim,fragment]
2185 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2186 \acciaccatura { g16[ f] } e4
2189 Both are special forms of the @code{\grace} command. By prefixing this
2190 keyword to a music expression, a new one is formed, which will be
2191 printed in a smaller font and takes up no logical time in a measure.
2192 @lilypond[relative=2,verbatim,fragment]
2194 \grace { c16[ d16] } c2 c4
2198 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2199 @code{\grace} command does not start a slur.
2201 Internally, timing for grace notes is done using a second, `grace'
2202 time. Every point in time consists of two rational numbers: one
2203 denotes the logical time, one denotes the grace timing. The above
2204 example is shown here with timing tuples:
2206 @lilypond[raggedright]
2209 c4 \grace c16 c4 \grace {
2212 \new Lyrics \lyrics {
2215 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2216 \markup { (\fraction 1 4 , 0 ) } 4
2218 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2219 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2221 \markup { ( \fraction 2 4 , 0 ) }
2226 The placement of grace notes is synchronized between different staves.
2227 In the following example, there are two sixteenth graces notes for
2228 every eighth grace note:
2230 @lilypond[relative=2,verbatim,fragment]
2231 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2232 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2237 If you want to end a note with a grace, then the standard trick
2238 is to put the grace notes after a ``space note'', e.g.
2239 @lilypond[fragment,verbatim,relative=2]
2242 { s2 \grace { c16[ d] } } >>
2248 By adjusting the duration of the skip note (here it is a half-note),
2249 the space between the main-note and the grace is adjusted.
2252 A @code{\grace} section will introduce special typesetting settings,
2253 for example, to produce smaller type, and set directions. Hence, when
2254 introducing layout tweaks, they should be inside the grace section,
2256 @lilypond[fragment,verbatim,relative=1]
2259 \override Stem #'direction = #-1
2261 \revert Stem #'direction
2268 The overrides should also be reverted inside the grace section.
2270 If the layout of grace sections must be changed throughout the music,
2271 then this can be accomplished through the function
2272 @code{add-grace-property}. The following example
2273 undefines the Stem direction grace section, so stems do not always
2278 #(add-grace-property "Voice" Stem direction '())
2284 Another option is to change the variables @code{startGraceMusic},
2285 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2286 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2287 @code{stopAppoggiaturaMusic}. More information is in the file
2288 @file{ly/grace-init.ly}.
2293 Internals: @internalsref{GraceMusic}.
2297 A score that starts with an @code{\grace} section needs an explicit
2298 @code{\context Voice} declaration, otherwise the main note and grace
2299 note end up on different staves.
2301 Grace note synchronization can also lead to surprises. Staff notation,
2302 such as key signatures, bar lines, etc. are also synchronized. Take
2303 care when you mix staves with grace notes and staves without, for example,
2305 @lilypond[relative=2,verbatim,fragment]
2306 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2307 \new Staff { c4 \bar "|:" d4 } >>
2310 Grace sections should only be used within sequential music
2311 expressions. Nesting or juxtaposing grace sections is not supported,
2312 and might produce crashes or other errors.
2316 @subsection Glissando
2319 @cindex @code{\glissando}
2321 A glissando is a smooth change in pitch. It is denoted by a line or a
2322 wavy line between two notes.
2326 A glissando line can be requested by attaching a @code{\glissando} to
2329 @lilypond[fragment,relative,verbatim]
2335 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2340 Adding additional texts (such as @emph{gliss.}) is not supported.
2344 @subsection Dynamics
2357 @cindex @code{\ffff}
2367 Absolute dynamic marks are specified using a command after a note:
2368 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2369 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2370 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2371 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2373 @lilypond[verbatim,raggedright,fragment,relative]
2374 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2380 @cindex @code{\decr}
2381 @cindex @code{\rced}
2388 A crescendo mark is started with @code{\<} and terminated with
2389 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2390 with @code{\!}. Because these marks are bound to notes, if you must
2391 use spacer notes if multiple marks during one note are needed:
2393 @lilypond[fragment,verbatim,center,quote]
2394 c''\< c''\! d''\decr e''\rced
2395 << f''1 { s4 s4\< s4\! \> s4\! } >>
2397 This may give rise to very short hairpins. Use @code{minimum-length}
2398 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2402 \override Staff.Hairpin #'minimum-length = #5
2405 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2406 is an example how to do it:
2408 @lilypond[fragment,relative=2,verbatim]
2409 c4 \cresc c4 c c c \endcresc c4
2415 You can also supply your own texts:
2416 @lilypond[fragment,relative,verbatim]
2418 \set crescendoText = \markup { \italic "cresc. poco" }
2419 \set crescendoSpanner = #'dashed-line
2429 @cindex @code{\dynamicUp}
2431 @cindex @code{\dynamicDown}
2432 @code{\dynamicDown},
2433 @cindex @code{\dynamicBoth}
2434 @code{\dynamicBoth}.
2436 @cindex direction, of dynamics
2440 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2441 @internalsref{AbsoluteDynamicEvent}.
2443 Dynamics are objects of @internalsref{DynamicText} and
2444 @internalsref{Hairpin}. Vertical positioning of these symbols is
2445 handled by the @internalsref{DynamicLineSpanner} object.
2447 If you want to adjust padding or vertical direction of the dynamics, you
2448 must set properties for the @internalsref{DynamicLineSpanner} object.
2456 @cindex @code{\repeat}
2459 Repetition is a central concept in music, and multiple notations exist
2460 for repetitions. In LilyPond, most of these notations can be captured
2461 in a uniform syntax. One of the advantages is that they can be
2462 rendered in MIDI accurately.
2464 The following types of repetition are supported:
2468 Repeated music is fully written (played) out. Useful for MIDI
2469 output, and entering repetitive music.
2472 This is the normal notation: Repeats are not written out, but
2473 alternative endings (volte) are printed, left to right.
2477 Alternative endings are written stacked. This has limited use but may be
2478 used to typeset two lines of lyrics in songs with repeats, see
2479 @inputfileref{input,star-spangled-banner.ly}.
2487 Make beat or measure repeats. These look like percent signs.
2493 * Repeats and MIDI::
2494 * Manual repeat commands::
2496 * Tremolo subdivisions::
2501 @subsection Repeat syntax
2505 LilyPond has one syntactic construct for specifying different types of
2506 repeats. The syntax is
2509 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2512 If you have alternative endings, you may add
2513 @cindex @code{\alternative}
2515 \alternative @code{@{} @var{alternative1}
2517 @var{alternative3} @dots{} @code{@}}
2519 where each @var{alternative} is a music expression. If you do not
2520 give enough alternatives for all of the repeats, then the first
2521 alternative is assumed to be played more than once.
2523 Normal notation repeats are used like this:
2524 @lilypond[fragment,verbatim,relative=1]
2526 \repeat volta 2 { c4 d e f }
2527 \repeat volta 2 { f e d c }
2530 With alternative endings:
2531 @lilypond[fragment,verbatim,relative=1]
2533 \repeat volta 2 {c4 d e f}
2534 \alternative { {d2 d} {f f,} }
2538 @lilypond[fragment,verbatim,relative=1]
2541 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2542 \alternative { { g4 g g } { a | a a a a | b2. } }
2548 If you do a nested repeat like
2557 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2558 belongs. This ambiguity is resolved by always having the
2559 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2560 it is advisable to use braces in such situations.
2563 @node Repeats and MIDI
2564 @subsection Repeats and MIDI
2566 @cindex expanding repeats
2568 For instructions on how to unfold repeats for MIDI output, see the
2569 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2574 Timing information is not remembered at the start of an alternative,
2575 so after a repeat timing information must be reset by hand, for
2576 example by setting @code{Score.measurePosition} or entering
2577 @code{\partial}. Similarly, slurs or ties are also not repeated.
2580 @node Manual repeat commands
2581 @subsection Manual repeat commands
2583 @cindex @code{repeatCommands}
2585 The property @code{repeatCommands} can be used to control the layout of
2586 repeats. Its value is a Scheme list of repeat commands, where each repeat
2590 @item the symbol @code{start-repeat},
2591 which prints a @code{|:} bar line,
2592 @item the symbol @code{end-repeat},
2593 which prints a @code{:|} bar line,
2594 @item the list @code{(volta @var{text})},
2595 which prints a volta bracket saying @var{text}: The text can be specified as
2596 a text string or as a markup text, see @ref{Text markup}. Do not
2597 forget to change the font, as the default number font does not contain
2598 alphabetic characters. Or,
2599 @item the list @code{(volta #f)}, which
2600 stops a running volta bracket:
2603 @lilypond[verbatim,fragment,relative=2]
2605 \set Score.repeatCommands = #'((volta "93") end-repeat)
2607 \set Score.repeatCommands = #'((volta #f))
2614 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2615 @internalsref{VoltaRepeatedMusic},
2616 @internalsref{UnfoldedRepeatedMusic}, and
2617 @internalsref{FoldedRepeatedMusic}.
2619 @node Tremolo repeats
2620 @subsection Tremolo repeats
2621 @cindex tremolo beams
2623 To place tremolo marks between notes, use @code{\repeat} with tremolo
2625 @lilypond[verbatim,raggedright]
2627 \context Voice \notes\relative c' {
2628 \repeat "tremolo" 8 { c16 d16 }
2629 \repeat "tremolo" 4 { c16 d16 }
2630 \repeat "tremolo" 2 { c16 d16 }
2635 Tremolo marks can also be put on a single note. In this case, the
2636 note should not be surrounded by braces.
2637 @lilypond[verbatim,raggedright]
2638 \repeat "tremolo" 4 c16
2641 A similar mechanism is the tremolo subdivision, described in
2642 @ref{Tremolo subdivisions}.
2646 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2648 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2649 tremolos are @internalsref{StemTremolo} objects. The music expression is
2650 @internalsref{TremoloEvent}.
2652 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2653 @inputfileref{input/regression,stem-tremolo.ly}.
2655 @node Tremolo subdivisions
2656 @subsection Tremolo subdivisions
2657 @cindex tremolo marks
2658 @cindex @code{tremoloFlags}
2660 Tremolo marks can be printed on a single note by adding
2661 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2662 A @var{length} value of 8 gives one line across the note stem. If the
2663 length is omitted, then then the last value (stored in
2664 @code{tremoloFlags}) is used:
2666 @lilypond[verbatim,fragment,center]
2667 c'2:8 c':32 | c': c': |
2670 @c [TODO : stok is te kort bij 32en]
2674 Tremolos in this style do not carry over into the MIDI output.
2678 In this manual: @ref{Tremolo repeats}.
2680 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2682 @node Measure repeats
2683 @subsection Measure repeats
2685 @cindex percent repeats
2686 @cindex measure repeats
2688 In the @code{percent} style, a note pattern can be repeated. It is
2689 printed once, and then the pattern is replaced with a special sign.
2690 Patterns of a one and two measures are replaced by percent-like signs,
2691 patterns that divide the measure length are replaced by slashes:
2693 @lilypond[verbatim,raggedright]
2694 \context Voice { \repeat "percent" 4 { c'4 }
2695 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2701 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2702 @internalsref{PercentRepeatedMusic}, and
2703 @internalsref{DoublePercentRepeat}.
2707 @node Rhythmic music
2708 @section Rhythmic music
2712 * Showing melody rhythms::
2713 * Entering percussion::
2714 * Percussion staves::
2718 @node Showing melody rhythms
2719 @subsection Showing melody rhythms
2721 Sometimes you might want to show only the rhythm of a melody. This
2722 can be done with the rhythmic staff. All pitches of notes on such a
2723 staff are squashed, and the staff itself has a single line:
2725 @lilypond[fragment,relative,verbatim]
2726 \context RhythmicStaff {
2728 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2734 Internals: @internalsref{RhythmicStaff}.
2736 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2739 @node Entering percussion
2740 @subsection Entering percussion
2747 Percussion notes may be entered in @code{\drums} mode, which is
2748 similar to @code{notes}. Each piece of percussion has a full name and
2749 an abbreviated name, and both be used in input files:
2751 @lilypond[raggedright]
2752 \drums { hihat4 hh4 }
2755 The complete list of drum names is in the init file
2756 @file{ly/drumpitch-init.ly}.
2757 @c TODO: properly document this.
2761 Internals: @internalsref{DrumNoteEvent}.
2763 @node Percussion staves
2764 @subsection Percussion staves
2768 A percussion part for more than one instrument typically uses a
2769 multiline staff where each position in the staff refers to one piece
2773 To typeset the music, the notes must be interpreted in a
2774 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2777 @lilypond[raggedright,verbatim,quote]
2778 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2779 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2782 << \new DrumVoice { \voiceOne \up }
2783 \new DrumVoice { \voiceTwo \down }
2787 The above example shows verbose polyphonic notation. The short
2788 polyphonic notation, described in @ref{Polyphony}, can also be used if
2789 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2792 \drums \new DrumStaff <<
2793 \context DrumVoice = "1" { s1 *2 }
2794 \context DrumVoice = "2" { s1 *2 }
2798 { \repeat unfold 16 hh16 }
2807 There are also other layout possibilities. To use these, set the
2808 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2809 The following variables have been predefined:
2813 is the default. It typesets a typical drum kit on a five-line staff
2816 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2817 bd sn ss tomh tommh tomml toml tomfh tomfl }
2818 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2819 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2821 << \new DrumStaff\with {
2822 \remove Bar_engraver
2823 \remove Time_signature_engraver
2824 \override Stem #'transparent = ##t
2825 \override Stem #'Y-extent-callback = ##f
2826 minimumVerticalExtent = #'(-4.0 . 5.0)
2828 \context Lyrics \nam
2831 %% need to do this, because of indented @itemize
2833 \translator { \ScoreContext
2834 \override BarNumber #'transparent =##T
2838 The drum scheme supports six different toms. When there fewer toms, simply
2839 select the toms that produce the desired result, i.e. to get toms on
2840 the three middle lines you use @code{tommh}, @code{tomml} and
2843 @item timbales-style
2844 to typeset timbales on a two line staff:
2846 @lilypond[raggedright]
2847 nam = \lyrics { timh ssh timl ssl cb }
2848 mus = \drums { timh ssh timl ssl cb s16 }
2851 \context DrumStaff \with {
2852 \remove Bar_engraver
2853 \remove Time_signature_engraver
2854 \override Stem #'transparent = ##t
2855 \override Stem #'Y-extent-callback = ##f
2856 \override StaffSymbol #'line-count = #2
2857 \override StaffSymbol #'staff-space = #2
2858 minimumVerticalExtent = #'(-3.0 . 4.0)
2859 drumStyleTable = #timbales-style
2861 \context Lyrics \nam
2866 to typeset congas on a two line staff:
2868 @lilypond[raggedright]
2869 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2870 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2873 \context DrumStaff\with {
2874 \remove Bar_engraver
2875 \remove Time_signature_engraver
2876 drumStyleTable = #congas-style
2877 \override StaffSymbol #'line-count = #2
2879 %% this sucks; it will lengthen stems.
2880 \override StaffSymbol #'staff-space = #2
2881 \override Stem #'transparent = ##t
2882 \override Stem #'Y-extent-callback = ##f
2884 \context Lyrics \nam
2889 to typeset bongos on a two line staff:
2891 @lilypond[raggedright]
2892 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2893 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2896 \context DrumStaff\with {
2897 \remove Bar_engraver
2898 \remove Time_signature_engraver
2899 \override StaffSymbol #'line-count = #2
2900 drumStyleTable = #bongos-style
2902 %% this sucks; it will lengthen stems.
2903 \override StaffSymbol #'staff-space = #2
2904 \override Stem #'transparent = ##t
2905 \override Stem #'Y-extent-callback = ##f
2907 \context Lyrics \nam
2912 @item percussion-style
2913 to typeset all kinds of simple percussion on one line staves:
2914 @lilypond[raggedright]
2915 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2916 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2919 \context DrumStaff\with{
2920 \remove Bar_engraver
2921 drumStyleTable = #percussion-style
2922 \override StaffSymbol #'line-count = #1
2923 \remove Time_signature_engraver
2924 \override Stem #'transparent = ##t
2925 \override Stem #'Y-extent-callback = ##f
2927 \context Lyrics \nam
2933 If you do not like any of the predefined lists you can define your own
2934 list at the top of your file:
2936 @lilypond[raggedright,verbatim]
2938 (bassdrum default #f -1)
2939 (snare default #f 0)
2941 (pedalhihat xcircle "stopped" 2)
2942 (lowtom diamond #f 3)
2944 up = \drums { hh8 hh hh hh hhp4 hhp }
2945 down = \drums { bd4 sn bd toml8 toml }
2948 \set DrumStaff.drumStyleTable
2949 = #(alist->hash-table mydrums)
2950 \new DrumVoice { \voiceOne \up }
2951 \new DrumVoice { \voiceTwo \down }
2959 Init files: @file{ly/drumpitch-init.ly}.
2961 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2965 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2966 work for @internalsref{DrumVoices}.
2968 Because general MIDI does not contain rim shots, the sidestick is used
2969 for this purpose instead.
2972 @section Piano music
2974 Piano staves are two normal staves coupled with a brace. The staves
2975 are largely independent, but sometimes voices can cross between the
2976 two staves. The same notation is also used for harps and other key
2977 instruments. The @internalsref{PianoStaff} is especially built to
2978 handle this cross-staffing behavior. In this section we discuss the
2979 @internalsref{PianoStaff} and some other pianistic peculiarities.
2983 * Automatic staff changes::
2984 * Manual staff switches::
2987 * Staff switch lines::
2992 There is no support for putting chords across staves. You can get
2993 this result by increasing the length of the stem in the lower stave so
2994 it reaches the stem in the upper stave, or vice versa. An example is
2995 included with the distribution as
2996 @inputfileref{input/test,stem-cross-staff.ly}.
2998 Dynamics are not centered, but kludges do exist. See
2999 @inputfileref{input/template,piano-dynamics.ly}.
3001 @cindex cross staff stem
3002 @cindex stem, cross staff
3004 The distance between the two staves is normally fixed across the
3005 entire score. It is possible to tune this per system, but it does
3006 require arcane command incantations. See
3007 @inputfileref{input/test,piano-staff-distance.ly}.
3014 @node Automatic staff changes
3015 @subsection Automatic staff changes
3016 @cindex Automatic staff changes
3018 Voices can switch automatically between the top and the bottom
3019 staff. The syntax for this is
3021 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3023 The two staffs of the piano staff must be named @code{up} and
3026 The autochanger switches on basis of pitch (middle C is the turning
3027 point), and it looks ahead skipping over rests to switch in
3028 advance. Here is a practical example:
3030 @lilypond[verbatim,raggedright,quote]
3031 \score { \notes \context PianoStaff <<
3032 \context Staff = "up" {
3033 \autochange \new Voice \relative c' {
3034 g4 a b c d r4 a g } }
3035 \context Staff = "down" {
3042 In this example, spacer rests are used to prevent the bottom staff from
3043 terminating too soon.
3048 In this manual: @ref{Manual staff switches}.
3050 Internals: @internalsref{AutoChangeMusic}.
3056 The staff switches often do not end up in optimal places. For high
3057 quality output, staff switches should be specified manually.
3061 @node Manual staff switches
3062 @subsection Manual staff switches
3064 @cindex manual staff switches
3065 @cindex staff switch, manual
3067 Voices can be switched between staves manually, using the following command:
3069 \change Staff = @var{staffname} @var{music}
3073 The string @var{staffname} is the name of the staff. It switches the
3074 current voice from its current staff to the Staff called
3075 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3084 Pianos have pedals that alter the way sound are produced. Generally, a
3085 piano has three pedals, sustain, una corda, and sostenuto.
3089 Piano pedal instruction can be expressed by attaching
3090 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3091 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3094 @lilypond[fragment,verbatim]
3095 c'4\sustainDown c'4\sustainUp
3098 What is printed can be modified by setting @code{pedal@var{X}Strings},
3099 where @var{X} is one of the pedal types: @code{Sustain},
3100 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3101 documentation of @internalsref{SustainPedal} for more information.
3103 Pedals can also be indicated by a sequence of brackets, by setting the
3104 @code{pedalSustainStyle} property to @code{bracket} objects:
3106 @lilypond[fragment,verbatim]
3107 \set Staff.pedalSustainStyle = #'bracket
3108 c''4\sustainDown d''4 e''4
3109 a'4\sustainUp\sustainDown
3110 f'4 g'4 a'4\sustainUp
3113 A third style of pedal notation is a mixture of text and brackets,
3114 obtained by setting the @code{pedalSustainStyle} style property to
3117 @lilypond[fragment,verbatim]
3118 \set Staff.pedalSustainStyle = #'mixed
3119 c''4\sustainDown d''4 e''4
3120 c'4\sustainUp\sustainDown
3121 f'4 g'4 a'4\sustainUp
3124 The default `*Ped.' style for sustain and damper pedals corresponds to
3125 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3128 @lilypond[fragment,verbatim]
3129 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3132 For fine-tuning of the appearance of a pedal bracket, the properties
3133 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3134 @code{PianoPedalBracket} objects (see
3135 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3136 bracket may be extended to the end of the note head:
3138 @lilypond[fragment,verbatim]
3139 \override Staff.PianoPedalBracket
3140 #'shorten-pair = #'(0 . -1.0)
3141 c''4\sostenutoDown d''4 e''4 c'4
3142 f'4 g'4 a'4\sostenutoUp
3146 @subsection Arpeggio
3149 @cindex broken arpeggio
3150 @cindex @code{\arpeggio}
3152 You can specify an arpeggio sign on a chord by attaching an
3153 @code{\arpeggio} to a chord:
3156 @lilypond[fragment,relative,verbatim]
3160 When an arpeggio crosses staves, you attach an arpeggio to the chords
3161 in both staves, and set
3162 @internalsref{PianoStaff}.@code{connectArpeggios}:
3164 @lilypond[fragment,relative,verbatim]
3165 \context PianoStaff <<
3166 \set PianoStaff.connectArpeggios = ##t
3167 \new Staff { <c' e g c>\arpeggio }
3168 \new Staff { \clef bass <c,, e g>\arpeggio }
3172 The direction of the arpeggio is sometimes denoted by adding an
3173 arrowhead to the wiggly line:
3175 @lilypond[fragment,relative,verbatim]
3184 A square bracket on the left indicates that the player should not
3185 arpeggiate the chord:
3187 @lilypond[fragment,relative,verbatim]
3194 @cindex @code{\arpeggio}
3196 @cindex @code{\arpeggioUp}
3198 @cindex @code{\arpeggioDown}
3200 @cindex @code{\arpeggioBoth}
3201 @code{\arpeggioBoth},
3202 @cindex @code{\arpeggioBracket}
3203 @code{\arpeggioBracket}.
3207 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3208 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3209 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3213 It is not possible to mix connected arpeggios and unconnected
3214 arpeggios in one @internalsref{PianoStaff} at the same time.
3216 @node Staff switch lines
3217 @subsection Staff switch lines
3220 @cindex follow voice
3221 @cindex staff switching
3224 @cindex @code{followVoice}
3226 Whenever a voice switches to another staff a line connecting the notes
3227 can be printed automatically. This is enabled if the property
3228 @code{PianoStaff.followVoice} is set to true:
3230 @lilypond[fragment,relative,verbatim]
3231 \context PianoStaff <<
3232 \set PianoStaff.followVoice = ##t
3233 \context Staff \context Voice {
3238 \context Staff=two { \clef bass \skip 1*2 }
3242 The associated object is @internalsref{VoiceFollower}.
3246 @cindex @code{\showStaffSwitch}
3247 @code{\showStaffSwitch},
3248 @cindex @code{\hideStaffSwitch}
3249 @code{\hideStaffSwitch}.
3253 @section Vocal music
3255 This section discusses how to enter and print lyrics.
3259 * The Lyrics context::
3264 @node Entering lyrics
3265 @subsection Entering lyrics
3269 @cindex @code{\lyrics}
3272 Lyrics are entered in a special input mode. This mode is is introduced
3273 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3274 punctuation and accents without any hassle. Syllables are entered like
3275 notes, but with pitches replaced by text. For example,
3277 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3280 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3281 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3282 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3283 any 8-bit character with ASCII code over 127, or a two-character
3284 combination of a backslash followed by one of @code{`}, @code{'},
3285 @code{"}, or @code{^}.
3287 Subsequent characters of a word can be any character that is not a digit
3288 and not white space. One important consequence of this is that a word
3289 can end with @code{@}}. The following example is usually a bug. The
3290 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3292 \lyrics @{ twinkle@}
3295 @cindex @code{\property}, in @code{\lyrics}
3296 Similarly, a period following a alphabetic sequence, is included in
3297 the resulting string. As a consequence, spaces must be inserted around
3300 \override Score . LyricText #'font-shape = #'italic
3304 @cindex spaces, in lyrics
3305 @cindex quotes, in lyrics
3307 Any @code{_} character which appears in an unquoted word is converted
3308 to a space. This provides a mechanism for introducing spaces into words
3309 without using quotes. Quoted words can also be used in Lyrics mode to
3310 specify words that cannot be written with the above rules:
3313 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3317 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3322 These will be attached to the end of the first syllable.
3324 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3325 as a separate word between syllables. The hyphen will have variable
3326 length depending on the space between the syllables and it will be
3327 centered between the syllables.
3332 When a lyric is sung over many notes (this is called a melisma), this is
3333 indicated with a horizontal line centered between a syllable and the
3334 next one. Such a line is called an extender line, and it is entered as
3339 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3340 @internalsref{ExtenderEvent}.
3342 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3346 The definition of lyrics mode is too complex.
3350 @node The Lyrics context
3351 @subsection The Lyrics context
3353 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3355 \context Lyrics \lyrics @dots{}
3358 @cindex automatic syllable durations
3359 @cindex @code{\lyricsto}
3360 @cindex lyrics and melodies
3362 This will place the lyrics according to the durations that were
3363 entered. The lyrics can also be aligned under a given melody
3364 automatically. In this case, it is no longer necessary to enter the
3365 correct duration for each syllable. This is achieved by combining the
3366 melody and the lyrics with the @code{\lyricsto} expression:
3368 \lyricsto @var{name} \new Lyrics @dots{}
3371 This aligns the lyrics to the
3373 notes of the @internalsref{Voice} context called @var{name}, which has
3374 to exist. Therefore, normally the @code{Voice} is specified first, and
3375 then the lyrics are specified with @code{\lyricsto}.
3377 For different or more complex orderings, the best way is to setup the
3378 hierarchy of staves and lyrics first, e.g.
3380 \context ChoirStaff \notes <<
3381 \context Lyrics = sopranoLyrics @{ s1 @}
3382 \context Voice = soprano @{ @emph{music} @}
3383 \context Lyrics = tenorLyrics @{ s1 @}
3384 \context Voice = tenor @{ @emph{music} @}
3387 and then combine the appropriate melodies and lyric lines:
3389 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3393 The final input would resemble
3396 << \context ChoirStaff \notes << @emph{setup the music} >>
3397 \lyricsto "soprano" @emph{etc}
3398 \lyricsto "alto" @emph{etc}
3404 The @code{\lyricsto} command detects melismata: it only puts one
3405 syllable under a tied or slurred group of notes. If you want to force
3406 an unslurred group of notes to be a melisma, then insert
3407 @code{\melisma} after the first note of the group, and
3408 @code{\melismaEnd} after the last one, e.g.
3410 @lilypond[relative=1,raggedright,fragment,verbatim]
3411 << \context Voice = "lala" { \time 3/4
3417 \lyricsto "lala" \new Lyrics \lyrics {
3422 In addition, notes are considered a melisma if they are manually
3423 beamed, and automatic beaming (see @ref{Setting automatic beam
3424 behavior}) is switched off. The criteria for deciding melismata
3425 can be tuned with the property @code{melismaBusyProperties}. See
3426 @internalsref{Melisma_translator} for more information.
3428 When multiple stanzas are put on the same melody, it can happen that
3429 two stanzas have melismata in different locations. This can be
3430 remedied by switching off melismata for one
3431 @internalsref{Lyrics}. This is achieved by setting
3432 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3433 in @inputfileref{input/regression,lyric-combine-new.ly}.
3436 @cindex choral score
3438 A complete example of a SATB score setup is in the file
3439 @inputfileref{input/template,satb.ly}.
3444 @code{\melisma}, @code{\melismaEnd}
3445 @cindex @code{\melismaEnd}
3446 @cindex @code{\melisma}
3450 Internals: Music expressions: @internalsref{LyricCombineMusic},
3451 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3453 Examples: @inputfileref{input/template,satb.ly},
3454 @inputfileref{input/regression,lyric-combine-new.ly}.
3458 Melismata are not detected automatically, and extender lines must be
3462 For proper processing of extender lines, the
3463 @internalsref{Lyrics} and @internalsref{Voice} should be
3464 linked. This can be achieved either by using @code{\lyricsto} or by
3465 setting corresponding names for both contexts. The latter is explained
3466 in @ref{More stanzas}.
3469 @subsection More stanzas
3471 @cindex phrasing, in lyrics
3474 The lyrics should be aligned with the note heads of the melody. To
3475 achieve this, each line of lyrics should be marked to correspond with
3476 the melodic line. This is done automatically when @code{\lyricsto},
3477 but it can also be done manually.
3479 To this end, give the @internalsref{Voice} context an identity:
3481 \context Voice = duet @{
3486 Then set the @internalsref{Lyrics} contexts to names starting with
3487 that identity followed by a dash. In the preceding example, the
3488 @internalsref{Voice} identity is @code{duet}, so the identities of the
3489 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3491 \context Lyrics = "duet-1" @{
3492 Hi, my name is bert. @}
3493 \context Lyrics = "duet-2" @{
3494 Ooooo, ch\'e -- ri, je t'aime. @}
3497 The complete example is shown here:
3498 @lilypond[raggedright,verbatim]
3500 << \notes \relative c'' \context Voice = duet { \time 3/4
3502 \lyrics << \lyricsto "duet" \new Lyrics {
3504 \set vocNam = "Bert"
3505 Hi, my name is bert. }
3506 \lyricsto "duet" \new Lyrics {
3508 \set vocNam = "Ernie"
3509 Ooooo, ch\'e -- ri, je t'aime.
3515 @cindex stanza number
3516 @cindex singer's names
3517 @cindex name of singer
3519 Stanza numbers can be added by setting @code{stanza}, e.g.
3527 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3528 prevent @code{stanza} being interpreted as a single
3531 This example also demonstrates how names of the singers can be added
3532 using @code{vocalName} analogous to instrument annotations for staves.
3533 A short version may be entered as @code{vocNam}.
3535 To make empty spaces in lyrics, use @code{\skip}.
3540 Internals: Layout objects @internalsref{LyricText} and
3541 @internalsref{VocalName}. Music expressions:
3542 @internalsref{LyricEvent}.
3548 Input for lyrics introduces a syntactical ambiguity:
3555 is interpreted as assigning a string identifier @code{\foo} such that
3556 it contains @code{"bar"}. However, it could also be interpreted as
3557 making or a music identifier @code{\foo} containing the syllable
3558 `bar'. The force the latter interpretation, use
3568 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3569 for a given voice in a part of music. It also may denote the pitch
3570 range that a musical instrument is capable of playing. Most musical
3571 instruments have their ambitus standardized (or at least there is
3572 agreement upon the minimal ambitus of a particular type of
3573 instrument), such that a composer or arranger of a piece of music can
3574 easily meet the ambitus constraints of the targeted instrument.
3575 However, the ambitus of the human voice depends on individual
3576 physiological state, including education and training of the voice.
3577 Therefore, a singer potentially has to check for each piece of music
3578 if the ambitus of that piece meets his individual capabilities. This
3579 is why the ambitus of a piece may be of particular value to vocal
3582 The ambitus is typically notated on a per-voice basis at the very
3583 beginning of a piece, e.g. nearby the initial clef or time signature of
3584 each staff. The range is graphically specified by two note heads, that
3585 represent the minimum and maximum pitch. Some publishers use a textual
3586 notation: they put the range in words in front of the corresponding
3587 staff. LilyPond only supports the graphical ambitus notation.
3589 To apply, add the @internalsref{Ambitus_engraver} to the
3590 @internalsref{Voice} context, i.e.
3596 \consists Ambitus_engraver
3601 This results in the following output:
3603 @lilypond[raggedright]
3604 upper = \notes \relative c {
3607 as'' c e2 bes f cis d4 e f2 g
3609 lower = \notes \relative c {
3612 e'4 b g a c es fis a cis b a g f e d2
3615 \context ChoirStaff {
3617 \new Staff { \upper }
3618 \new Staff { \lower }
3624 \consists Ambitus_engraver
3630 If you have multiple voices in a single staff, and you want a single
3631 ambitus per staff rather than per each voice, then add the
3632 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3633 rather than to the @internalsref{Voice} context.
3635 It is possible to tune individual ambituses for multiple voices on a
3636 single staff, for example by erasing or shifting them horizontally. An
3637 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3641 Internals: @internalsref{Ambitus}.
3643 Examples: @inputfileref{input/regression,ambitus.ly},
3644 @inputfileref{input/test,ambitus-mixed.ly}.
3648 There is no collision handling in the case of multiple per-voice
3654 Tablature notation is used for notating music for plucked string
3655 instruments. It notates pitches not by using note heads, but by
3656 indicating on which string and fret a note must be played. LilyPond
3657 offers limited support for tablature.
3660 * Tablatures basic::
3661 * Non-guitar tablatures::
3664 @node Tablatures basic
3665 @subsection Tablatures basic
3666 @cindex Tablatures basic
3668 The string number associated to a note is given as a backslash
3669 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3670 string. By default, string 1 is the highest one, and the tuning
3671 defaults to the standard guitar tuning (with 6 strings). The notes
3672 are printed as tablature, by using @internalsref{TabStaff} and
3673 @internalsref{TabVoice} contexts:
3675 @lilypond[fragment,verbatim]
3676 \notes \context TabStaff {
3684 When no string is specified, the first string that does not give a
3685 fret number less than @code{minimumFret} is selected. The default
3686 value for @code{minimumFret} is 0:
3690 e8 fis gis a b cis' dis' e'
3691 \set TabStaff.minimumFret = #8
3692 e8 fis gis a b cis' dis' e'
3697 e8 fis gis a b cis' dis' e'
3698 \set TabStaff.minimumFret = #8
3699 e8 fis gis a b cis' dis' e'
3702 \context StaffGroup <<
3703 \context Staff { \clef "G_8" \frag }
3704 \context TabStaff { \frag }
3711 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3712 @internalsref{StringNumberEvent}.
3716 Chords are not handled in a special way, and hence the automatic
3717 string selector may easily select the same string to two notes in a
3721 @node Non-guitar tablatures
3722 @subsection Non-guitar tablatures
3723 @cindex Non-guitar tablatures
3725 You can change the number of strings, by setting the number of lines
3726 in the @internalsref{TabStaff}.
3728 You can change the tuning of the strings. A string tuning is given as
3729 a Scheme list with one integer number for each string, the number
3730 being the pitch (measured in semitones relative to middle C) of an
3731 open string. The numbers specified for @code{stringTuning} are the
3732 numbers of semitones to subtract or add, starting the specified pitch
3733 by default middle C, in string order. Thus, the notes are e, a, d, and
3736 @lilypond[fragment,verbatim]
3737 \context TabStaff <<
3738 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3741 a,4 c' a e' e c' a e'
3746 It is possible to change the Scheme function to format the tablature
3747 note text. The default is @code{fret-number-tablature-format}, which
3748 uses the fret number. For instruments that do not use this notation,
3749 you can create a special tablature formatting function. This function
3750 takes three argument: string number, string tuning and note pitch.
3754 No guitar special effects have been implemented.
3759 @section Chord names
3762 LilyPond has support for both printing chord names. Chords may be
3763 entered in musical chord notation, i.e. @code{< .. >}, but they can
3764 also be entered by name. Internally, the chords are represented as a
3765 set of pitches, so they can be transposed:
3768 @lilypond[verbatim,raggedright]
3769 twoWays = \notes \transpose c c' {
3779 << \context ChordNames \twoWays
3780 \context Voice \twoWays >> }
3783 This example also shows that the chord printing routines do not try to
3784 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3790 * Printing chord names::
3795 @subsection Chords mode
3798 Chord mode is a mode where you can input sets of pitches using common
3799 names. It is introduced by the keyword @code{\chords}.
3800 In chords mode, a chord is entered by the root, which is entered
3801 like a common pitch:
3802 @lilypond[fragment,verbatim,quote,relative=1]
3803 \chords { es4. d8 c2 }
3808 Other chords may be entered by suffixing a colon, and introducing a
3809 modifier, and optionally, a number:
3811 @lilypond[fragment,verbatim,quote]
3812 \chords { e1:m e1:7 e1:m7 }
3814 The first number following the root is taken to be the `type' of the
3815 chord, thirds are added to the root until it reaches the specified
3817 @lilypond[fragment,verbatim]
3818 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3821 @cindex root of chord
3822 @cindex additions, in chords
3823 @cindex removals, in chords
3825 More complex chords may also be constructed adding separate steps
3826 to a chord. Additions are added after the number following
3827 the colon, and are separated by dots:
3829 @lilypond[verbatim,fragment,quote]
3830 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3832 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3834 @lilypond[verbatim,fragment,quote]
3835 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3837 Removals are specified similarly, and are introduced by a caret. They
3838 must come after the additions:
3839 @lilypond[verbatim,fragment]
3840 \chords { c^3 c:7^5 c:9^3.5 }
3843 Modifiers can be used to change pitches. The following modifiers are
3847 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3849 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3852 is the augmented chord. This modifier raises the 5th step.
3854 is the major 7th chord. This modifier raises the 7th step if present.
3856 is the suspended 4th or 2nd. This modifier removes the 3rd
3857 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3860 Modifiers can be mixed with additions:
3861 @lilypond[verbatim,fragment]
3862 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3865 @cindex modifiers, in chords.
3872 Since an unaltered 11 does not sound good when combined with an
3873 unaltered 13, the 11 is removed in this case (unless it is added
3876 @lilypond[fragment,verbatim]
3877 \chords { c:13 c:13.11 c:m13 }
3882 An inversion (putting one pitch of the chord on the bottom), as well
3883 as bass notes, can be specified by appending
3884 @code{/}@var{pitch} to the chord:
3885 @lilypond[fragment,verbatim,center]
3886 \chords { c1 c/g c/f }
3890 A bass note can be added instead of transposed out of the chord,
3891 by using @code{/+}@var{pitch}.
3893 @lilypond[fragment,verbatim,center]
3894 \chords { c1 c/+g c/+f }
3897 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3898 of the commands continue to work, for example, @code{r} and
3899 @code{\skip} can be used to insert rests and spaces, and property
3900 commands may be used to change various settings.
3906 Each step can only be present in a chord once. The following
3907 simply produces the augmented chord, since @code{5+} is interpreted
3910 @lilypond[verbatim,fragment]
3911 \chords { c:5.5-.5+ }
3915 @node Printing chord names
3916 @subsection Printing chord names
3918 @cindex printing chord names
3922 For displaying printed chord names, use the @internalsref{ChordNames} context.
3923 The chords may be entered either using the notation
3924 described above, or directly using @code{<} and @code{>}:
3926 @lilypond[verbatim,raggedright]
3928 \chords {a1 b c} <d' f' a'> <e' g' b'>
3932 \context ChordNames \scheme
3933 \context Staff \scheme
3938 You can make the chord changes stand out by setting
3939 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3940 display chord names when there is a change in the chords scheme and at
3941 the start of a new line:
3943 @lilypond[verbatim,linewidth=9\cm]
3945 c1:m c:m \break c:m c:m d
3949 \context ChordNames {
3950 \set chordChanges = ##t
3952 \context Staff \transpose c c' \scheme
3957 The default chord name layout is a system for Jazz music, proposed by
3958 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3959 following properties:
3962 @cindex chordNameExceptions
3963 @item chordNameExceptions
3964 This is a list that contains the chords that have special formatting.
3966 @inputfileref{input/regression,chord-name-exceptions.ly}.
3967 @cindex exceptions, chord names.
3970 @cindex majorSevenSymbol
3971 @item majorSevenSymbol
3972 This property contains the markup object used for the 7th step, when
3973 it is major. Predefined options are @code{whiteTriangleMarkup} and
3974 @code{blackTriangleMarkup}. See
3975 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3977 @cindex chordNameSeparator
3978 @item chordNameSeparator
3979 Different parts of a chord name are normally separated by a
3980 slash. By setting @code{chordNameSeparator}, you can specify other
3982 @lilypond[fragment,verbatim]
3983 \context ChordNames \chords {
3985 \set chordNameSeparator
3986 = \markup { \typewriter "|" }
3990 @cindex chordRootNamer
3991 @item chordRootNamer
3992 The root of a chord is usually printed as a letter with an optional
3993 alteration. The transformation from pitch to letter is done by this
3994 function. Special note names (for example, the German ``H'' for a
3995 B-chord) can be produced by storing a new function in this property.
3997 The predefined variables @code{\germanChords},
3998 @code{\semiGermanChords} set these variables.
4001 @cindex chordNoteNamer
4002 @item chordNoteNamer
4003 The default is to print single pitch, e.g. the bass note, using the
4004 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4005 to a specialized function to change this behavior. For example, the
4006 base can be printed in lower case.
4011 There are also two other chord name schemes implemented: an alternate
4012 Jazz chord notation, and a systematic scheme called Banter chords. The
4013 alternate jazz notation is also shown on the chart in @ref{Chord name
4014 chart}. Turning on these styles is described in the input file
4015 @inputfileref{input/test,chord-names-jazz.ly}.
4019 @cindex chords, jazz
4024 @cindex @code{\germanChords}
4025 @code{\germanChords},
4026 @cindex @code{\semiGermanChords}
4027 @code{\semiGermanChords}.
4034 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4035 @inputfileref{input/regression,chord-name-exceptions.ly},
4036 @inputfileref{input/test,chord-names-jazz.ly},
4037 @inputfileref{input/test,chord-names-german.ly}.
4039 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4044 Chord names are determined solely from the list of pitches. Chord
4045 inversions are not identified, and neither are added bass notes. This
4046 may result in strange chord names when chords are entered with the
4047 @code{< .. >} syntax.
4052 @node Orchestral music
4053 @section Orchestral music
4055 @cindex Writing parts
4057 Orchestral music involves some special notation, both in the full
4058 score and the individual parts. This section explains how to tackle
4059 some common problems in orchestral music.
4064 * Multiple staff contexts::
4067 * Instrument names::
4069 * Instrument transpositions::
4070 * Multi measure rests::
4071 * Automatic part combining::
4073 * Different editions from one source::
4074 * Quoting other voices::
4077 @node Multiple staff contexts
4078 @subsection Multiple staff contexts
4080 Polyphonic scores consist of many staves. These staves can be
4081 constructed in three different ways:
4083 @item The group is started with a brace at the left. This is done with the
4084 @internalsref{GrandStaff} context.
4085 @item The group is started with a bracket. This is done with the
4086 @internalsref{StaffGroup} context
4087 @item The group is started with a vertical line. This is the default
4091 @cindex Staff, multiple
4092 @cindex bracket, vertical
4093 @cindex brace, vertical
4100 @node Rehearsal marks
4101 @subsection Rehearsal marks
4102 @cindex Rehearsal marks
4104 @cindex @code{\mark}
4106 To print a rehearsal mark, use the @code{\mark} command:
4107 @lilypond[fragment,verbatim]
4118 (The letter I is skipped in accordance with engraving traditions.)
4120 The mark is incremented automatically if you use @code{\mark
4121 \default}, but you can also use an integer argument to set the mark
4122 manually. The value to use is stored in the property
4123 @code{rehearsalMark}.
4125 The style is defined by the property @code{markFormatter}. It is a
4126 function taking the current mark (an integer) and the current context
4127 as argument. It should return a markup object. In the following
4128 example, @code{markFormatter} is set to a canned procedure. After a
4129 few measures, it is set to function that produces a boxed number.
4131 @lilypond[verbatim,fragment,relative=1]
4132 \set Score.markFormatter = #format-mark-numbers
4135 \set Score.markFormatter
4136 = #(lambda (mark context)
4137 (make-bold-markup (make-box-markup (number->string mark))))
4142 The file @file{scm/translation-functions.scm} contains the definitions
4143 of @code{format-mark-numbers} (the default format) and
4144 @code{format-mark-letters}. They can be used as inspiration for other
4145 formatting functions.
4148 @cindex coda on bar line
4149 @cindex segno on bar line
4150 @cindex fermata on bar line
4151 @cindex bar lines, symbols on
4153 The @code{\mark} command can also be used to put signs like coda,
4154 segno and fermatas on a bar line. Use @code{\markup} to
4155 to access the appropriate symbol:
4157 @lilypond[fragment,verbatim,relative=1]
4158 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4162 In this case, during line breaks, marks must also be printed at the
4163 end of the line, and not at the beginning. Use the following to force
4166 \override Score.RehearsalMark
4167 #'break-visibility = #begin-of-line-invisible
4173 @cindex bar lines, putting symbols on
4177 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4179 Init files: @file{scm/translation-functions.scm} contains the
4180 definition of @code{format-mark-numbers} and
4181 @code{format-mark-letters}. They can be used as inspiration for other
4182 formatting functions.
4184 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4185 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4189 @subsection Bar numbers
4193 @cindex measure numbers
4194 @cindex currentBarNumber
4196 Bar numbers are printed by default at the start of the line. The
4197 number itself is stored in the
4198 @code{currentBarNumber} property,
4199 which is normally updated automatically for every measure.
4201 Bar numbers can be typeset at regular intervals instead of at the
4202 beginning of each line. This is illustrated in the following example,
4203 whose source is available as
4204 @inputfileref{input/test,bar-number-regular-interval.ly}:
4206 @lilypondfile[]{bar-number-regular-interval.ly}
4211 Internals: @internalsref{BarNumber}.
4213 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4214 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4218 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4219 there is one at the top. To solve this, the
4220 @code{padding} property of @internalsref{BarNumber} can be
4221 used to position the number correctly.
4223 @node Instrument names
4224 @subsection Instrument names
4226 In an orchestral score, instrument names are printed left side of the
4229 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4230 and @internalsref{Staff}.@code{instr}. This will print a string before
4231 the start of the staff. For the first start, @code{instrument} is
4232 used, for the next ones @code{instr} is used:
4235 @lilypond[verbatim,raggedright]
4236 \set Staff.instrument = "ploink " { c''4 }
4240 You can also use markup texts to construct more complicated instrument
4244 @lilypond[fragment,verbatim,raggedright]
4246 \set Staff.instrument = \markup {
4247 \column < "Clarinetti"
4260 Internals: @internalsref{InstrumentName}.
4264 When you put a name on a grand staff or piano staff the width of the
4265 brace is not taken into account. You must add extra spaces to the end of
4266 the name to avoid a collision.
4269 @subsection Transpose
4271 @cindex transposition of pitches
4272 @cindex @code{\transpose}
4274 A music expression can be transposed with @code{\transpose}. The syntax
4277 \transpose @var{from} @var{to} @var{musicexpr}
4280 This means that @var{musicexpr} is transposed by the interval between
4281 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4282 is changed to @code{to}.
4285 For example, consider a piece written in the key of D major. If
4286 this piece is a little too low for its performer, it can be
4287 transposed up to E major with
4289 \transpose d e @dots{}
4292 Consider a part written for violin (a C instrument). If
4293 this part is to be played on the A clarinet, the following
4294 transposition will produce the appropriate part
4297 \transpose a c @dots{}
4300 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4301 inside a @code{\notes} section. @code{\transpose} distinguishes
4302 between enharmonic pitches: both @code{\transpose c cis} or
4303 @code{\transpose c des} will transpose up half a tone. The first
4304 version will print sharps and the second version will print flats:
4306 @lilypond[raggedright,verbatim]
4307 mus =\notes { \key d \major cis d fis g }
4308 \score { \notes \context Staff {
4311 \transpose c g' \mus
4312 \transpose c f' \mus
4319 Internals: @internalsref{TransposedMusic}, and
4320 @internalsref{UntransposableMusic}.
4324 If you want to use both @code{\transpose} and @code{\relative}, then
4325 you must put @code{\transpose} outside of @code{\relative}, since
4326 @code{\relative} will have no effect music that appears inside a
4329 @node Instrument transpositions
4330 @subsection Instrument transpositions
4332 The key of a transposing instrument can also be specified. This
4333 applies to many wind instruments, for example, clarinets (B-flat, A and
4334 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4338 The transposition is entered after the keyword @code{\transposition}:
4341 \transposition bes %% B-flat clarinet
4344 This command sets the property @code{instrumentTuning}. The value of
4345 this property is used for MIDI output and quotations. It does not
4346 affect how notes are printed in the current staff.
4348 @cindex transposition, MIDI
4349 @cindex transposition, instrument
4352 @node Multi measure rests
4353 @subsection Multi measure rests
4354 @cindex multi measure rests
4355 @cindex Rests, multi measure
4359 Multi measure rests are entered using `@code{R}'. It is specifically
4360 meant for full bar rests and for entering parts: the rest can expand
4361 to fill a score with rests, or it can be printed as a single
4362 multimeasure rest. This expansion is controlled by the property
4363 @code{Score.skipBars}. If this is set to true, empty measures will not
4364 be expanded, and the appropriate number is added automatically:
4366 @lilypond[fragment,verbatim]
4367 \time 4/4 r1 | R1 | R1*2
4368 \set Score.skipBars = ##t R1*17 R1*4
4371 The @code{1} in @code{R1} is similar to the duration notation used for
4372 notes. Hence, for time signatures other than 4/4, you must enter other
4373 durations. This can be done with augmentation dots or fractions:
4375 @lilypond[fragment,verbatim]
4376 \set Score.skipBars = ##t
4384 An @code{R} spanning a single measure is printed as either a whole rest
4385 or a breve, centered in the measure regardless of the time signature.
4387 @cindex text on multi-measure rest
4388 @cindex script on multi-measure rest
4389 @cindex fermata on multi-measure rest
4391 Texts can be added to multi-measure rests by using the
4392 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4393 replaced. If you need both texts and the number, you must add the
4394 number by hand. A variable (@code{\fermataMarkup}) is provided for
4398 @lilypond[verbatim,fragment]
4400 R2._\markup { "Ad lib" }
4404 If you want to have a text on the left end of a multi-measure rest,
4405 attach the text to a zero-length skip note, i.e.
4413 @cindex whole rests for a full measure
4417 Internals: @internalsref{MultiMeasureRestEvent},
4418 @internalsref{MultiMeasureTextEvent},
4419 @internalsref{MultiMeasureRestMusicGroup}, and
4420 @internalsref{MultiMeasureRest}.
4422 The layout object @internalsref{MultiMeasureRestNumber} is for the
4423 default number, and @internalsref{MultiMeasureRestText} for user
4428 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4429 over multi-measure rests.
4431 @cindex condensing rests
4433 There is no way to automatically condense multiple rests into a single
4434 multimeasure rest. Multi measure rests do not take part in rest
4437 Be careful when entering multimeasure rests followed by whole
4438 notes. The following will enter two notes lasting four measures each:
4442 When @code{skipBars} is set, then the result will look OK, but the
4443 bar numbering will be off.
4445 @node Automatic part combining
4446 @subsection Automatic part combining
4447 @cindex automatic part combining
4448 @cindex part combiner
4451 Automatic part combining is used to merge two parts of music onto a
4452 staff. It is aimed at typesetting orchestral scores. When the two
4453 parts are identical for a period of time, only one is shown. In
4454 places where the two parts differ, they are typeset as separate
4455 voices, and stem directions are set automatically. Also, solo and
4456 @emph{a due} parts are identified and can be marked.
4460 The syntax for part combining is
4463 \partcombine @var{musicexpr1} @var{musicexpr2}
4466 The music expressions will be interpreted as @internalsref{Voice} contexts.
4468 The following example demonstrates the basic functionality of the part
4469 combiner: putting parts on one staff, and setting stem directions and
4472 @lilypond[verbatim,raggedright,fragment,relative=1]
4473 \new Staff \partcombine
4482 The first @code{g} appears only once, although it was
4483 specified twice (once in each part). Stem, slur and tie directions are
4484 set automatically, depending whether there is a solo or unisono. The
4485 first part (with context called @code{one}) always gets up stems, and
4486 `solo', while the second (called @code{two}) always gets down stems and
4489 If you just want the merging parts, and not the textual markings, you
4490 may set the property @var{soloADue} to false:
4492 @lilypond[verbatim,raggedright,fragment,relative=1]
4494 \set Staff.soloADue = ##f
4506 Internals: @internalsref{PartCombineMusic},
4507 @internalsref{SoloOneEvent}, and
4508 @internalsref{SoloTwoEvent}, and
4509 @internalsref{UnisonoEvent}.
4513 In @code{soloADue} mode, when the two voices play the same notes on and
4514 off, the part combiner may typeset @code{a2} more than once in a
4517 @code{\partcombine} can not be inside @code{\times}.
4519 Internally, the @code{\partcombine} interprets both arguments as
4520 @code{Voice}s named @code{one} and @code{two}, and then decides when
4521 the parts can be combined. Consequently, if the arguments switch to
4522 differently named @internalsref{Voice} contexts, then the events in
4523 those will be ignored.
4526 @subsection Hiding staves
4528 @cindex Frenched scores
4529 @cindex Hiding staves
4531 In orchestral scores, staff lines that only have rests are usually
4532 removed. This saves some space. This style is called `French Score'.
4533 For @internalsref{Lyrics},
4534 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4535 switched on by default. When these line of these contexts turn out
4536 empty after the line-breaking process, they are removed.
4538 For normal staves, a specialized @internalsref{Staff} context is
4539 available, which does the same: staves containing nothing (or only
4540 multi measure rests) are removed. The context definition is stored in
4541 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4542 in this example disappears in the second line:
4547 \notes \relative c' <<
4548 \new Staff { e4 f g a \break c1 }
4549 \new Staff { c4 d e f \break R1 }
4553 \translator { \RemoveEmptyStaffContext }
4558 The first page shows all staffs in full. If they should be removed
4559 from the first page too, set @code{remove-first} to false
4560 in @internalsref{RemoveEmptyVerticalGroup}.
4562 Another application is making ossia sections, i.e. alternative
4563 melodies on a separate piece of staff, with help of a Frenched
4564 staff. See @inputfileref{input/test,ossia.ly} for an example.
4567 @node Different editions from one source
4568 @subsection Different editions from one source
4570 The @code{\tag} command marks music expressions with a name. These
4571 tagged expressions can be filtered out later. With this mechanism it
4572 is possible to make different versions of the same music source.
4574 In the following example, we see two versions of a piece of music, one
4575 for the full score, and one with cue notes for the instrumental part:
4591 The same can be applied to articulations, texts, etc.: they are
4594 -\tag #@var{your-tag}
4596 to an articulation, for example,
4601 This defines a note with a conditional fingering indication.
4603 By applying the @code{remove-tag} function, tagged expressions can be
4604 filtered. For example,
4608 \apply #(remove-tag 'score) @var{the music}
4609 \apply #(remove-tag 'part) @var{the music}
4614 @lilypondfile[]{tag-filter.ly}
4616 The argument of the @code{\tag} command should be a symbol, or a list
4617 of symbols, for example,
4619 \tag #'(original-part transposed-part) @dots{}
4624 Examples: @inputfileref{input/regression,tag-filter.ly}.
4627 @node Quoting other voices
4628 @subsection Quoting other voices
4630 With quotations, fragments of other parts can be inserted into a part
4631 directly. Before a part can be quoted, it must be marked especially as
4632 quotable. This is done with code @code{\addquote} command. The
4633 quotation may then be done with @code{\quote}
4636 \addquote @var{name} @var{music}
4637 \quote @var{name} @var{duration}
4642 Here, @var{name} is an identifying string. The @var{music} is any kind
4643 of music. This is an example of @code{\addquote}:
4646 \addquote clarinet \notes\relative c' {
4651 During a part, a piece of music can be quoted with the @code{\quote}
4658 This would cite 3 quarter notes (a dotted half note) of the previously
4659 added clarinet voice.
4661 Quotations take into account the transposition both source and target
4662 instruments, if they are specified using the @code{\transposition} command.
4664 @lilypond[verbatim fragment]
4665 \addquote clarinet \notes\relative c' {
4671 e'8 f'8 \quote clarinet 2
4677 Only the contents of the first @internalsref{Voice} occurring in an
4678 @code{\addquote} command will be considered for quotation, so
4679 @var{music} can not contain @code{\new} and @code{\context Voice}
4680 statements that would switch to a different Voice.
4685 In this manual: @ref{Instrument transpositions}.
4687 Examples: @inputfileref{input/regression,quote.ly}
4688 @inputfileref{input/regression,quote-transposition.ly}
4690 Internals: @internalsref{QuoteMusic}.
4696 @node Ancient notation
4697 @section Ancient notation
4699 @cindex Vaticana, Editio
4700 @cindex Medicaea, Editio
4705 @c [TODO: write more comprehensive introduction on ancient notation]
4707 Support for ancient notation is still under heavy development.
4708 Regardless of all of the current limitations (see the bugs section
4709 below for details), it includes features for mensural
4710 notation and Gregorian Chant notation. There is also limited support
4711 for figured bass notation.
4713 Many graphical objects provide a @code{style} property, see
4714 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4715 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4716 signatures}. By manipulating such a grob property, the typographical
4717 appearance of the affected graphical objects can be accommodated for a
4718 specific notation flavor without need for introducing any new
4722 Other aspects of ancient notation can not that easily be expressed as
4723 in terms of just changing a style property of a graphical object.
4724 Therefore, some notational concepts are introduced specifically for
4725 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4726 @ref{Ligatures}, and @ref{Figured bass}.
4730 * Ancient note heads::
4731 * Ancient accidentals::
4735 * Ancient time signatures::
4740 * Vaticana style contexts::
4743 If this all is way too much of documentation for you, and you just
4744 want to dive into typesetting without worrying too much about the
4745 details on how to customize a context, then you may have a look at the
4746 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4747 set up predefined style-specific voice and staff contexts, and
4748 directly go ahead with the note entry.
4752 Ligatures need special spacing that has not yet been implemented. As
4753 a result, there is too much space between ligatures most of the time,
4754 and line breaking often is unsatisfactory. Also, lyrics do not
4755 correctly align with ligatures.
4757 Accidentals must not be printed within a ligature, but instead need to
4758 be collected and printed in front of it.
4760 Augmentum dots within ligatures are not handled correctly.
4763 @node Ancient note heads
4764 @subsection Ancient note heads
4770 For ancient notation, a note head style other than the @code{default}
4771 style may be chosen. This is accomplished by setting the @code{style}
4772 property of the NoteHead object to the desired value (@code{baroque},
4773 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4774 differs from the @code{default} style only in using a square shape for
4775 @code{\breve} note heads. The @code{neo_mensural} style differs from
4776 the @code{baroque} style in that it uses rhomboidal heads for whole
4777 notes and all smaller durations. Stems are centered on the note
4778 heads. This style is in particular useful when transcribing mensural
4779 music, e.g. for the incipit. The @code{mensural} style finally
4780 produces note heads that mimic the look of note heads in historic
4781 printings of the 16th century.
4783 The following example demonstrates the @code{neo_mensural} style:
4785 @lilypond[fragment,raggedright,verbatim]
4786 \override NoteHead #'style = #'neo_mensural
4787 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4790 When typesetting a piece in Gregorian Chant notation, a Gregorian
4791 ligature engraver will automatically select the proper note heads,
4792 such there is no need to explicitly set the note head style. Still,
4793 the note head style can be set e.g. to @code{vaticana_punctum} to
4794 produce punctum neumes. Similarly, a mensural ligature engraver is
4795 used to automatically assemble mensural ligatures. See
4796 @ref{Ligatures} for how ligature engravers work.
4801 @ref{Percussion staves} use note head styles of their own that are
4802 frequently used in contemporary music notation.
4804 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4805 overview over all available note head styles.
4808 @node Ancient accidentals
4809 @subsection Ancient accidentals
4815 Use the @code{style} property of grob @internalsref{Accidental} to
4816 select ancient accidentals. Supported styles are
4817 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4819 @lilypond[raggedright,staffsize=26]
4827 { " " \musicglyph #"accidentals-vaticana-1"
4828 " " \musicglyph #"accidentals-vaticana0" }
4832 { " " \musicglyph #"accidentals-medicaea-1" }
4836 { " " \musicglyph #"accidentals-hufnagel-1" }
4840 { " " \musicglyph #"accidentals-mensural-1"
4841 " " \musicglyph #"accidentals-mensural1" }
4850 \remove "Bar_number_engraver"
4854 \remove "Clef_engraver"
4855 \remove "Key_engraver"
4856 \remove "Time_signature_engraver"
4857 \remove "Staff_symbol_engraver"
4858 minimumVerticalExtent = ##f
4864 As shown, not all accidentals are supported by each style. When
4865 trying to access an unsupported accidental, LilyPond will switch to a
4866 different style, as demonstrated in
4867 @inputfileref{input/test,ancient-accidentals.ly}.
4869 Similarly to local accidentals, the style of the key signature can be
4870 controlled by the @code{style} property of the
4871 @internalsref{KeySignature} grob.
4875 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4876 @ref{Accidentals} give a general introduction into the use of
4877 accidentals. @ref{Key signature} gives a general introduction into
4878 the use of key signatures.
4880 Internals: @internalsref{KeySignature}.
4882 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4885 @subsection Ancient rests
4891 Use the @code{style} property of grob @internalsref{Rest} to select
4892 ancient accidentals. Supported styles are @code{classical},
4893 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4894 from the @code{default} style only in that the quarter rest looks like
4895 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4896 well for e.g. the incipit of a transcribed mensural piece of music.
4897 The @code{mensural} style finally mimics the appearance of rests as
4898 in historic prints of the 16th century.
4900 The following example demonstrates the @code{neo_mensural} style:
4902 @lilypond[fragment,raggedright,verbatim]
4903 \override Rest #'style = #'neo_mensural
4904 r\longa r\breve r1 r2 r4 r8 r16
4907 There are no 32th and 64th rests specifically for the mensural or
4908 neo-mensural style. Instead, the rests from the default style will be
4909 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4912 There are no rests in Gregorian Chant notation; instead, it uses
4917 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4921 @subsection Ancient clefs
4927 LilyPond supports a variety of clefs, many of them ancient.
4929 The following table shows all ancient clefs that are supported via the
4930 @code{\clef} command. Some of the clefs use the same glyph, but
4931 differ only with respect to the line they are printed on. In such
4932 cases, a trailing number in the name is used to enumerate these clefs.
4933 Still, you can manually force a clef glyph to be typeset on an
4934 arbitrary line, as described in @ref{Clef}. The note printed to the
4935 right side of each clef in the example column denotes the @code{c'}
4936 with respect to that clef.
4938 @multitable @columnfractions .3 .3 .3 .1
4942 @b{Description} @tab
4943 @b{Supported Clefs} @tab
4947 @code{clefs-neo_mensural_c} @tab
4948 modern style mensural C clef @tab
4949 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4950 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4951 @lilypond[relative,notime]
4952 \override Staff.TimeSignature #'transparent = ##t
4953 \clef "neo_mensural_c2" c
4957 @code{clefs-petrucci_c1}
4958 @code{clefs-petrucci_c2}
4959 @code{clefs-petrucci_c3}
4960 @code{clefs-petrucci_c4}
4961 @code{clefs-petrucci_c5}
4964 petrucci style mensural C clefs, for use on different staff lines
4965 (the examples shows the 2nd staff line C clef).
4975 @lilypond[relative,notime]
4976 \override Staff.TimeSignature #'transparent = ##t
4977 \clef "petrucci_c2" c
4981 @code{clefs-petrucci_f} @tab
4982 petrucci style mensural F clef @tab
4983 @code{petrucci_f} @tab
4984 @lilypond[relative,notime]
4985 \override Staff.TimeSignature #'transparent = ##t
4986 \clef "petrucci_f" c
4990 @code{clefs-petrucci_g} @tab
4991 petrucci style mensural G clef @tab
4992 @code{petrucci_g} @tab
4993 @lilypond[relative,notime]
4994 \override Staff.TimeSignature #'transparent = ##t
4995 \clef "petrucci_g" c
4999 @code{clefs-mensural_c} @tab
5000 historic style mensural C clef @tab
5001 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5002 @code{mensural_c4} @tab
5003 @lilypond[relative,notime]
5004 \override Staff.TimeSignature #'transparent = ##t
5005 \clef "mensural_c2" c
5009 @code{clefs-mensural_f} @tab
5010 historic style mensural F clef @tab
5011 @code{mensural_f} @tab
5012 @lilypond[relative,notime]
5013 \override Staff.TimeSignature #'transparent = ##t
5014 \clef "mensural_f" c
5018 @code{clefs-mensural_g} @tab
5019 historic style mensural G clef @tab
5020 @code{mensural_g} @tab
5021 @lilypond[relative,notime]
5022 \override Staff.TimeSignature #'transparent = ##t
5023 \clef "mensural_g" c
5027 @code{clefs-vaticana_do} @tab
5028 Editio Vaticana style do clef @tab
5029 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5030 @lilypond[relative,notime]
5031 \override Staff.StaffSymbol #'line-count = #4
5032 \override Staff.TimeSignature #'transparent = ##t
5033 \clef "vaticana_do2" c
5037 @code{clefs-vaticana_fa} @tab
5038 Editio Vaticana style fa clef @tab
5039 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5040 @lilypond[relative,notime]
5041 \override Staff.StaffSymbol #'line-count = #4
5042 \override Staff.TimeSignature #'transparent = ##t
5043 \clef "vaticana_fa2" c
5047 @code{clefs-medicaea_do} @tab
5048 Editio Medicaea style do clef @tab
5049 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5050 @lilypond[relative,notime]
5051 \override Staff.StaffSymbol #'line-count = #4
5052 \override Staff.TimeSignature #'transparent = ##t
5053 \clef "medicaea_do2" c
5057 @code{clefs-medicaea_fa} @tab
5058 Editio Medicaea style fa clef @tab
5059 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5060 @lilypond[relative,notime]
5061 \override Staff.StaffSymbol #'line-count = #4
5062 \override Staff.TimeSignature #'transparent = ##t
5063 \clef "medicaea_fa2" c
5067 @code{clefs-hufnagel_do} @tab
5068 historic style hufnagel do clef @tab
5069 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5070 @lilypond[relative,notime]
5071 \override Staff.StaffSymbol #'line-count = #4
5072 \override Staff.TimeSignature #'transparent = ##t
5073 \clef "hufnagel_do2" c
5077 @code{clefs-hufnagel_fa} @tab
5078 historic style hufnagel fa clef @tab
5079 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5080 @lilypond[relative,notime]
5081 \override Staff.StaffSymbol #'line-count = #4
5082 \override Staff.TimeSignature #'transparent = ##t
5083 \clef "hufnagel_fa2" c
5087 @code{clefs-hufnagel_do_fa} @tab
5088 historic style hufnagel combined do/fa clef @tab
5089 @code{hufnagel_do_fa} @tab
5090 @lilypond[relative,notime]
5091 \override Staff.TimeSignature #'transparent = ##t
5092 \clef "hufnagel_do_fa" c
5097 @c --- This should go somewhere else: ---
5098 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5101 @c @code{percussion}
5103 @c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
5105 @c @item modern style tab clef (glyph: @code{clefs-tab})
5110 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
5112 @emph{Modern style} means ``as is typeset in contemporary editions of
5113 transcribed mensural music''.
5115 @emph{Petrucci style} means ``inspired by printings published by the
5116 famous engraver Petrucci (1466-1539)''.
5118 @emph{Historic style} means ``as was typeset or written in historic
5119 editions (other than those of Petrucci)''.
5121 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5123 Petrucci used C clefs with differently balanced left-side vertical
5124 beams, depending on which staff line it is printed.
5128 In this manual: for the percussion clef, see @ref{Percussion staves}.
5129 For the @code{TAB} clef, see @ref{Tablatures}.
5131 Internals: for modern clefs, see @ref{Clef}.
5135 The mensural g clef is temporarily mapped to the Petrucci g clef,
5136 until a new mensural g clef will have been implemented.
5141 @subsection Ancient flags
5147 Use the @code{flag-style} property of grob @internalsref{Stem} to
5148 select ancient flags. Besides the @code{default} flag style,
5149 only @code{mensural} style is supported:
5151 @lilypond[fragment,raggedright,verbatim]
5152 \override Stem #'flag-style = #'mensural
5153 \override Stem #'thickness = #1.0
5154 \override NoteHead #'style = #'mensural
5156 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5157 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5160 Note that the innermost flare of each mensural flag always is
5161 vertically aligned with a staff line. If you do not like this
5162 behavior, you can set the @code{adjust-if-on-staffline} property of
5163 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5164 of the end of each flare is different between notes on staff lines and
5165 notes between staff lines:
5167 @lilypond[fragment,raggedright]
5168 \override Stem #'flag-style = #'mensural
5169 \override Stem #'thickness = #1.0
5170 \override Stem #'adjust-if-on-staffline = ##f
5171 \override NoteHead #'style = #'mensural
5173 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5174 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5177 There is no particular flag style for neo-mensural notation. Hence,
5178 when typesetting e.g. the incipit of a transcribed piece of mensural
5179 music, the default flag style should be used. There are no flags in
5180 Gregorian Chant notation.
5183 @node Ancient time signatures
5184 @subsection Ancient time signatures
5186 @cindex time signatures
5190 There is limited support for mensural time signatures. The
5191 glyphs are hard-wired to particular time fractions. In other words,
5192 to get a particular mensural signature glyph with the @code{\time n/m}
5193 command, @code{n} and @code{m} have to be chosen according to the
5199 \set Score.timing = ##f
5200 \set Score.barAlways = ##t
5201 s_\markup { "$\\backslash$time 4/4" }
5202 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5204 s_\markup { "$\\backslash$time 2/2" }
5205 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5207 s_\markup { "$\\backslash$time 6/4" }
5208 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5210 s_\markup { "$\\backslash$time 6/8" }
5211 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5213 s_\markup { "$\\backslash$time 3/2" }
5214 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5216 s_\markup { "$\\backslash$time 3/4" }
5217 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5219 s_\markup { "$\\backslash$time 9/4" }
5220 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5222 s_\markup { "$\\backslash$time 9/8" }
5223 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5225 s_\markup { "$\\backslash$time 4/8" }
5226 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5228 s_\markup { "$\\backslash$time 2/4" }
5229 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5237 \remove Staff_symbol_engraver
5238 \remove Clef_engraver
5239 \remove Time_signature_engraver
5245 Use the @code{style} property of grob @internalsref{TimeSignature} to
5246 select ancient time signatures. Supported styles are
5247 @code{neo_mensural} and @code{mensural}. The above table uses the
5248 @code{neo_mensural} style. This style is appropriate e.g. for the
5249 incipit of transcriptions of mensural pieces. The @code{mensural}
5250 style mimics the look of historical printings of the 16th century.
5252 @inputfileref{input/test,time.ly} gives an overview over all available
5253 ancient and modern styles.
5257 Internals: @ref{Time signature} gives a general introduction into the use of time
5262 Mensural signature glyphs are mapped to time fractions in a
5263 hard-wired way. This mapping is sensible, but still arbitrary: given
5264 a mensural time signature, the time fraction represents a modern meter
5265 that usually will be a good choice when transcribing a mensural piece
5266 of music. For a particular piece of mensural music, however, the
5267 mapping may be unsatisfactory. In particular, the mapping assumes a
5268 fixed transcription of durations (e.g. brevis = half note in 2/2,
5269 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5270 are not at all accessible through the @code{\time} command.
5272 Mensural time signatures are supported typographically, but not yet
5273 musically. The internal representation of durations is
5274 based on a purely binary system; a ternary division such as 1 brevis =
5275 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5276 prolatione maiori) is not correctly handled: event times in ternary
5277 modes will be badly computed, resulting e.g. in horizontally
5278 misaligned note heads, and bar checks are likely to erroneously fail.
5280 The syntax and semantics of the @code{\time} command for mensural
5281 music is subject to change.
5284 @subsection Custodes
5289 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5290 symbol that appears at the end of a staff. It anticipates the pitch
5291 of the first note(s) of the following line and thus helps the player
5292 or singer to manage line breaks during performance, thus enhancing
5293 readability of a score.
5295 Custodes were frequently used in music notation until the 17th
5296 century. Nowadays, they have survived only in a few particular forms
5297 of musical notation such as contemporary editions of Gregorian chant
5298 like the @emph{editio vaticana}. There are different custos glyphs
5299 used in different flavors of notational style.
5303 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5304 @internalsref{Staff} context when declaring the @code{\paper} block,
5305 as shown in the following example:
5311 \consists Custos_engraver
5312 Custos \override #'style = #'mensural
5317 The result looks like this:
5323 \override Staff.Custos #'style = #'mensural
5330 \consists Custos_engraver
5337 The custos glyph is selected by the @code{style} property. The styles
5338 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5339 @code{mensural}. They are demonstrated in the following fragment:
5349 { " " \musicglyph #"custodes-vaticana-u0" }
5353 { " " \musicglyph #"custodes-medicaea-u0" }
5357 { " " \musicglyph #"custodes-hufnagel-u0" }
5361 { " " \musicglyph #"custodes-mensural-u0" }
5370 \remove "Bar_number_engraver"
5374 \remove "Clef_engraver"
5375 \remove "Key_engraver"
5376 \remove "Time_signature_engraver"
5377 \remove "Staff_symbol_engraver"
5378 minimumVerticalExtent = ##f
5384 If the boolean property @code{adjust-if-on-staffline} is set to
5385 @code{#t} (which it is by default), lily typesets slightly different
5386 variants of the custos glyph, depending on whether the custos, is
5387 typeset on or between staff lines. The glyph will
5388 optically fit well into the staff, with the appendage on the right of
5389 the custos always ending at the same vertical position between two
5390 staff lines regardless of the pitch. If you set
5391 @code{adjust-if-on-staffline} to @code{#f}, then
5392 a compromise between both forms is used.
5394 Just like stems can be attached to note heads in two directions
5395 @emph{up} and @emph{down}, each custos glyph is available with its
5396 appendage pointing either up or down. If the pitch of a custos is
5397 above a selectable position, the appendage will point downwards; if
5398 the pitch is below this position, the appendage will point upwards.
5399 Use property @code{neutral-position} to select this position. By
5400 default, it is set to @code{0}, such that the neutral position is the
5401 center of the staff. Use property @code{neutral-direction} to control
5402 what happens if a custos is typeset on the neutral position itself.
5403 By default, this property is set to @code{-1}, such that the appendage
5404 will point downwards. If set to @code{1}, the appendage will point
5405 upwards. Other values such as @code{0} are reserved for future
5406 extensions and should not be used.
5410 Internals: @internalsref{Custos}.
5412 Examples: @inputfileref{input/regression,custos.ly}.
5416 @subsection Divisiones
5422 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5423 `division') is a staff context symbol that is used to structure
5424 Gregorian music into phrases and sections. The musical meaning of
5425 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5426 can be characterized as short, medium and long pause, somewhat like
5427 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5428 a chant, but is also frequently used within a single
5429 antiphonal/responsorial chant to mark the end of each section.
5433 To use divisiones, include the file @code{gregorian-init.ly}. It
5434 contains definitions that you can apply by just inserting
5435 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5436 and @code{\finalis} at proper places in the input. Some editions use
5437 @emph{virgula} or @emph{caesura} instead of divisio minima.
5438 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5441 @lilypondfile[]{divisiones.ly}
5445 @cindex @code{\virgula}
5447 @cindex @code{\caesura}
5449 @cindex @code{\divisioMinima}
5450 @code{\divisioMinima},
5451 @cindex @code{\divisioMaior}
5452 @code{\divisioMaior},
5453 @cindex @code{\divisioMaxima}
5454 @code{\divisioMaxima},
5455 @cindex @code{\finalis}
5460 In this manual: @ref{Breath marks}.
5462 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5464 Examples: @inputfileref{input/test,divisiones.ly}.
5467 @subsection Ligatures
5471 @c TODO: Should double check if I recalled things correctly when I wrote
5472 @c down the following paragraph by heart.
5474 In musical terminology, a ligature is a coherent graphical symbol that
5475 represents at least two distinct notes. Ligatures originally appeared
5476 in the manuscripts of Gregorian chant notation roughly since the 9th
5477 century as an allusion to the accent symbols of Greek lyric poetry to
5478 denote ascending or descending sequences of notes. Both, the shape
5479 and the exact meaning of ligatures changed tremendously during the
5480 following centuries: In early notation, ligatures were used for
5481 monophonic tunes (Gregorian chant) and very soon denoted also the way
5482 of performance in the sense of articulation. With upcoming
5483 multiphony, the need for a metric system arised, since multiple voices
5484 of a piece have to be synchronized some way. New notation systems
5485 were invented that used the manifold shapes of ligatures to now denote
5486 rhythmical patterns (e.g. black mensural notation, mannered notation,
5487 ars nova). With the invention of the metric system of the white
5488 mensural notation, the need for ligatures to denote such patterns
5489 disappeared. Nevertheless, ligatures were still in use in the
5490 mensural system for a couple of decades until they finally disappeared
5491 during the late 16th / early 17th century. Still, ligatures have
5492 survived in contemporary editions of Gregorian chant such as the
5493 Editio Vaticana from 1905/08.
5497 Syntactically, ligatures are simply enclosed by @code{\[} and
5498 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5499 additional input syntax specific for this particular type of ligature.
5500 By default, the @internalsref{LigatureBracket} engraver just puts a
5501 square bracket above the ligature:
5503 @lilypond[raggedright,verbatim]
5505 \notes \transpose c c' {
5513 To select a specific style of ligatures, a proper ligature engraver
5514 has to be added to the @internalsref{Voice} context, as explained in
5515 the following subsections. Only white mensural ligatures
5516 are supported with certain limitations. Support for Editio Vaticana
5517 will be added in the future.
5520 * White mensural ligatures::
5521 * Gregorian square neumes ligatures::
5524 @node White mensural ligatures
5525 @subsubsection White mensural ligatures
5527 @cindex Mensural ligatures
5528 @cindex White mensural ligatures
5530 There is limited support for white mensural ligatures. The
5531 implementation is still experimental; it may output strange
5532 warnings or even crash in some cases or produce weird results on more
5537 To engrave white mensural ligatures, in the paper block the
5538 @internalsref{Mensural_ligature_engraver} has to be put into the
5539 @internalsref{Voice} context, and remove the
5540 @internalsref{Ligature_bracket_engraver}:
5546 \remove Ligature_bracket_engraver
5547 \consists Mensural_ligature_engraver
5552 There is no additional input language to describe the shape of a
5553 white mensural ligature. The shape is rather determined solely from
5554 the pitch and duration of the enclosed notes. While this approach may
5555 take a new user a while to get accustomed, it has the great advantage
5556 that the full musical information of the ligature is known internally.
5557 This is not only required for correct MIDI output, but also allows for
5558 automatic transcription of the ligatures.
5563 \set Score.timing = ##f
5564 \set Score.defaultBarType = "empty"
5565 \override NoteHead #'style = #'neo_mensural
5566 \override Staff.TimeSignature #'style = #'neo_mensural
5568 \[ g\longa c\breve a\breve f\breve d'\longa \]
5570 \[ e1 f1 a\breve g\longa \]
5572 @lilypond[raggedright]
5574 \notes \transpose c c' {
5575 \set Score.timing = ##f
5576 \set Score.defaultBarType = "empty"
5577 \override NoteHead #'style = #'neo_mensural
5578 \override Staff.TimeSignature #'style = #'neo_mensural
5580 \[ g\longa c\breve a\breve f\breve d'\longa \]
5582 \[ e1 f1 a\breve g\longa \]
5587 \remove Ligature_bracket_engraver
5588 \consists Mensural_ligature_engraver
5594 Without replacing @internalsref{Ligature_bracket_engraver} with
5595 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5598 @lilypond[raggedright]
5600 \notes \transpose c c' {
5601 \set Score.timing = ##f
5602 \set Score.defaultBarType = "empty"
5603 \override NoteHead #'style = #'neo_mensural
5604 \override Staff.TimeSignature #'style = #'neo_mensural
5606 \[ g\longa c\breve a\breve f\breve d'\longa \]
5608 \[ e1 f1 a\breve g\longa \]
5614 @node Gregorian square neumes ligatures
5615 @subsubsection Gregorian square neumes ligatures
5617 @cindex Square neumes ligatures
5618 @cindex Gregorian square neumes ligatures
5620 Gregorian square neumes notation (following the style of the Editio
5621 Vaticana) is under heavy development, but not yet really usable for
5622 production purposes. Core ligatures can already be typeset, but
5623 essential issues for serious typesetting are still under development,
5624 such as (among others) horizontal alignment of multiple ligatures,
5625 lyrics alignment and proper accidentals handling. Still, this section
5626 gives a sneak preview of what Gregorian chant may look like once it
5629 The following table contains the extended neumes table of the 2nd
5630 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5631 1983 by the monks of Solesmes.
5633 @multitable @columnfractions .4 .2 .2 .2
5636 @b{Neuma aut@*Neumarum Elementa} @tab
5637 @b{Figurae@*Rectae} @tab
5638 @b{Figurae@*Liquescentes Auctae} @tab
5639 @b{Figurae@*Liquescentes Deminutae}
5641 @c TODO: \paper block is identical in all of the below examples.
5642 @c Therefore, it should somehow be included rather than duplicated all
5645 @c why not make identifiers in ly/engraver-init.ly? --hwn
5647 @c Because it's just used to typeset plain notes without
5648 @c a staff for demonstration purposes rather than something
5649 @c special of Gregorian chant notation. --jr
5654 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5655 \include "gregorian-init.ly"
5657 \notes \transpose c c' {
5660 \noBreak s^\markup {"a"} \noBreak
5662 % Punctum Inclinatum
5664 \noBreak s^\markup {"b"}
5670 \remove "Bar_number_engraver"
5674 \remove "Clef_engraver"
5675 \remove "Key_engraver"
5676 \override StaffSymbol #'transparent = ##t
5677 \remove "Time_signature_engraver"
5678 \remove "Bar_engraver"
5679 minimumVerticalExtent = ##f
5683 \remove Ligature_bracket_engraver
5684 \consists Vaticana_ligature_engraver
5685 \override NoteHead #'style = #'vaticana_punctum
5686 \override Stem #'transparent = ##t
5692 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5693 \include "gregorian-init.ly"
5695 \notes \transpose c c' {
5696 % Punctum Auctum Ascendens
5697 \[ \auctum \ascendens b \]
5698 \noBreak s^\markup {"c"} \noBreak
5700 % Punctum Auctum Descendens
5701 \[ \auctum \descendens b \]
5702 \noBreak s^\markup {"d"} \noBreak
5704 % Punctum Inclinatum Auctum
5705 \[ \inclinatum \auctum b \]
5706 \noBreak s^\markup {"e"}
5712 \remove "Bar_number_engraver"
5716 \remove "Clef_engraver"
5717 \remove "Key_engraver"
5718 \override StaffSymbol #'transparent = ##t
5719 \remove "Time_signature_engraver"
5720 \remove "Bar_engraver"
5721 minimumVerticalExtent = ##f
5725 \remove Ligature_bracket_engraver
5726 \consists Vaticana_ligature_engraver
5727 \override NoteHead #'style = #'vaticana_punctum
5728 \override Stem #'transparent = ##t
5734 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5735 \include "gregorian-init.ly"
5737 \notes \transpose c c' {
5738 % Punctum Inclinatum Parvum
5739 \[ \inclinatum \deminutum b \]
5740 \noBreak s^\markup {"f"}
5746 \remove "Bar_number_engraver"
5750 \remove "Clef_engraver"
5751 \remove "Key_engraver"
5752 \override StaffSymbol #'transparent = ##t
5753 \remove "Time_signature_engraver"
5754 \remove "Bar_engraver"
5755 minimumVerticalExtent = ##f
5759 \remove Ligature_bracket_engraver
5760 \consists Vaticana_ligature_engraver
5761 \override NoteHead #'style = #'vaticana_punctum
5762 \override Stem #'transparent = ##t
5771 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5772 \include "gregorian-init.ly"
5774 \notes \transpose c c' {
5777 \noBreak s^\markup {"g"}
5783 \remove "Bar_number_engraver"
5787 \remove "Clef_engraver"
5788 \remove "Key_engraver"
5789 \override StaffSymbol #'transparent = ##t
5790 \remove "Time_signature_engraver"
5791 \remove "Bar_engraver"
5792 minimumVerticalExtent = ##f
5796 \remove Ligature_bracket_engraver
5797 \consists Vaticana_ligature_engraver
5798 \override NoteHead #'style = #'vaticana_punctum
5799 \override Stem #'transparent = ##t
5808 @code{3. Apostropha vel Stropha}
5810 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5811 \include "gregorian-init.ly"
5813 \notes \transpose c c' {
5816 \noBreak s^\markup {"h"}
5822 \remove "Bar_number_engraver"
5826 \remove "Clef_engraver"
5827 \remove "Key_engraver"
5828 \override StaffSymbol #'transparent = ##t
5829 \remove "Time_signature_engraver"
5830 \remove "Bar_engraver"
5831 minimumVerticalExtent = ##f
5835 \remove Ligature_bracket_engraver
5836 \consists Vaticana_ligature_engraver
5837 \override NoteHead #'style = #'vaticana_punctum
5838 \override Stem #'transparent = ##t
5844 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5845 \include "gregorian-init.ly"
5847 \notes \transpose c c' {
5849 \[ \stropha \auctum b \]
5850 \noBreak s^\markup {"i"}
5856 \remove "Bar_number_engraver"
5860 \remove "Clef_engraver"
5861 \remove "Key_engraver"
5862 \override StaffSymbol #'transparent = ##t
5863 \remove "Time_signature_engraver"
5864 \remove "Bar_engraver"
5865 minimumVerticalExtent = ##f
5869 \remove Ligature_bracket_engraver
5870 \consists Vaticana_ligature_engraver
5871 \override NoteHead #'style = #'vaticana_punctum
5872 \override Stem #'transparent = ##t
5882 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5883 \include "gregorian-init.ly"
5885 \notes \transpose c c' {
5888 \noBreak s^\markup {"j"}
5894 \remove "Bar_number_engraver"
5898 \remove "Clef_engraver"
5899 \remove "Key_engraver"
5900 \override StaffSymbol #'transparent = ##t
5901 \remove "Time_signature_engraver"
5902 \remove "Bar_engraver"
5903 minimumVerticalExtent = ##f
5907 \remove Ligature_bracket_engraver
5908 \consists Vaticana_ligature_engraver
5909 \override NoteHead #'style = #'vaticana_punctum
5910 \override Stem #'transparent = ##t
5919 @code{5. Clivis vel Flexa}
5921 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5922 \include "gregorian-init.ly"
5924 \notes \transpose c c' {
5933 \remove "Bar_number_engraver"
5937 \remove "Clef_engraver"
5938 \remove "Key_engraver"
5939 \override StaffSymbol #'transparent = ##t
5940 \remove "Time_signature_engraver"
5941 \remove "Bar_engraver"
5942 minimumVerticalExtent = ##f
5946 \remove Ligature_bracket_engraver
5947 \consists Vaticana_ligature_engraver
5948 \override NoteHead #'style = #'vaticana_punctum
5949 \override Stem #'transparent = ##t
5955 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5956 \include "gregorian-init.ly"
5958 \notes \transpose c c' {
5959 % Clivis Aucta Descendens
5960 \[ b \flexa \auctum \descendens g \]
5961 \noBreak s^\markup {"l"} \noBreak
5963 % Clivis Aucta Ascendens
5964 \[ b \flexa \auctum \ascendens g \]
5965 \noBreak s^\markup {"m"}
5971 \remove "Bar_number_engraver"
5975 \remove "Clef_engraver"
5976 \remove "Key_engraver"
5977 \override StaffSymbol #'transparent = ##t
5978 \remove "Time_signature_engraver"
5979 \remove "Bar_engraver"
5980 minimumVerticalExtent = ##f
5984 \remove Ligature_bracket_engraver
5985 \consists Vaticana_ligature_engraver
5986 \override NoteHead #'style = #'vaticana_punctum
5987 \override Stem #'transparent = ##t
5993 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5994 \include "gregorian-init.ly"
5996 \notes \transpose c c' {
5998 \[ b \flexa \deminutum g \]
6005 \remove "Bar_number_engraver"
6009 \remove "Clef_engraver"
6010 \remove "Key_engraver"
6011 \override StaffSymbol #'transparent = ##t
6012 \remove "Time_signature_engraver"
6013 \remove "Bar_engraver"
6014 minimumVerticalExtent = ##f
6018 \remove Ligature_bracket_engraver
6019 \consists Vaticana_ligature_engraver
6020 \override NoteHead #'style = #'vaticana_punctum
6021 \override Stem #'transparent = ##t
6028 @code{6. Podatus vel Pes}
6030 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6031 \include "gregorian-init.ly"
6033 \notes \transpose c c' {
6042 \remove "Bar_number_engraver"
6046 \remove "Clef_engraver"
6047 \remove "Key_engraver"
6048 \override StaffSymbol #'transparent = ##t
6049 \remove "Time_signature_engraver"
6050 \remove "Bar_engraver"
6051 minimumVerticalExtent = ##f
6055 \remove Ligature_bracket_engraver
6056 \consists Vaticana_ligature_engraver
6057 \override NoteHead #'style = #'vaticana_punctum
6058 \override Stem #'transparent = ##t
6064 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6065 \include "gregorian-init.ly"
6067 \notes \transpose c c' {
6068 % Pes Auctus Descendens
6069 \[ g \pes \auctum \descendens b \]
6070 \noBreak s^\markup {"p"} \noBreak
6072 % Pes Auctus Ascendens
6073 \[ g \pes \auctum \ascendens b \]
6074 \noBreak s^\markup {"q"}
6080 \remove "Bar_number_engraver"
6084 \remove "Clef_engraver"
6085 \remove "Key_engraver"
6086 \override StaffSymbol #'transparent = ##t
6087 \remove "Time_signature_engraver"
6088 \remove "Bar_engraver"
6089 minimumVerticalExtent = ##f
6093 \remove Ligature_bracket_engraver
6094 \consists Vaticana_ligature_engraver
6095 \override NoteHead #'style = #'vaticana_punctum
6096 \override Stem #'transparent = ##t
6102 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6103 \include "gregorian-init.ly"
6105 \notes \transpose c c' {
6107 \[ g \pes \deminutum b \]
6114 \remove "Bar_number_engraver"
6118 \remove "Clef_engraver"
6119 \remove "Key_engraver"
6120 \override StaffSymbol #'transparent = ##t
6121 \remove "Time_signature_engraver"
6122 \remove "Bar_engraver"
6123 minimumVerticalExtent = ##f
6127 \remove Ligature_bracket_engraver
6128 \consists Vaticana_ligature_engraver
6129 \override NoteHead #'style = #'vaticana_punctum
6130 \override Stem #'transparent = ##t
6137 @code{7. Pes Quassus}
6139 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6140 \include "gregorian-init.ly"
6142 \notes \transpose c c' {
6144 \[ \oriscus g \pes \virga b \]
6151 \remove "Bar_number_engraver"
6155 \remove "Clef_engraver"
6156 \remove "Key_engraver"
6157 \override StaffSymbol #'transparent = ##t
6158 \remove "Time_signature_engraver"
6159 \remove "Bar_engraver"
6160 minimumVerticalExtent = ##f
6164 \remove Ligature_bracket_engraver
6165 \consists Vaticana_ligature_engraver
6166 \override NoteHead #'style = #'vaticana_punctum
6167 \override Stem #'transparent = ##t
6173 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6174 \include "gregorian-init.ly"
6176 \notes \transpose c c' {
6177 % Pes Quassus Auctus Descendens
6178 \[ \oriscus g \pes \auctum \descendens b \]
6185 \remove "Bar_number_engraver"
6189 \remove "Clef_engraver"
6190 \remove "Key_engraver"
6191 \override StaffSymbol #'transparent = ##t
6192 \remove "Time_signature_engraver"
6193 \remove "Bar_engraver"
6194 minimumVerticalExtent = ##f
6198 \remove Ligature_bracket_engraver
6199 \consists Vaticana_ligature_engraver
6200 \override NoteHead #'style = #'vaticana_punctum
6201 \override Stem #'transparent = ##t
6209 @code{8. Quilisma Pes}
6211 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6212 \include "gregorian-init.ly"
6214 \notes \transpose c c' {
6216 \[ \quilisma g \pes b \]
6223 \remove "Bar_number_engraver"
6227 \remove "Clef_engraver"
6228 \remove "Key_engraver"
6229 \override StaffSymbol #'transparent = ##t
6230 \remove "Time_signature_engraver"
6231 \remove "Bar_engraver"
6232 minimumVerticalExtent = ##f
6236 \remove Ligature_bracket_engraver
6237 \consists Vaticana_ligature_engraver
6238 \override NoteHead #'style = #'vaticana_punctum
6239 \override Stem #'transparent = ##t
6245 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6246 \include "gregorian-init.ly"
6248 \notes \transpose c c' {
6249 % Quilisma Pes Auctus Descendens
6250 \[ \quilisma g \pes \auctum \descendens b \]
6257 \remove "Bar_number_engraver"
6261 \remove "Clef_engraver"
6262 \remove "Key_engraver"
6263 \override StaffSymbol #'transparent = ##t
6264 \remove "Time_signature_engraver"
6265 \remove "Bar_engraver"
6266 minimumVerticalExtent = ##f
6270 \remove Ligature_bracket_engraver
6271 \consists Vaticana_ligature_engraver
6272 \override NoteHead #'style = #'vaticana_punctum
6273 \override Stem #'transparent = ##t
6281 @code{9. Podatus Initio Debilis}
6283 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6284 \include "gregorian-init.ly"
6286 \notes \transpose c c' {
6287 % Pes Initio Debilis
6288 \[ \deminutum g \pes b \]
6295 \remove "Bar_number_engraver"
6299 \remove "Clef_engraver"
6300 \remove "Key_engraver"
6301 \override StaffSymbol #'transparent = ##t
6302 \remove "Time_signature_engraver"
6303 \remove "Bar_engraver"
6304 minimumVerticalExtent = ##f
6308 \remove Ligature_bracket_engraver
6309 \consists Vaticana_ligature_engraver
6310 \override NoteHead #'style = #'vaticana_punctum
6311 \override Stem #'transparent = ##t
6317 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6318 \include "gregorian-init.ly"
6320 \notes \transpose c c' {
6321 % Pes Auctus Descendens Initio Debilis
6322 \[ \deminutum g \pes \auctum \descendens b \]
6329 \remove "Bar_number_engraver"
6333 \remove "Clef_engraver"
6334 \remove "Key_engraver"
6335 \override StaffSymbol #'transparent = ##t
6336 \remove "Time_signature_engraver"
6337 \remove "Bar_engraver"
6338 minimumVerticalExtent = ##f
6342 \remove Ligature_bracket_engraver
6343 \consists Vaticana_ligature_engraver
6344 \override NoteHead #'style = #'vaticana_punctum
6345 \override Stem #'transparent = ##t
6355 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6356 \include "gregorian-init.ly"
6358 \notes \transpose c c' {
6360 \[ a \pes b \flexa g \]
6367 \remove "Bar_number_engraver"
6371 \remove "Clef_engraver"
6372 \remove "Key_engraver"
6373 \override StaffSymbol #'transparent = ##t
6374 \remove "Time_signature_engraver"
6375 \remove "Bar_engraver"
6376 minimumVerticalExtent = ##f
6380 \remove Ligature_bracket_engraver
6381 \consists Vaticana_ligature_engraver
6382 \override NoteHead #'style = #'vaticana_punctum
6383 \override Stem #'transparent = ##t
6389 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6390 \include "gregorian-init.ly"
6392 \notes \transpose c c' {
6393 % Torculus Auctus Descendens
6394 \[ a \pes b \flexa \auctum \descendens g \]
6401 \remove "Bar_number_engraver"
6405 \remove "Clef_engraver"
6406 \remove "Key_engraver"
6407 \override StaffSymbol #'transparent = ##t
6408 \remove "Time_signature_engraver"
6409 \remove "Bar_engraver"
6410 minimumVerticalExtent = ##f
6414 \remove Ligature_bracket_engraver
6415 \consists Vaticana_ligature_engraver
6416 \override NoteHead #'style = #'vaticana_punctum
6417 \override Stem #'transparent = ##t
6423 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6424 \include "gregorian-init.ly"
6426 \notes \transpose c c' {
6427 % Torculus Deminutus
6428 \[ a \pes b \flexa \deminutum g \]
6435 \remove "Bar_number_engraver"
6439 \remove "Clef_engraver"
6440 \remove "Key_engraver"
6441 \override StaffSymbol #'transparent = ##t
6442 \remove "Time_signature_engraver"
6443 \remove "Bar_engraver"
6444 minimumVerticalExtent = ##f
6448 \remove Ligature_bracket_engraver
6449 \consists Vaticana_ligature_engraver
6450 \override NoteHead #'style = #'vaticana_punctum
6451 \override Stem #'transparent = ##t
6458 @code{11. Torculus Initio Debilis}
6460 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6461 \include "gregorian-init.ly"
6463 \notes \transpose c c' {
6464 % Torculus Initio Debilis
6465 \[ \deminutum a \pes b \flexa g \]
6472 \remove "Bar_number_engraver"
6476 \remove "Clef_engraver"
6477 \remove "Key_engraver"
6478 \override StaffSymbol #'transparent = ##t
6479 \remove "Time_signature_engraver"
6480 \remove "Bar_engraver"
6481 minimumVerticalExtent = ##f
6485 \remove Ligature_bracket_engraver
6486 \consists Vaticana_ligature_engraver
6487 \override NoteHead #'style = #'vaticana_punctum
6488 \override Stem #'transparent = ##t
6494 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6495 \include "gregorian-init.ly"
6497 \notes \transpose c c' {
6498 % Torculus Auctus Descendens Initio Debilis
6499 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6506 \remove "Bar_number_engraver"
6510 \remove "Clef_engraver"
6511 \remove "Key_engraver"
6512 \override StaffSymbol #'transparent = ##t
6513 \remove "Time_signature_engraver"
6514 \remove "Bar_engraver"
6515 minimumVerticalExtent = ##f
6519 \remove Ligature_bracket_engraver
6520 \consists Vaticana_ligature_engraver
6521 \override NoteHead #'style = #'vaticana_punctum
6522 \override Stem #'transparent = ##t
6528 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6529 \include "gregorian-init.ly"
6531 \notes \transpose c c' {
6532 % Torculus Deminutus Initio Debilis
6533 \[ \deminutum a \pes b \flexa \deminutum g \]
6540 \remove "Bar_number_engraver"
6544 \remove "Clef_engraver"
6545 \remove "Key_engraver"
6546 \override StaffSymbol #'transparent = ##t
6547 \remove "Time_signature_engraver"
6548 \remove "Bar_engraver"
6549 minimumVerticalExtent = ##f
6553 \remove Ligature_bracket_engraver
6554 \consists Vaticana_ligature_engraver
6555 \override NoteHead #'style = #'vaticana_punctum
6556 \override Stem #'transparent = ##t
6563 @code{12. Porrectus}
6565 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6566 \include "gregorian-init.ly"
6568 \notes \transpose c c' {
6570 \[ a \flexa g \pes b \]
6577 \remove "Bar_number_engraver"
6581 \remove "Clef_engraver"
6582 \remove "Key_engraver"
6583 \override StaffSymbol #'transparent = ##t
6584 \remove "Time_signature_engraver"
6585 \remove "Bar_engraver"
6586 minimumVerticalExtent = ##f
6590 \remove Ligature_bracket_engraver
6591 \consists Vaticana_ligature_engraver
6592 \override NoteHead #'style = #'vaticana_punctum
6593 \override Stem #'transparent = ##t
6599 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6600 \include "gregorian-init.ly"
6602 \notes \transpose c c' {
6603 % Porrectus Auctus Descendens
6604 \[ a \flexa g \pes \auctum \descendens b \]
6611 \remove "Bar_number_engraver"
6615 \remove "Clef_engraver"
6616 \remove "Key_engraver"
6617 \override StaffSymbol #'transparent = ##t
6618 \remove "Time_signature_engraver"
6619 \remove "Bar_engraver"
6620 minimumVerticalExtent = ##f
6624 \remove Ligature_bracket_engraver
6625 \consists Vaticana_ligature_engraver
6626 \override NoteHead #'style = #'vaticana_punctum
6627 \override Stem #'transparent = ##t
6633 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6634 \include "gregorian-init.ly"
6636 \notes \transpose c c' {
6637 % Porrectus Deminutus
6638 \[ a \flexa g \pes \deminutum b \]
6645 \remove "Bar_number_engraver"
6649 \remove "Clef_engraver"
6650 \remove "Key_engraver"
6651 \override StaffSymbol #'transparent = ##t
6652 \remove "Time_signature_engraver"
6653 \remove "Bar_engraver"
6654 minimumVerticalExtent = ##f
6658 \remove Ligature_bracket_engraver
6659 \consists Vaticana_ligature_engraver
6660 \override NoteHead #'style = #'vaticana_punctum
6661 \override Stem #'transparent = ##t
6670 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6671 \include "gregorian-init.ly"
6673 \notes \transpose c c' {
6675 \[ \virga b \inclinatum a \inclinatum g \]
6682 \remove "Bar_number_engraver"
6686 \remove "Clef_engraver"
6687 \remove "Key_engraver"
6688 \override StaffSymbol #'transparent = ##t
6689 \remove "Time_signature_engraver"
6690 \remove "Bar_engraver"
6691 minimumVerticalExtent = ##f
6695 \remove Ligature_bracket_engraver
6696 \consists Vaticana_ligature_engraver
6697 \override NoteHead #'style = #'vaticana_punctum
6698 \override Stem #'transparent = ##t
6704 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6705 \include "gregorian-init.ly"
6707 \notes \transpose c c' {
6709 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6716 \remove "Bar_number_engraver"
6720 \remove "Clef_engraver"
6721 \remove "Key_engraver"
6722 \override StaffSymbol #'transparent = ##t
6723 \remove "Time_signature_engraver"
6724 \remove "Bar_engraver"
6725 minimumVerticalExtent = ##f
6729 \remove Ligature_bracket_engraver
6730 \consists Vaticana_ligature_engraver
6731 \override NoteHead #'style = #'vaticana_punctum
6732 \override Stem #'transparent = ##t
6738 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6739 \include "gregorian-init.ly"
6741 \notes \transpose c c' {
6742 % Climacus Deminutus
6743 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6750 \remove "Bar_number_engraver"
6754 \remove "Clef_engraver"
6755 \remove "Key_engraver"
6756 \override StaffSymbol #'transparent = ##t
6757 \remove "Time_signature_engraver"
6758 \remove "Bar_engraver"
6759 minimumVerticalExtent = ##f
6763 \remove Ligature_bracket_engraver
6764 \consists Vaticana_ligature_engraver
6765 \override NoteHead #'style = #'vaticana_punctum
6766 \override Stem #'transparent = ##t
6773 @code{14. Scandicus}
6775 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6776 \include "gregorian-init.ly"
6778 \notes \transpose c c' {
6780 \[ g \pes a \virga b \]
6787 \remove "Bar_number_engraver"
6791 \remove "Clef_engraver"
6792 \remove "Key_engraver"
6793 \override StaffSymbol #'transparent = ##t
6794 \remove "Time_signature_engraver"
6795 \remove "Bar_engraver"
6796 minimumVerticalExtent = ##f
6800 \remove Ligature_bracket_engraver
6801 \consists Vaticana_ligature_engraver
6802 \override NoteHead #'style = #'vaticana_punctum
6803 \override Stem #'transparent = ##t
6809 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6810 \include "gregorian-init.ly"
6812 \notes \transpose c c' {
6813 % Scandicus Auctus Descendens
6814 \[ g \pes a \pes \auctum \descendens b \]
6821 \remove "Bar_number_engraver"
6825 \remove "Clef_engraver"
6826 \remove "Key_engraver"
6827 \override StaffSymbol #'transparent = ##t
6828 \remove "Time_signature_engraver"
6829 \remove "Bar_engraver"
6830 minimumVerticalExtent = ##f
6834 \remove Ligature_bracket_engraver
6835 \consists Vaticana_ligature_engraver
6836 \override NoteHead #'style = #'vaticana_punctum
6837 \override Stem #'transparent = ##t
6843 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6844 \include "gregorian-init.ly"
6846 \notes \transpose c c' {
6847 % Scandicus Deminutus
6848 \[ g \pes a \pes \deminutum b \]
6855 \remove "Bar_number_engraver"
6859 \remove "Clef_engraver"
6860 \remove "Key_engraver"
6861 \override StaffSymbol #'transparent = ##t
6862 \remove "Time_signature_engraver"
6863 \remove "Bar_engraver"
6864 minimumVerticalExtent = ##f
6868 \remove Ligature_bracket_engraver
6869 \consists Vaticana_ligature_engraver
6870 \override NoteHead #'style = #'vaticana_punctum
6871 \override Stem #'transparent = ##t
6880 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6881 \include "gregorian-init.ly"
6883 \notes \transpose c c' {
6885 \[ g \oriscus a \pes \virga b \]
6892 \remove "Bar_number_engraver"
6896 \remove "Clef_engraver"
6897 \remove "Key_engraver"
6898 \override StaffSymbol #'transparent = ##t
6899 \remove "Time_signature_engraver"
6900 \remove "Bar_engraver"
6901 minimumVerticalExtent = ##f
6905 \remove Ligature_bracket_engraver
6906 \consists Vaticana_ligature_engraver
6907 \override NoteHead #'style = #'vaticana_punctum
6908 \override Stem #'transparent = ##t
6914 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6915 \include "gregorian-init.ly"
6917 \notes \transpose c c' {
6918 % Salicus Auctus Descendens
6919 \[ g \oriscus a \pes \auctum \descendens b \]
6926 \remove "Bar_number_engraver"
6930 \remove "Clef_engraver"
6931 \remove "Key_engraver"
6932 \override StaffSymbol #'transparent = ##t
6933 \remove "Time_signature_engraver"
6934 \remove "Bar_engraver"
6935 minimumVerticalExtent = ##f
6939 \remove Ligature_bracket_engraver
6940 \consists Vaticana_ligature_engraver
6941 \override NoteHead #'style = #'vaticana_punctum
6942 \override Stem #'transparent = ##t
6952 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6953 \include "gregorian-init.ly"
6955 \notes \transpose c c' {
6957 \[ \stropha b \stropha b \stropha a \]
6964 \remove "Bar_number_engraver"
6968 \remove "Clef_engraver"
6969 \remove "Key_engraver"
6970 \override StaffSymbol #'transparent = ##t
6971 \remove "Time_signature_engraver"
6972 \remove "Bar_engraver"
6973 minimumVerticalExtent = ##f
6977 \remove Ligature_bracket_engraver
6978 \consists Vaticana_ligature_engraver
6979 \override NoteHead #'style = #'vaticana_punctum
6980 \override Stem #'transparent = ##t
6992 Unlike most other neumes notation systems, the input language for
6993 neumes does not necessarily reflect directly the typographical
6994 appearance, but is designed to solely focuse on musical meaning. For
6995 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6996 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6997 a Porrectus with a curved flexa shape and only a single Punctum head.
6998 There is no command to explicitly typeset the curved flexa shape; the
6999 decision of when to typeset a curved flexa shape is purely taken from
7000 the musical input. The idea of this approach is to separate the
7001 musical aspects of the input from the notation style of the output.
7002 This way, the same input can be reused to typeset the same music in a
7003 different style of Gregorian chant notation such as Hufnagel (also
7004 known as German gothic neumes) or Medicaea (kind of a very simple
7005 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
7006 engraver and Medicaea ligature engraver will have been implemented, it
7007 will be as simple as replacing the ligature engraver in the
7008 @internalsref{Voice} context to get the desired notation style from
7011 The following table shows the code fragments that produce the
7012 ligatures in the above neumes table. The letter in the first column
7013 in each line of the below table indicates to which ligature in the
7014 above table it refers. The second column gives the name of the
7015 ligature. The third column shows the code fragment that produces this
7016 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7018 @multitable @columnfractions .1 .4 .5
7032 Punctum Inclinatum @tab
7033 @code{\[ \inclinatum b \]}
7037 Punctum Auctum Ascendens @tab
7038 @code{\[ \auctum \ascendens b \]}
7042 Punctum Auctum Descendens @tab
7043 @code{\[ \auctum \descendens b \]}
7047 Punctum Inclinatum Auctum @tab
7048 @code{\[ \inclinatum \auctum b \]}
7052 Punctum Inclinatum Parvum @tab
7053 @code{\[ \inclinatum \deminutum b \]}
7058 @code{\[ \virga b \]}
7063 @code{\[ \stropha b \]}
7068 @code{\[ \stropha \auctum b \]}
7073 @code{\[ \oriscus b \]}
7077 Clivis vel Flexa @tab
7078 @code{\[ b \flexa g \]}
7082 Clivis Aucta Descendens @tab
7083 @code{\[ b \flexa \auctum \descendens g \]}
7087 Clivis Aucta Ascendens @tab
7088 @code{\[ b \flexa \auctum \ascendens g \]}
7093 @code{\[ b \flexa \deminutum g \]}
7097 Podatus vel Pes @tab
7098 @code{\[ g \pes b \]}
7102 Pes Auctus Descendens @tab
7103 @code{\[ g \pes \auctum \descendens b \]}
7107 Pes Auctus Ascendens @tab
7108 @code{\[ g \pes \auctum \ascendens b \]}
7113 @code{\[ g \pes \deminutum b \]}
7118 @code{\[ \oriscus g \pes \virga b \]}
7122 Pes Quassus Auctus Descendens @tab
7123 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7128 @code{\[ \quilisma g \pes b \]}
7132 Quilisma Pes Auctus Descendens @tab
7133 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7137 Pes Initio Debilis @tab
7138 @code{\[ \deminutum g \pes b \]}
7142 Pes Auctus Descendens Initio Debilis @tab
7143 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7148 @code{\[ a \pes b \flexa g \]}
7152 Torculus Auctus Descendens @tab
7153 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7157 Torculus Deminutus @tab
7158 @code{\[ a \pes b \flexa \deminutum g \]}
7162 Torculus Initio Debilis @tab
7163 @code{\[ \deminutum a \pes b \flexa g \]}
7167 Torculus Auctus Descendens Initio Debilis @tab
7168 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7172 Torculus Deminutus Initio Debilis @tab
7173 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7178 @code{\[ a \flexa g \pes b \]}
7182 Porrectus Auctus Descendens @tab
7183 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7187 Porrectus Deminutus @tab
7188 @code{\[ a \flexa g \pes \deminutum b \]}
7193 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7197 Climacus Auctus @tab
7198 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7202 Climacus Deminutus @tab
7203 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7208 @code{\[ g \pes a \virga b \]}
7212 Scandicus Auctus Descendens @tab
7213 @code{\[ g \pes a \pes \auctum \descendens b \]}
7217 Scandicus Deminutus @tab
7218 @code{\[ g \pes a \pes \deminutum b \]}
7223 @code{\[ g \oriscus a \pes \virga b \]}
7227 Salicus Auctus Descendens @tab
7228 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7233 @code{\[ \stropha b \stropha b \stropha a \]}
7239 The following head prefixes are supported:
7241 @cindex @code{\virga}
7243 @cindex @code{\stropha}
7245 @cindex @code{\inclinatum}
7247 @cindex @code{\auctum}
7249 @cindex @code{\descendens}
7251 @cindex @code{\ascendens}
7253 @cindex @code{\oriscus}
7255 @cindex @code{\quilisma}
7257 @cindex @code{\deminutum}
7260 Head prefixes can be accumulated, though restrictions apply. For
7261 example, either @code{\descendens} or @code{\ascendens} can be applied
7262 to a head, but not both to the same head.
7265 @cindex @code{\flexa}
7266 Two adjacent heads can be tied together with the @code{\pes} and
7267 @code{\flexa} infix commands for a rising and falling line of melody,
7272 Trigonus: apply equal spacing, regardless of pitch.
7275 @subsection Figured bass
7277 @cindex Basso continuo
7279 @c TODO: musicological blurb about FB
7283 LilyPond has limited support for figured bass:
7285 @lilypond[verbatim,fragment]
7287 \context Voice \notes { \clef bass dis4 c d ais}
7288 \context FiguredBass
7290 < 6 >4 < 7 >8 < 6+ [_!] >
7296 The support for figured bass consists of two parts: there is an input
7297 mode, introduced by @code{\figures}, where you can enter bass figures
7298 as numbers, and there is a context called @internalsref{FiguredBass} that
7299 takes care of making @internalsref{BassFigure} objects.
7301 In figures input mode, a group of bass figures is delimited by
7302 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7307 \context FiguredBass
7311 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7318 \context FiguredBass
7319 \figures { <4- 6+ 7!> }
7322 Spaces or dashes may be inserted by using @code{_}. Brackets are
7323 introduced with @code{[} and @code{]}:
7329 \context FiguredBass
7330 \figures { < [4 6] 8 [_! 12]> }
7333 Although the support for figured bass may superficially resemble chord
7334 support, it works much simpler. The @code{\figures} mode simply
7335 stores the numbers , and @internalsref{FiguredBass} context prints
7336 them as entered. There is no conversion to pitches, and no
7337 realizations of the bass are played in the MIDI file.
7339 Internally, the code produces markup texts. You can use any of the
7340 markup text properties to override formatting. For example, the
7341 vertical spacing of the figures may be set with @code{baseline-skip}.
7345 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7346 and @internalsref{FiguredBass} context.
7350 Slash notation for alterations is not supported.
7353 @node Vaticana style contexts
7354 @subsection Vaticana style contexts
7356 @cindex VaticanaVoiceContext
7357 @cindex VaticanaStaffContext
7359 The predefined @code{VaticanaVoiceContext} and
7360 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7361 Gregorian Chant in the style of the Editio Vaticana. These contexts
7362 initialize all relevant context properties and grob properties to
7363 proper values. With these contexts, you can immediately go ahead
7364 entering the chant, as the following short excerpt demonstrates:
7366 @lilypond[raggedright,verbatim,noindent]
7367 \include "gregorian-init.ly"
7370 \context VaticanaVoice = "cantus" {
7371 \override Score.BarNumber #'transparent = ##t
7373 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7374 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7375 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7378 \lyricsto "cantus" \new Lyrics \lyrics {
7379 San- ctus, San- ctus, San- ctus
7385 @node Contemporary notation
7386 @section Contemporary notation
7388 In the 20th century, composers have greatly expanded the musical
7389 vocabulary. With this expansion, many innovations in musical notation
7390 have been tried. The book by Stone (1980) gives a comprehensive
7391 overview (see @ref{Literature list}). In general, the use of new,
7392 innovative notation makes a piece harder to understand and perform and
7393 its use should therefore be avoided if possible. For this reason,
7394 support for contemporary notation in LilyPond is limited.
7403 @subsection Clusters
7407 In musical terminology, a @emph{cluster} denotes a range of
7408 simultaneously sounding pitches that may change over time. The set of
7409 available pitches to apply usually depends on the acoustic source.
7410 Thus, in piano music, a cluster typically consists of a continuous range
7411 of the semitones as provided by the piano's fixed set of a chromatic
7412 scale. In choral music, each singer of the choir typically may sing an
7413 arbitrary pitch within the cluster's range that is not bound to any
7414 diatonic, chromatic or other scale. In electronic music, a cluster
7415 (theoretically) may even cover a continuous range of pitches, thus
7416 resulting in colored noise, such as pink noise.
7418 Clusters can be denoted in the context of ordinary staff notation by
7419 engraving simple geometrical shapes that replace ordinary notation of
7420 notes. Ordinary notes as musical events specify starting time and
7421 duration of pitches; however, the duration of a note is expressed by the
7422 shape of the note head rather than by the horizontal graphical extent of
7423 the note symbol. In contrast, the shape of a cluster geometrically
7424 describes the development of a range of pitches (vertical extent) over
7425 time (horizontal extent). Still, the geometrical shape of a cluster
7426 covers the area in which any single pitch contained in the cluster would
7427 be notated as an ordinary note. From this point of view, it is
7428 reasonable to specify a cluster as the envelope of a set of notes.
7432 A cluster is engraved as the envelope of a set of
7433 cluster-notes. Cluster notes are created by applying the function
7434 @code{notes-to-clusters} to a sequence of chords, e.g.
7436 @lilypond[relative=1,verbatim]
7437 \apply #notes-to-clusters { <c e > <b f'> }
7440 The following example (from
7441 @inputfileref{input/regression,cluster.ly}) shows what the result
7444 @lilypondfile[]{cluster.ly}
7446 By default, @internalsref{Cluster_spanner_engraver} is in the
7447 @internalsref{Voice} context. This allows putting ordinary notes and
7448 clusters together in the same staff, even simultaneously. In such a
7449 case no attempt is made to automatically avoid collisions between
7450 ordinary notes and clusters.
7454 Internals: @internalsref{ClusterSpanner},
7455 @internalsref{ClusterSpannerBeacon},
7456 @internalsref{Cluster_spanner_engraver}, and
7457 @internalsref{ClusterNoteEvent}.
7459 Examples: @inputfileref{input/regression,cluster.ly}.
7463 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7464 accurately. Use @code{<g a>8 <e a>8} instead.
7469 @subsection Fermatas
7475 Contemporary music notation frequently uses special fermata symbols to
7476 indicate fermatas of differing lengths.
7480 The following are supported
7482 @lilypond[raggedright]
7484 << \addlyrics \notes {
7504 \context Lyrics \lyrics {
7505 "shortfermata" "fermata" "longfermata" "verylongfermata"
7510 See @ref{Articulations} for general instructions how to apply scripts
7511 such as fermatas to a @code{\notes@{@}} block.
7514 @node Special notation
7515 @section Special notation
7519 * Easy Notation note heads::
7523 @subsection Balloon help
7525 Elements of notation can be marked and named with the help of a square
7526 balloon. The primary purpose of this feature is to explain notation.
7528 The following example demonstrates its use.
7530 @lilypond[verbatim,fragment,raggedright,relative=1]
7533 #(add-balloon-text 'NoteHead "heads, or tails?"
7539 The function @code{add-balloon-text} takes the name of a grob, the
7540 label to print and where to put the label relative to the object. In
7541 the above example, the text ``heads or tails?'' ends 3 spaces below
7545 @cindex notation, explaining
7549 Internals: @internalsref{text-balloon-interface}.
7551 Examples: @inputfileref{input/regression,balloon.ly}.
7553 @node Easy Notation note heads
7554 @subsection Easy Notation note heads
7556 @cindex easy notation
7559 The `easy play' note head includes a note name inside the head. It is
7560 used in music aimed at beginners:
7562 @lilypond[raggedright,verbatim,staffsize=26]
7564 \notes { c'2 e'4 f' | g'1 }
7565 \paper { \translator { \EasyNotation } }
7569 The @code{EasyNotation} variable overrides a @internalsref{Score} @c
7570 context. To make the letters readable, it has to be printed in a
7571 large font size. To print with a larger font, see @ref{Font Size}.
7576 If you view the result with Xdvi, then staff lines may show through
7577 the letters. Printing the PostScript file obtained does produce the
7583 @section Tuning output
7585 There are situations where default layout decisions are not
7586 sufficient. In this section we discuss ways to override these
7589 Formatting is internally done by manipulating so called objects
7590 (graphic objects). Each object carries with it a set of properties
7591 (object or layout properties) specific to that object. For example, a
7592 stem object has properties that specify its direction, length and
7595 The most direct way of tuning the output is by altering the values of
7596 these properties. There are two ways of doing that: first, you can
7597 temporarily change the definition of one type of object, thus
7598 affecting a whole set of objects. Second, you can select one specific
7599 object, and set a layout property in that object.
7601 Do not confuse layout properties with translation
7602 properties. Translation properties always use a mixed caps style
7603 naming, and are manipulated using @code{\set} and @code{\unset}:
7605 \set Context.propertyName = @var{value}
7608 Layout properties are use Scheme style variable naming, i.e. lower
7609 case words separated with dashes. They are symbols, and should always
7610 be quoted using @code{#'}. For example, this could be an imaginary
7611 layout property name:
7613 #'layout-property-name
7618 The introduction of the @ref{Technical manual} gives a more in-depth
7619 treatment of the difference between translation and layout.
7623 * Constructing a tweak::
7630 @node Tuning objects
7631 @subsection Tuning objects
7633 @cindex object description
7635 The definition of an object is a list of default object
7636 properties. For example, the definition of the Stem object (available
7637 in @file{scm/define-grobs.scm}), includes the following definitions
7638 for @internalsref{Stem}:
7642 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7643 (Y-extent-callback . ,Stem::height)
7648 Adding variables on top of this existing definition overrides the
7649 system default, and alters the resulting appearance of the layout
7655 Changing a variable for only one object is commonly achieved with
7659 \once \override @var{context}.@var{objectname}
7660 @var{symbol} = @var{value}
7662 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7663 and @var{objectname} is a string and @var{value} is a Scheme expression.
7664 This command applies a setting only during one moment in the score.
7666 In the following example, only one @internalsref{Stem} object is
7667 changed from its original setting:
7669 @lilypond[verbatim,fragment,relative=1]
7671 \once \override Voice.Stem #'thickness = #4
7675 @cindex @code{\once}
7677 For changing more objects, the same command, without @code{\once} can
7680 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
7682 This command adds @code{@var{symbol} = @var{value}} to the definition
7683 of @var{objectname} in the context @var{context}, and this definition
7684 stays in place until it is removed.
7686 An existing definition may be removed by the following command:
7689 \property @var{context}.@var{objectname} \revert @var{symbol}
7694 @lilypond[verbatim,quote]
7695 c'4 \override Stem #'thickness = #4.0
7697 c'4 \revert Stem #'thickness
7701 The following example gives exactly the same result as the previous
7702 one (assuming the system default for stem thickness is 1.3):
7704 @lilypond[verbatim,quote]
7705 c'4 \override Stem #'thickness = #4.0
7707 c'4 \override Stem #'thickness = #1.3
7711 Reverting a setting which was not set in the first place has no
7717 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7718 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7719 @internalsref{All-layout-objects}.
7724 The back-end is not very strict in type-checking object properties.
7725 Cyclic references in Scheme values for properties can cause hangs
7729 * Constructing a tweak::
7735 @node Constructing a tweak
7736 @subsection Constructing a tweak
7739 @cindex internal documentation
7740 @cindex finding graphical objects
7741 @cindex graphical object descriptions
7743 @cindex @code{\override}
7745 @cindex internal documentation
7749 Three pieces of information are required to use @code{\override} and
7750 @code{\set}: the name of the layout object, the context and the name
7751 of the property. We demonstrate how to glean this information from
7752 the notation manual and the generated documentation.
7754 The generated documentation is a set of HTML pages which should be
7755 included if you installed a binary distribution, typically in
7756 @file{/usr/share/doc/lilypond}. They are also available on the web:
7757 go to the @uref{http://lilypond.org,LilyPond website}, click
7758 ``Documentation'', select the correct version, and click then
7759 ``Program reference.'' It is advisable to bookmark the local HTML
7760 files. They will load faster than the ones on the web. If you use the
7761 version from the web, you must check whether the documentation matches
7762 the program version: it is generated from the definitions that the
7763 program uses, and therefore it is strongly tied to the LilyPond
7767 @c [TODO: revise for new site.]
7769 Suppose we want to move the fingering indication in the fragment below:
7771 @lilypond[relative=2,verbatim]
7777 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7778 instructions}), you will notice that there is written:
7783 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7790 In other words, the fingerings once entered, are internally stored as
7791 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7792 layout object is created for every @code{FingerEvent}.
7794 The Fingering object has a number of different functions, and each of
7795 those is captured in an interface. The interfaces are listed under
7796 @internalsref{Fingering} in the program reference.
7800 The @code{Fingering} object has a fixed size
7801 (@internalsref{item-interface}), the symbol is a piece of text
7802 (@internalsref{text-interface}), whose font can be set
7803 (@internalsref{font-interface}). It is centered horizontally
7804 (@internalsref{self-alignment-interface}), it is placed next to other
7805 objects (@internalsref{side-position-interface}) vertically, and its
7806 placement is coordinated with other scripts
7807 (@internalsref{text-script-interface}). It also has the standard
7808 @internalsref{grob-interface} (grob stands for Graphical object)
7810 @cindex graphical object
7811 @cindex layout object
7812 @cindex object, layout
7813 with all the variables that come with
7814 it. Finally, it denotes a fingering instruction, so it has
7815 @internalsref{finger-interface}.
7817 For the vertical placement, we have to look under
7818 @code{side-position-interface}:
7820 @code{side-position-interface}
7822 Position a victim object (this one) next to other objects (the
7823 support). In this case, the property @code{direction} signifies where to put the
7824 victim object relative to the support (left or right, up or down?)
7829 below this description, the variable @code{padding} is described as
7833 (dimension, in staff space)
7835 add this much extra space between objects that are next to each
7836 other. Default value: @code{0.6}
7840 By increasing the value of @code{padding}, we can move away the
7841 fingering. The following command inserts 3 staff spaces of white
7842 between the note and the fingering:
7844 \once \override Fingering #'padding = #3
7847 Inserting this command before the Fingering object is created,
7848 i.e. before @code{c2}, yields the following result:
7850 @lilypond[relative=2,fragment,verbatim]
7851 \once \override Fingering
7858 The context name @code{Voice} in the example above can be determined
7859 as follows. In the documentation for @internalsref{Fingering}, it says
7861 Fingering grobs are created by: @internalsref{Fingering_engraver} @c
7864 Clicking @code{Fingering_engraver} shows the documentation of
7865 the module responsible for interpreting the fingering instructions and
7866 translating them to a @code{Fingering} object. Such a module is called
7867 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7870 Fingering_engraver is part of contexts: Voice
7872 so tuning the settings for Fingering should be done with
7874 \override Fingering @dots{}
7877 Of course, the tweak may also done in a larger context than
7878 @code{Voice}, for example, @internalsref{Staff} or
7879 @internalsref{Score}.
7883 Internals: the program reference also contains alphabetical lists of
7884 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7885 @internalsref{Music-expressions}, so you can also find which objects
7886 to tweak by browsing the internals document.
7890 @subsection Applyoutput
7892 The most versatile way of tuning an object is @code{\applyoutput}. Its
7895 \applyoutput @var{proc}
7899 where @var{proc} is a Scheme function, taking three arguments.
7901 When interpreted, the function @var{proc} is called for every layout
7902 object found in the context, with the following arguments:
7904 @item the layout object itself,
7905 @item the context where the layout object was created, and
7906 @item the context where @code{\applyoutput} is processed.
7910 In addition, the cause of the layout object, i.e. the music
7911 expression or object that was responsible for creating it, is in the
7912 object property @code{cause}. For example, for a note head, this is a
7913 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7914 this is a @internalsref{NoteHead} object.
7916 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7919 (define (blanker grob grob-origin context)
7920 (if (and (memq (ly:grob-property grob 'interfaces)
7921 note-head-interface)
7922 (eq? (ly:grob-property grob 'staff-position) 0))
7924 (ly:grob-set-property! grob 'transparent #t)))
7929 @node Font selection
7930 @subsection Font selection
7932 The most common thing to change about the appearance of fonts is their
7933 size. The font size of any context can be easily changed by setting
7934 the @code{fontSize} property for that context. Its value is a number:
7935 negative numbers make the font smaller, positive numbers larger. An
7936 example is given below:
7938 @lilypond[fragment,relative=1,verbatim,quote]
7939 c4 c4 \set fontSize = #-1
7942 This command will set @code{font-size} (see below), and does
7943 not change the size of variable symbols, such as beams or slurs.
7945 One of the uses of @code{fontSize} is to get smaller symbols for cue
7946 notes. An elaborate example of those is in
7947 @inputfileref{input/test,cue-notes.ly}.
7949 @cindex magnification
7952 The font used for printing a object can be selected by setting
7953 @code{font-name}, e.g.
7955 \override Staff.TimeSignature
7956 #'font-name = #"cmr17"
7960 Any font can be used, as long as it is available to @TeX{}. Possible
7961 fonts include foreign fonts or fonts that do not belong to the
7962 Computer Modern font family. The size of fonts selected in this way
7963 can be changed with the @code{font-magnification} property. For
7964 example, @code{2.0} blows up all letters by a factor 2 in both
7968 @cindex font magnification
7970 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7971 can also be adjusted with a more fine-grained mechanism. By setting
7972 the object properties described below, you can select a different font;
7973 all three mechanisms work for every object that supports
7974 @code{font-interface}:
7979 is a symbol indicating the general class of the typeface. Supported are
7980 @code{roman} (Computer Modern), @code{braces} (for piano staff
7981 braces), @code{music} (the standard music font, including ancient
7982 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7985 is a symbol indicating the shape of the font, there are typically several
7986 font shapes available for each font family. Choices are @code{italic},
7987 @code{caps} and @code{upright}.
7990 is a symbol indicating the series of the font. There are typically several
7991 font series for each font family and shape. Choices are @code{medium}
7996 For any of these properties, the value @code{*} (i.e. the symbol
7997 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7998 to override default setting, which are always present. For example:
8000 \override Lyrics .LyricText #'font-series = #'bold
8001 \override Lyrics .LyricText #'font-family = #'typewriter
8002 \override Lyrics .LyricText #'font-shape = #'*
8005 @cindex @code{font-style}
8007 The font size is set by modifying the @code{font-size} property. Its
8008 value is a number indicating the size relative to the standard size.
8009 Each step up is an increase of approximately 12% of the font size. Six
8010 steps is exactly a factor two. The Scheme function @code{magstep}
8011 converts a @code{font-size} number to a scaling factor.
8013 LilyPond has fonts in different design sizes: the music fonts for
8014 smaller sizes are chubbier, while the text fonts are relatively wider.
8015 Font size changes are achieved by scaling the design size that is
8016 closest to the desired size.
8018 The @code{font-size} mechanism does not work for fonts selected
8019 through @code{font-name}. These may be scaled with
8020 @code{font-magnification}.
8024 The following commands set @code{fontSize} for the current voice.
8026 @cindex @code{\tiny}
8028 @cindex @code{\small}
8030 @cindex @code{\normalsize}
8035 Init files: @file{ly/declarations-init.ly} contains hints how new
8036 fonts may be added to LilyPond.
8040 There is no style sheet provided for other fonts besides the @TeX{}
8041 Computer Modern family.
8043 @cindex font selection
8044 @cindex font magnification
8045 @cindex @code{font-interface}
8049 @section Text markup
8054 @cindex typeset text
8056 LilyPond has an internal mechanism to typeset texts. You can access it
8057 with the keyword @code{\markup}. Within markup mode, you can enter texts
8058 similar to lyrics: simply enter them, surrounded by spaces:
8061 @lilypond[verbatim,fragment,relative=1]
8062 c1^\markup { hello }
8063 c1_\markup { hi there }
8064 c1^\markup { hi \bold there, is \italic anyone home? }
8067 @cindex font switching
8069 The markup in the example demonstrates font switching commands. The
8070 command @code{\bold} and @code{\italic} only apply to the first
8071 following word; enclose a set of texts with braces to apply a command
8074 \markup @{ \bold @{ hi there @} @}
8078 For clarity, you can also do this for single arguments, e.g.
8081 \markup { is \italic { anyone } home }
8084 @cindex font size, texts
8087 In markup mode you can compose expressions, similar to mathematical
8088 expressions, XML documents and music expressions. The braces group
8089 notes into horizontal lines. Other types of lists also exist: you can
8090 stack expressions grouped with @code{<}, and @code{>} vertically with
8091 the command @code{\column}. Similarly, @code{\center} aligns texts by
8094 @lilypond[verbatim,fragment,relative=1]
8095 c1^\markup { \column < a bbbb c > }
8096 c1^\markup { \center < a bbbb c > }
8097 c1^\markup { \line < a b c > }
8101 Markups can be stored in variables, and these variables
8102 may be attached to notes, like
8104 allegro = \markup { \bold \large { Allegro } }
8105 \notes { a^\allegro b c d }
8109 Some objects have alignment procedures of their own, which cancel out
8110 any effects of alignments applied to their markup arguments as a
8111 whole. For example, the @internalsref{RehearsalMark} is horizontally
8112 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8113 effect. Similarly, whole texts over notes cannot be moved vertically
8114 with @code{\raise}. For moving and aligning complete objects, grob
8115 properties should be used.
8121 Init files: @file{scm/new-markup.scm}.
8126 Text layout is ultimately done by @TeX{}, which does kerning of
8127 letters. LilyPond does not account for kerning, so texts will be
8128 spaced slightly too wide.
8130 Syntax errors for markup mode are confusing.
8132 Markup texts cannot be used in the titling of the @code{\header}
8133 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8139 * Overview of text markup commands::
8140 * Markup construction in scheme::
8141 * Markup command definition::
8144 @node Overview of text markup commands
8145 @subsection Overview of text markup commands
8147 @include markup-commands.tely
8149 @node Markup construction in scheme
8150 @subsection Markup construction in scheme
8152 @cindex defining markup commands
8154 The @code{markup} macro builds markup expressions in Scheme while
8155 providing a LilyPond-like syntax. For example,
8157 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
8158 #:bigger #:line ("foo" "bar" "baz")))
8164 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
8165 \bigger @{ foo bar baz @} >
8169 This example exposes the main translation rules between regular
8170 LilyPond markup syntax and scheme markup syntax, which are summed up
8172 @multitable @columnfractions .5 .5
8173 @item @b{LilyPond} @tab @b{Scheme}
8174 @item @code{\command} @tab @code{#:command}
8175 @item @code{\variable} @tab @code{variable}
8176 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
8177 @item @code{\center < ... >} @tab @code{#:center ( ... )}
8178 @item @code{string} @tab @code{"string"}
8179 @item @code{#scheme-arg} @tab @code{scheme-arg}
8182 Besides, the whole scheme language is accessible inside the
8183 @code{markup} macro: thus, one may use function calls inside
8184 @code{markup} in order to manipulate character strings for
8185 instance. This proves useful when defining new markup commands (see
8186 @ref{Markup command definition}).
8190 One can not feed the @code{#:line} (resp @code{#:center},
8191 @code{#:column}) command with a variable or the result of a function
8194 (markup #:line (fun-that-returns-markups))
8196 is illegal. One should use the @code{make-line-markup} (resp
8197 @code{make-center-markup}, @code{make-column-markup}) function
8200 (markup (make-line-markup (fun-that-returns-markups)))
8203 @node Markup command definition
8204 @subsection Markup command definition
8206 New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
8208 (def-markup-command (@var{command-name} @var{paper} @var{props} @var{arg1} @var{arg2} ...)
8209 (@var{arg1-type?} @var{arg2-type?} ...)
8212 @var{argi}: i@var{th} command argument
8213 @var{argi-type?}: a type predicate for the i@var{th} argument
8214 @var{paper}: the `paper' definition
8215 @var{props}: a list of alists, containing all active properties.
8218 As a simple example, we show how to add a @code{\smallcaps} command,
8219 which selects @TeX{}'s small caps font. Normally, we could select the
8220 small caps font as follows:
8223 \markup { \override #'(font-shape . caps) Text-in-caps }
8226 This selects the caps font by setting the @code{font-shape} property to
8227 @code{#'caps} for interpreting @code{Text-in-caps}.
8229 To make the above available as @code{\smallcaps} command, we have to
8230 define a function using @code{def-markup-command}. The command should
8231 take a single argument, of markup type. Therefore, the start of the
8232 definition should read
8234 (def-markup-command (smallcaps paper props argument) (markup?)
8239 What follows is the content of the command: we should interpret
8240 the @code{argument} as a markup, i.e.
8243 (interpret-markup paper @dots{} argument)
8247 This interpretation should add @code{'(font-shape . caps)} to the active
8248 properties, so we substitute the the following for the @dots{} in the
8252 (cons (list '(font-shape . caps) ) props)
8256 The variable @code{props} is a list of alists, and we prepend to it by
8257 consing a list with the extra setting.
8259 However, suppose that we are using a font that does not have a
8260 small-caps variant. In that case, we have to fake the small caps font,
8261 by setting a string in upcase, with the first letter a little larger:
8264 #(def-markup-command (smallcaps paper props str) (string?)
8265 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8266 (interpret-markup paper props
8269 (if (= (string-length s) 0)
8271 (markup #:large (string-upcase (substring s 0 1))
8272 #:translate (cons -0.6 0)
8273 #:tiny (string-upcase (substring s 1)))))
8274 (string-split str #\Space)))))
8277 The @code{smallcaps} command first splits its string argument into
8278 tokens separated by spaces (@code{(string-split str #\Space)}); for
8279 each token, a markup is built with the first letter made large and
8280 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
8281 second markup built with the following letters made tiny and upcased
8282 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
8283 introduces a space between markups on a line, the second markup is
8284 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
8285 the markups built for each token are put in a line
8286 (@code{(make-line-markup ...)}). Finally, the resulting markup is
8287 passed to the @code{interpret-markup} function, with the @code{paper}
8288 and @code{props} arguments.
8290 Finally, suppose that we are typesetting a recitative in an opera, and
8291 we would like to define a command that will show character names in a
8292 custom manner. Names should be printed with small caps and translated a
8293 bit to the left and top. We will define a @code{\character} command
8294 that takes into account the needed translation, and uses the newly
8295 defined @code{\smallcaps} command:
8298 #(def-markup-command (character paper props name) (string?)
8299 "Print the character name in small caps, translated to the left and
8300 top. Syntax: \\character #\"name\""
8301 (interpret-markup paper props
8302 (markup "" #:translate (cons -4 2) #:smallcaps name)))
8305 There is one complication that needs explanation: texts above and below
8306 the staff are moved vertically to be at a certain distance (the
8307 @code{padding} property) from the staff and the notes. To make sure
8308 that this mechanism does not annihilate the vertical effect of our
8309 @code{#:translate}, we add an empty string (@code{""}) before the
8310 translated text. Now the @code{""} will be put above the notes, and the
8311 @code{name} is moved in relation to that empty string. The net effect is
8312 that the text is moved to the upper left.
8314 The final result is as follows:
8318 c''^\markup \character #"Cleopatra"
8319 e'^\markup \character #"Giulio Cesare"
8324 @lilypond[raggedright]
8325 #(def-markup-command (smallcaps paper props str) (string?)
8326 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8327 (interpret-markup paper props
8330 (if (= (string-length s) 0)
8332 (markup #:large (string-upcase (substring s 0 1))
8333 #:translate (cons -0.6 0)
8334 #:tiny (string-upcase (substring s 1)))))
8335 (string-split str #\Space)))))
8337 #(def-markup-command (character paper props name) (string?)
8338 "Print the character name in small caps, translated to the left and
8339 top. Syntax: \\character #\"name\""
8340 (interpret-markup paper props
8341 (markup "" #:translate (cons -4 0) #:smallcaps name)))
8345 c''^\markup \character #"Cleopatra"
8346 e'^\markup \character #"Giulio Cesare"
8354 @section Global layout
8356 The global layout determined by three factors: the page layout, the
8357 line breaks and the spacing. These all influence each other. The
8358 choice of spacing determines how densely each system of music is set,
8359 which influences where line breaks breaks are chosen, and thus
8360 ultimately how many pages a piece of music takes. This section
8361 explains how to tune the algorithm for spacing.
8363 Globally spoken, this procedure happens in three steps: first,
8364 flexible distances (``springs'') are chosen, based on durations. All
8365 possible line breaking combination are tried, and the one with the
8366 best results---a layout that has uniform density and requires as
8367 little stretching or cramping as possible---is chosen. When the score
8368 is processed by @TeX{}, each page is filled with systems, and page breaks
8369 are chosen whenever the page gets full.
8374 * Vertical spacing::
8375 * Horizontal spacing::
8382 @node Vertical spacing
8383 @subsection Vertical spacing
8385 @cindex vertical spacing
8386 @cindex distance between staves
8387 @cindex staff distance
8388 @cindex between staves, distance
8389 @cindex staffs per page
8390 @cindex space between staves
8392 The height of each system is determined automatically by LilyPond, to
8393 keep systems from bumping into each other, some minimum distances are
8394 set. By changing these, you can put staves closer together, and thus
8395 put more systems onto one page.
8397 Normally staves are stacked vertically. To make
8398 staves maintain a distance, their vertical size is padded. This is
8399 done with the property @code{minimumVerticalExtent}. It takes a pair
8400 of numbers, so if you want to make it smaller from its, then you could
8403 \set Staff.minimumVerticalExtent = #'(-4 . 4)
8405 This sets the vertical size of the current staff to 4 staff spaces on
8406 either side of the center staff line. The argument of
8407 @code{minimumVerticalExtent} is interpreted as an interval, where the
8408 center line is the 0, so the first number is generally negative. The
8409 staff can be made larger at the bottom by setting it to @code{(-6
8412 The piano staves are handled a little differently: to make cross-staff
8413 beaming work correctly, it is necessary that the distance between staves
8414 is fixed beforehand. This is also done with a
8415 @internalsref{VerticalAlignment} object, created in
8416 @internalsref{PianoStaff}. In this object the distance between the
8417 staves is fixed by setting @code{forced-distance}. If you want to
8418 override this, use a @code{\translator} block as follows:
8423 \override VerticalAlignment #'forced-distance = #9
8428 This would bring the staves together at a distance of 9 staff spaces,
8429 measured from the center line of each staff.
8433 Internals: Vertical alignment of staves is handled by the
8434 @internalsref{VerticalAlignment} object.
8439 @node Horizontal spacing
8440 @subsection Horizontal Spacing
8442 The spacing engine translates differences in durations into
8443 stretchable distances (``springs'') of differing lengths. Longer
8444 durations get more space, shorter durations get less. The shortest
8445 durations get a fixed amount of space (which is controlled by
8446 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8447 The longer the duration, the more space it gets: doubling a
8448 duration adds a fixed amount (this amount is controlled by
8449 @code{spacing-increment}) of space to the note.
8451 For example, the following piece contains lots of half, quarter and
8452 8th notes, the eighth note is followed by 1 note head width (NHW).
8453 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8454 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8458 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8459 width of a note head, and @code{shortest-duration-space} is set to
8460 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8461 @code{shortest-duration-space}) of space. For normal notes, this space
8462 is always counted from the left edge of the symbol, so the shortest
8463 notes are generally followed by one NHW of space.
8465 If one would follow the above procedure exactly, then adding a single
8466 32th note to a score that uses 8th and 16th notes, would widen up the
8467 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8468 thus adding 1 NHW to every note. To prevent this, the
8469 shortest duration for spacing is not the shortest note in the score,
8470 but the most commonly found shortest note. Notes that are even
8471 shorter this are followed by a space that is proportional to their
8472 duration relative to the common shortest note. So if we were to add
8473 only a few 16th notes to the example above, they would be followed by
8476 @lilypond[fragment,verbatim,relative=2]
8477 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8480 The most common shortest duration is determined as follows: in every
8481 measure, the shortest duration is determined. The most common short
8482 duration, is taken as the basis for the spacing, with the stipulation
8483 that this shortest duration should always be equal to or shorter than
8484 1/8th note. The shortest duration is printed when you run lilypond
8485 with @code{--verbose}. These durations may also be customized. If you
8486 set the @code{common-shortest-duration} in
8487 @internalsref{SpacingSpanner}, then this sets the base duration for
8488 spacing. The maximum duration for this base (normally 1/8th), is set
8489 through @code{base-shortest-duration}.
8491 @cindex @code{common-shortest-duration}
8492 @cindex @code{base-shortest-duration}
8493 @cindex @code{stem-spacing-correction}
8494 @cindex @code{spacing}
8496 In the introduction it was explained that stem directions influence
8497 spacing. This is controlled with @code{stem-spacing-correction}
8498 property in @internalsref{NoteSpacing}, which are generated for every
8499 @internalsref{Voice} context. The @code{StaffSpacing} object
8500 (generated at @internalsref{Staff} context) contains the same property
8501 for controlling the stem/bar line spacing. The following example
8502 shows these corrections, once with default settings, and once with
8503 exaggerated corrections:
8509 \override Staff.NoteSpacing #'stem-spacing-correction
8511 \override Staff.StaffSpacing #'stem-spacing-correction
8516 \paper { raggedright = ##t } }
8519 @cindex SpacingSpanner, overriding properties
8521 Properties of the @internalsref{SpacingSpanner} must be overridden
8522 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8523 created before any property commands are interpreted.
8525 \paper @{ \translator @{
8527 SpacingSpanner \override #'spacing-increment = #3.0
8534 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8535 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8536 @internalsref{SeparatingGroupSpanner}.
8540 Spacing is determined on a score wide basis. If you have a score that
8541 changes its character (measured in durations) halfway during the
8542 score, the part containing the longer durations will be spaced too
8545 There is no convenient mechanism to manually override spacing.
8550 @subsection Font size
8551 @cindex font size, setting
8552 @cindex staff size, setting
8553 @cindex @code{paper} file
8555 The Feta font provides musical symbols at eight seven different
8556 sizes. Each font is tuned for a different staff size: at smaller sizes
8557 the font gets heavier, to match the relatively heavier staff lines.
8558 The recommended font sizes are listed in the following table:
8560 @multitable @columnfractions .25 .25 .25 .25
8563 @tab @b{staff height (pt)}
8564 @tab @b{staff height (mm)}
8606 @c modern rental material ?
8610 These fonts are available in any sizes. The context property
8611 @code{fontSize} and the layout property @code{staff-space} (in
8612 @internalsref{StaffSymbol}) can be used to tune size for individual
8613 staffs. The size of individual staffs are relative to the global size,
8614 which can be set in the following manner:
8617 #(set-global-staff-size 14)
8620 This sets the global default size to 14pt staff height, and scales all
8626 @subsection Line breaking
8629 @cindex breaking lines
8631 Line breaks are normally computed automatically. They are chosen such
8632 that lines look neither cramped nor loose, and that consecutive lines
8633 have similar density.
8635 Occasionally you might want to override the automatic breaks; you can
8636 do this by specifying @code{\break}. This will force a line break at
8637 this point. Line breaks can only occur at places where there are bar
8638 lines. If you want to have a line break where there is no bar line,
8639 you can force an invisible bar line by entering @code{\bar
8640 ""}. Similarly, @code{\noBreak} forbids a line break at a
8644 @cindex regular line breaks
8645 @cindex four bar music.
8647 For line breaks at regular intervals use @code{\break} separated by
8648 skips and repeated with @code{\repeat}:
8650 << \repeat unfold 7 @{
8651 s1 \noBreak s1 \noBreak
8652 s1 \noBreak s1 \break @}
8653 @emph{the real music}
8658 This makes the following 28 measures (assuming 4/4 time) be broken every
8659 4 measures, and only there.
8663 @code{\break}, @code{\noBreak}
8664 @cindex @code{\break}
8665 @cindex @code{\noBreak}
8669 Internals: @internalsref{BreakEvent}.
8673 @subsection Page layout
8676 @cindex breaking pages
8678 @cindex @code{indent}
8679 @cindex @code{linewidth}
8681 The most basic settings influencing the spacing are @code{indent} and
8682 @code{linewidth}. They are set in the @code{\paper} block. They
8683 control the indentation of the first line of music, and the lengths of
8686 If @code{raggedright} is set to true in the @code{\paper}
8687 block, then the lines are justified at their natural length. This
8688 useful for short fragments, and for checking how tight the natural
8692 @cindex vertical spacing
8694 The page layout process happens outside the LilyPond formatting
8695 engine: variables controlling page layout are passed to the output,
8696 and are further interpreted by @code{lilypond} wrapper program. It
8697 responds to the following variables in the @code{\paper} block. The
8698 variable @code{textheight} sets the total height of the music on each
8699 page. The spacing between systems is controlled with
8700 @code{interscoreline}, its default is 16pt. The distance between the
8701 score lines will stretch in order to fill the full page
8702 @code{interscorelinefill} is set to a positive number. In that case
8703 @code{interscoreline} specifies the minimum spacing.
8705 @cindex @code{textheight}
8706 @cindex @code{interscoreline}
8707 @cindex @code{interscorelinefill}
8709 If the variable @code{lastpagefill} is defined,
8710 @c fixme: this should only be done if lastpagefill= #t
8711 systems are evenly distributed vertically on the last page. This
8712 might produce ugly results in case there are not enough systems on the
8713 last page. The @command{lilypond-book} command ignores
8714 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8717 @cindex @code{lastpagefill}
8719 Page breaks are normally computed by @TeX{}, so they are not under
8720 direct control of LilyPond. However, you can insert a commands into
8721 the @file{.tex} output to instruct @TeX{} where to break pages. This
8722 is done by setting the @code{between-systems-strings} on the
8723 @internalsref{NonMusicalPaperColumn} where the system is broken.
8724 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8725 The predefined command @code{\newpage} also does this.
8729 @cindex @code{papersize}
8731 To change the paper size, use the following Scheme code:
8734 #(set-paper-size "a4")
8741 @cindex @code{\newpage}
8747 In this manual: @ref{Invoking lilypond}.
8749 Examples: @inputfileref{input/regression,between-systems.ly}.
8751 Internals: @internalsref{NonMusicalPaperColumn}.
8755 LilyPond has no concept of page layout, which makes it difficult to
8756 reliably choose page breaks in longer pieces.
8765 Entered music can also be converted to MIDI output. The performance
8766 is good enough for proof-hearing the music for errors.
8768 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8769 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8770 marks translate to a fixed fraction of the available MIDI volume
8771 range, crescendi and decrescendi make the volume vary linearly between
8772 their two extremities. The fractions can be adjusted by
8773 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8774 For each type of MIDI instrument, a volume range can be defined. This
8775 gives a basic equalizer control, which can enhance the quality of
8776 the MIDI output remarkably. The equalizer can be controlled by
8777 setting @code{instrumentEqualizer}.
8781 Many musically interesting effects, such as swing, articulation,
8782 slurring, etc., are not translated to MIDI.
8784 Since slurs are not interpreted, @code{\lyricsto} and
8785 @code{\addlyrics} sections will be interpreted wrongly.
8787 The MIDI output allocates a channel for each Staff, and one for global
8788 settings. Hence, the MIDI file should not have more than 15 staves
8789 (or 14 if you do not use drums).
8794 * MIDI instrument names::
8799 @subsection MIDI block
8803 The MIDI block is analogous to the paper block, but it is somewhat
8804 simpler. The @code{\midi} block can contain:
8808 @item a @code{\tempo} definition, and
8809 @item context definitions.
8812 Assignments in the @code{\midi} block are not allowed.
8814 A number followed by a period is interpreted as a real number, so
8815 for setting the tempo for dotted notes, an extra space should be
8816 inserted, for example:
8819 \midi @{ \tempo 4 . = 120 @}
8823 @cindex context definition
8825 Context definitions follow precisely the same syntax as within the
8826 \paper block. Translation modules for sound are called performers.
8827 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8830 @node MIDI instrument names
8831 @subsection MIDI instrument names
8833 @cindex instrument names
8834 @cindex @code{Staff.midiInstrument}
8836 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8837 property. The instrument name should be chosen from the list in
8838 @ref{MIDI instruments}.
8842 If the selected string does not exactly match, then the default is
8843 used, which is the Grand Piano.