3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
39 @c FIXME: Note entry vs Music entry at top level menu is confusing.
45 The basic elements of any piece of music are the notes. This section
46 is about basic notation elements notes, rests and related constructs,
47 such as stems, tuplets and ties.
52 * Chromatic alterations::
60 * Easy Notation note heads ::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative 2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
179 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
181 @node Chromatic alterations
182 @subsection Chromatic alterations
184 Normally accidentals are printed automatically, but you may also
185 print them manually. A reminder accidental
186 @cindex reminder accidental
188 can be forced by adding an exclamation mark @code{!}
189 after the pitch. A cautionary accidental
190 @cindex cautionary accidental
191 @cindex parenthesized accidental
192 (an accidental within parentheses) can be obtained by adding the
193 question mark `@code{?}' after the pitch:
195 @lilypond[fragment,verbatim]
196 cis' cis' cis'! cis'?
200 The automatic production of accidentals can be tuned in many
201 ways. For more information, refer to @ref{Accidentals}.
206 A chord is formed by a enclosing a set of pitches in @code{<} and
207 @code{>}. A chord may be followed by a duration, and a set of
208 articulations, just like simple notes.
218 Rests are entered like notes, with the note name @code{r}:
220 @lilypond[singleline,verbatim]
224 Whole bar rests, centered in middle of the bar,
225 must be done with multi measure rests. They are discussed in
226 @ref{Multi measure rests}.
229 A rest's vertical position may be explicitly specified by entering a
230 note with the @code{\rest} keyword appended. This makes manual
231 formatting in polyphonic music easier. Rest collision testing will
232 leave these rests alone:
234 @lilypond[singleline,verbatim]
240 @internalsref{RestEvent}, and @internalsref{Rest}.
247 @cindex Invisible rest
250 An invisible rest (also called a `skip') can be entered like a note
251 with note name `@code{s}' or with @code{\skip @var{duration}}:
253 @lilypond[singleline,verbatim]
257 The @code{s} syntax is only available in Note mode and Chord mode. In
258 other situations, you should use the @code{\skip} command:
260 @lilypond[singleline,verbatim]
263 { \time 4/8 \skip 2 \time 4/4 }
264 \notes\relative c'' { a2 a1 }
269 The skip command is merely an empty musical placeholder. It does not
270 produce any output, not even transparent output.
274 @internalsref{SkipEvent}.
279 @subsection Durations
285 In Note, Chord, and Lyrics mode, durations are designated by numbers
286 and dots: durations are entered as their reciprocal values. For example,
287 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
288 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
289 longer than a whole you must use variables:
291 @c FIXME: what is an identifier? I do not think it's been introduced yet.
292 @c and if it has, I obviously skipped that part. - Graham
296 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
298 r1 r2 r4 r8 r16 r32 r64 r64
303 \notes \relative c'' {
305 a1 a2 a4 a8 a16 a32 a64 a64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \remove "Clef_engraver"
313 \remove "Staff_symbol_engraver"
314 \remove "Time_signature_engraver"
315 \consists "Pitch_squash_engraver"
322 If the duration is omitted then it is set to the previously entered
323 duration. The default for the first note is a quarter note. The duration
324 can be followed by dots (`@code{.}') in order to obtain dotted note
328 @lilypond[fragment,verbatim,center]
329 a' b' c''8 b' a'4 a'4. b'4.. c'8.
334 You can alter the length of duration by a fraction @var{N/M}
335 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
336 will not affect the appearance of the notes or rests produced.
337 In the following example, the first three notes take up exactly two
339 @lilypond[fragment,relative 2,verbatim]
341 a4*2/3 gis4*2/3 a4*2/3
348 Dots are normally moved up to avoid staff lines, except in polyphonic
349 situations. The following commands may be used to force a particular
352 @cindex @code{\dotsUp}
354 @cindex @code{\dotsDown}
356 @cindex @code{\dotsBoth}
361 @internalsref{Dots}, and @internalsref{DotColumn}.
365 In dense chords, dots can overlap.
370 Whenever a note is found, a @internalsref{Stem} object is created
371 automatically. For whole notes and rests, they are also created but
376 @cindex @code{\stemUp}
378 @cindex @code{\stemDown}
380 @cindex @code{\stemBoth}
391 A tie connects two adjacent note heads of the same pitch. The tie in
392 effect extends the length of a note. Ties should not be confused with
393 slurs, which indicate articulation, or phrasing slurs, which indicate
394 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
396 @lilypond[fragment,verbatim,center]
397 e' ~ e' <c' e' g'> ~ <c' e' g'>
400 When a tie is applied to a chord, all note heads whose pitches match
401 are connected. When no note heads match, no ties will be created.
403 In its meaning a tie is just a way of extending a note duration, similar
404 to the augmentation dot; in the following example there are two ways of
405 notating exactly the same concept:
407 @lilypond[fragment, singleline,quote]
408 \time 3/4 c'2. c'2 ~ c'4
410 If you need to tie a lot of notes over bars, it may be easier to use automatic
411 note splitting (See @ref{Automatic note splitting}).
416 @cindex @code{\tieUp}
418 @cindex @code{\tieDown}
420 @cindex @code{\tieBoth}
422 @cindex @code{\tieDotted}
424 @cindex @code{\tieSolid}
429 @internalsref{TieEvent}, @internalsref{NewTieEvent},
430 @internalsref{Tie}, and @ref{Automatic note splitting}.
433 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
437 Tieing only a subset of the note heads of a pair of chords is not
438 supported in a simple way.
441 It can be achieved by moving the
442 tie-engraver into the @internalsref{Thread} context and turning on and
443 off ties per @internalsref{Thread}.
446 Switching staves when a tie is active will not produce a slanted tie.
448 Formatting of ties is a difficult subject. The results are often not
458 @cindex @code{\times}
460 Tuplets are made out of a music expression by multiplying all durations
463 @cindex @code{\times}
465 \times @var{fraction} @var{musicexpr}
469 The duration of @var{musicexpr} will be multiplied by the fraction.
470 The fraction's denominator will be printed over the notes, optionally
471 with a bracket. The most common tuplet is the triplet in which 3
472 notes have the length of 2, so the notes are 2/3 of their written
475 @lilypond[fragment,verbatim,center]
476 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
479 The property @code{tupletSpannerDuration} specifies how long each
480 bracket should last. With this, you can make lots of tuplets while
481 typing @code{\times} only once, saving lots of typing. In the next
482 example, there are two triplets shown, while @code{\times} was only
485 @lilypond[fragment, relative, singleline, verbatim]
486 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
487 \times 2/3 { c'8 c c c c c }
490 The format of the number is determined by the property
491 @code{tupletNumberFormatFunction}. The default prints only the
492 denominator, but if it is set to the Scheme function
493 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
497 @cindex @code{tupletNumberFormatFunction}
498 @cindex tuplet formatting
503 @cindex @code{\tupletUp}
505 @cindex @code{\tupletDown}
507 @cindex @code{\tupletBoth}
512 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
516 Nested tuplets are not formatted automatically. In this case, outer
517 tuplet brackets should be moved manually.
519 @node Easy Notation note heads
520 @subsection Easy Notation note heads
522 @cindex easy notation
525 The `easy play' note head includes a note name inside the head. It is
526 used in music aimed at beginners:
528 @lilypond[singleline,verbatim,26pt]
530 \notes { c'2 e'4 f' | g'1 }
531 \paper { \translator { \EasyNotation } }
535 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
536 You probably will want to print it with magnification or a
537 large font size to make it more readable. To print with
538 magnification, you must create a DVI file (with @file{lilypond}) and
539 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
540 See the @code{dvips} documentation for more details. To print with a
541 larger font, see @ref{Font Size}.
547 If you view the result with Xdvi, then staff lines will show through
548 the letters. Printing the PostScript file obtained does produce the
552 @node Easier music entry
553 @section Easier music entry
556 When entering music it is easy to introduce errors. This section deals
557 with tricks and features of the input language that were added solely
558 to help entering music, and find and correct mistakes.
560 It is also possible to use external programs, for example GUI
561 interfaces, or MIDI transcription programs, to enter or edit
562 music. Refer to the website for more information. Finally, there are
563 tools make debugging easier, by linking the input file and the output
564 shown on screen. See @ref{Point and click} for more information.
571 * Skipping corrected music::
572 * Automatic note splitting ::
578 @node Relative octaves
579 @subsection Relative octaves
581 @cindex relative octave specification
583 Octaves are specified by adding @code{'} and @code{,} to pitch names.
584 When you copy existing music, it is easy to accidentally put a pitch
585 in the wrong octave and hard to find such an error. The relative
586 octave mode prevents these errors: a single error puts the rest of the
587 piece off by one octave:
589 @cindex @code{\relative}
591 \relative @var{startpitch} @var{musicexpr}
594 The octave of notes that appear in @var{musicexpr} are calculated as
595 follows: If no octave changing marks are used, the basic interval
596 between this and the last note is always taken to be a fourth or less
597 (; this distance is determined without regarding alterations: a
598 @code{fisis} following a @code{ceses} will be put above the
601 The octave changing marks @code{'} and @code{,} can be added to raise
602 or lower the pitch by an extra octave. Upon entering relative mode,
603 an absolute starting pitch must be specified that will act as the
604 predecessor of the first note of @var{musicexpr}.
606 Here is the relative mode shown in action:
607 @lilypond[fragment,singleline,verbatim,center]
613 Octave changing marks are used for intervals greater than a fourth:
614 @lilypond[fragment,verbatim,center]
619 If the preceding item is a chord, the first note of the chord is used
620 to determine the first note of the next chord:
622 @lilypond[fragment,verbatim,center]
629 @cindex @code{\notes}
631 The pitch after the @code{\relative} contains a note name. To parse
632 the pitch as a note name, you have to be in note mode, so there must
633 be a surrounding @code{\notes} keyword (which is not
636 The relative conversion will not affect @code{\transpose},
637 @code{\chords} or @code{\relative} sections in its argument. If you
638 want to use relative within transposed music, you must place an
639 additional @code{\relative} inside the @code{\transpose}.
642 @subsection Octave check
645 Octave checks make octave errors easier to correct.
651 This checks that @var{pitch} (without octave) yields @var{pitch} (with
652 octave) in \relative mode. If not, a warning is printed, and the
653 octave is corrected, for example, the first check is passed
654 successfully. The second check fails with an error message. The
655 octave is adjusted so the following notes are in the correct octave
666 The octave of a note following an octave check is determined with
667 respect to the note preceding it. In the next fragment, the last note
668 is a @code{a'}, above central C. Hence, the @code{\octave} check may
669 be deleted without changing the meaning of the piece.
671 @lilypond[verbatim,fragment]
682 @subsection Bar check
686 @cindex @code{barCheckSynchronize}
689 Bar checks help detect errors in the durations. A bar check is
690 entered using the bar symbol, `@code{|}'. Whenever it is encountered
691 during interpretation, it should fall on a measure boundary. If it
692 does not, a warning is printed. Depending on the value of
693 @code{barCheckSynchronize}, the beginning of the measure will be
696 In the next example, the second bar check will signal an error:
698 \time 3/4 c2 e4 | g2 |
703 @cindex skipTypesetting
705 Failed bar checks are caused by entering incorrect
706 durations. Incorrect durations often completely garble up the score,
707 especially if it is polyphonic, so you should start correcting the
708 score by scanning for failed bar checks and incorrect durations. To
709 speed up this process, you can use @code{skipTypesetting}, described
712 @node Skipping corrected music
713 @subsection Skipping corrected music
715 The property @code{Score.skipTypesetting} can be used to switch on and
716 off typesetting completely during the interpretation phase. When
717 typesetting is switched off, the music is processed much more quickly.
718 This can be used to skip over the parts of a score that have already
719 been checked for errors:
721 @lilypond[fragment,singleline,verbatim]
723 \property Score.skipTypesetting = ##t
725 \property Score.skipTypesetting = ##f
729 @node Automatic note splitting
730 @subsection Automatic note splitting
732 Long notes can be converted automatically to tied notes. This is done
733 by replacing the @internalsref{Note_heads_engraver} by the
734 @internalsref{Completion_heads_engraver}:
737 \paper @{ \translator @{
739 \remove "Note_heads_engraver"
740 \consists "Completion_heads_engraver"
744 which will make long notes tied in the following example:
747 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
754 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
756 \paper { \translator {
758 \remove "Note_heads_engraver"
759 \consists "Completion_heads_engraver"
764 This engraver splits all running notes at the bar line, and inserts
765 ties. One of its uses is to debug complex scores: if the measures are
766 not entirely filled, then the ties exactly show how much each measure
771 Not all durations (especially those containing tuplets) can be
772 represented exactly; the engraver will not insert tuplets.
778 @section Staff notation
780 This section describes music notation that occurs on staff level,
781 such as keys, clefs and time signatures.
783 @cindex Staff notation
797 @subsection Staff symbol
799 @cindex adjusting staff symbol
800 @cindex StaffSymbol, using \property
802 Notes, dynamic signs, etc. are grouped
803 with a set of horizontal lines, into a staff (plural `staves'). In our
804 system, these lines are drawn using a separate layout object called
808 @cindex staff lines, setting number of
809 @cindex staff lines, setting thickness of
810 @cindex thickness of staff lines, setting
811 @cindex number of staff lines, setting
813 This object is created whenever a @internalsref{Staff} context is
814 created. The appearance of the staff symbol cannot be changed by
815 using @code{\override} or @code{\set}. At the moment that
816 @code{\property Staff} is interpreted, a @internalsref{Staff} context
817 is made, and the @internalsref{StaffSymbol} is created before any
818 @code{\override} is effective. Properties can be changed in a
819 @code{\translator} definition, or by using @code{\applyoutput}.
823 If a staff is ended halfway a piece, the staff symbol may not end
824 exactly on the barline.
828 @subsection Key signature
829 @cindex Key signature
833 The key signature indicates the scale in which a piece is played. It
834 is denoted by a set of alterations (flats or sharps) at the start of
839 Setting or changing the key signature is done with the @code{\key}
842 @code{\key} @var{pitch} @var{type}
845 @cindex @code{\minor}
846 @cindex @code{\major}
847 @cindex @code{\minor}
848 @cindex @code{\ionian}
849 @cindex @code{\locrian}
850 @cindex @code{\aeolian}
851 @cindex @code{\mixolydian}
852 @cindex @code{\lydian}
853 @cindex @code{\phrygian}
854 @cindex @code{\dorian}
856 Here, @var{type} should be @code{\major} or @code{\minor} to get
857 @var{pitch}-major or @var{pitch}-minor, respectively.
858 The standard mode names @code{\ionian},
859 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
860 @code{\phrygian}, and @code{\dorian} are also defined.
862 This command sets the context property
863 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
864 can be specified by setting this property directly.
866 Accidentals and key signatures often confuse new users, because
867 unaltered notes get natural signs depending on the keysignature. The
868 tutorial explains why this is so in @ref{More about pitches}.
872 The ordering of a key cancellation is wrong when it is combined with
873 repeat bar lines. The cancellation is also printed after a line break.
877 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
879 @cindex @code{keySignature}
886 The clef indicates which lines of the staff correspond to which
891 The clef can be set or changed with the @code{\clef} command:
892 @lilypond[fragment,verbatim]
893 \key f\major c''2 \clef alto g'2
896 Supported clef-names include:
897 @c Moved standard clefs to the top /MB
901 @item treble, violin, G, G2
914 G clef on 1st line, so-called French violin clef
919 @cindex mezzosoprano clef
922 @cindex baritone clef
925 @cindex varbaritone clef
934 By adding @code{_8} or @code{^8} to the clef name, the clef is
935 transposed one octave down or up, respectively, and @code{_15} and
936 @code{^15} transposes by two octaves. The argument @var{clefname}
937 must be enclosed in quotes when it contains underscores or digits. For
941 @cindex choral tenor clef
942 @lilypond[verbatim,fragment,relative]
946 This command is equivalent to setting @code{clefGlyph},
947 @code{clefPosition} (which controls the Y position of the clef),
948 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
949 when any of these properties are changed.
953 The object for this symbol is @internalsref{Clef}.
957 @node Ottava brackets
958 @subsection Ottava brackets
960 ``Ottava'' brackets introduce an extra transposition of an octave for
961 the staff. They are created by invoking the function
962 @code{set-octavation}:
968 @lilypond[verbatim,fragment]
977 Internally the @code{set-octavation} function sets the properties
978 @code{ottavation} (eg. to @code{"8va"}) and
979 @code{centralCPosition}. The function also takes arguments -1 (for 8va
980 bassa) and 2 (for 15ma).
982 @internalsref{OttavaSpanner}.
986 @code{set-octavation} will get confused when clef changes happen
987 during an octavation bracket.
990 @subsection Time signature
991 @cindex Time signature
995 Time signature indicates the metrum of a piece: a regular pattern of
996 strong and weak beats. It is denoted by a fraction at the start of the
1001 The time signature is set or changed by the @code{\time}
1003 @lilypond[fragment,verbatim]
1004 \time 2/4 c'2 \time 3/4 c'2.
1007 The symbol that is printed can be customized with the @code{style}
1008 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1009 2/2 time. There are many more options for its layout. See
1010 @inputfileref{input/test,time.ly} for more examples.
1013 This command sets the property @code{timeSignatureFraction},
1014 @code{beatLength} and @code{measureLength} in the @code{Timing}
1015 context, which is normally aliased to @internalsref{Score}. The
1016 property @code{measureLength} determines where bar lines should be
1017 inserted, and how automatic beams should be generated. Changing the
1018 value of @code{timeSignatureFraction} also causes the symbol to be
1021 More options are available through the Scheme function
1022 @code{set-time-signature}. In combination with the
1023 @internalsref{Measure_grouping_engraver}, it will create
1024 @internalsref{MeasureGrouping} signs. Such signs ease reading
1025 rhythmically complex modern music. In the following example, the 9/8
1026 measure is subdivided in 2, 2, 2 and 3. This is passed to
1027 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1030 \score { \notes \relative c'' {
1031 #(set-time-signature 9 8 '(2 2 2 3))
1032 g8[ g] d[ d] g[ g] a8[( bes g]) |
1033 #(set-time-signature 5 8 '(3 2))
1038 \translator { \StaffContext
1039 \consists "Measure_grouping_engraver"
1045 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1050 Automatic beaming does not use measure grouping specified with
1051 @code{set-time-signature}.
1053 @node Partial measures
1054 @subsection Partial measures
1057 @cindex partial measure
1058 @cindex measure, partial
1059 @cindex shorten measures
1060 @cindex @code{\partial}
1062 Partial measures, for example in upsteps, are entered using the
1063 @code{\partial} command:
1064 @lilypond[fragment,verbatim,relative 1]
1065 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1068 The syntax for this command is
1070 \partial @var{duration}
1072 This is internally translated into
1074 \property Timing.measurePosition = -@var{length of duration}
1077 The property @code{measurePosition} contains a rational number
1078 indicating how much of the measure has passed at this point.
1080 @node Unmetered music
1081 @subsection Unmetered music
1083 Bar lines and bar numbers are calculated automatically. For unmetered
1084 music (e.g. cadenzas), this is not desirable. By setting
1085 @code{Score.timing} to false, this automatic timing can be switched
1091 @cindex @code{\cadenzaOn}
1093 @cindex @code{\cadenzaOff}
1097 @subsection Bar lines
1101 @cindex measure lines
1105 Bar lines delimit measures, but are also used to indicate repeats.
1106 Normally, they are inserted automatically. Line breaks may only
1112 of barlines can be forced with the @code{\bar} command:
1114 @lilypond[relative=1,fragment,verbatim]
1118 The following bar types are available:
1119 @lilypond[fragment, relative, singleline, verbatim]
1130 For allowing linebreaks, there is a special command,
1134 This will insert an invisible barline, and allow linebreaks at this
1137 In scores with many staves, a @code{\bar} command in one staff is
1138 automatically applied to all staves. The resulting bar lines are
1139 connected between different staves of a @internalsref{StaffGroup}:
1141 @lilypond[fragment, verbatim]
1142 << \context StaffGroup <<
1146 \new Staff { \clef bass c4 g e g } >>
1147 \new Staff { \clef bass c2 c2 } >>
1151 The command @code{\bar @var{bartype}} is a short cut for doing
1152 @code{\property Score.whichBar = @var{bartype}} Whenever
1153 @code{whichBar} is set to a string, a bar line of that type is
1154 created. At the start of a measure it is set to
1155 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1156 to override default measure bars.
1158 Property @code{whichBar} can also be set directly, using @code{\property}
1159 or @code{\bar}. These settings take precedence over the automatic
1160 @code{whichBar} settings.
1163 @cindex repeatCommands
1164 @cindex defaultBarType
1166 You are encouraged to use @code{\repeat} for repetitions. See
1176 The bar line objects that are created at @internalsref{Staff} level
1177 are called @internalsref{BarLine}, the bar lines that span staves are
1178 @internalsref{SpanBar}s.
1180 @cindex bar lines at start of system
1181 @cindex start of system
1183 The barlines at the start of each system are
1184 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1185 @internalsref{SystemStartBracket}. They are spanner objects and
1186 typically must be tuned from a @code{\translator} block.
1193 The easiest way to enter fragments with more than one voice on a staff
1194 is to split chords using the separator @code{\\}. You can use it for
1195 small, short-lived voices or for single chords:
1197 @lilypond[verbatim,fragment]
1198 \context Staff \relative c'' {
1199 c4 << { f d e } \\ { b c2 } >>
1200 c4 << g' \\ b, \\ f' \\ d >>
1204 The separator causes @internalsref{Voice} contexts to be
1206 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1207 contexts, vertical direction of slurs, stems, etc. is set
1210 This can also be done by instantiating @internalsref{Voice} contexts
1211 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1212 a stem directions and horizontal shift for each part:
1215 @lilypond[singleline, verbatim]
1217 \context Staff << \new Voice { \voiceOne cis2 b }
1218 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1219 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1222 Normally, note heads with a different number of dots are not merged, but
1223 when the object property @code{merge-differently-dotted} is set in
1224 the @internalsref{NoteCollision} object, they are merged:
1225 @lilypond[verbatim,fragment,singleline]
1226 \relative c'' \context Voice << {
1228 \property Staff.NoteCollision \override
1229 #'merge-differently-dotted = ##t
1231 } \\ { g8.[ f16] g8.[ f16] }
1235 Similarly, you can merge half note heads with eighth notes, by setting
1236 @code{merge-differently-headed}:
1237 @lilypond[fragment, relative=2,verbatim]
1240 \property Staff.NoteCollision
1241 \override #'merge-differently-headed = ##t
1242 c8 c4. } \\ { c2 c2 } >>
1245 LilyPond also vertically shifts rests that are opposite of a stem:
1248 @lilypond[singleline,fragment,verbatim]
1249 \context Voice << c''4 \\ r4 >>
1257 @cindex @code{\oneVoice}
1259 @cindex @code{\voiceOne}
1261 @cindex @code{\voiceTwo}
1263 @cindex @code{\voiceThree}
1265 @cindex @code{\voiceFour}
1268 The following commands specify in what chords of the current voice
1269 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1270 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1273 @cindex @code{\shiftOn}
1275 @cindex @code{\shiftOnn}
1277 @cindex @code{\shiftOnnn}
1279 @cindex @code{\shiftOff}
1286 The objects responsible for resolving collisions are
1287 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1288 also example files @inputfileref{input/regression,collision-dots.ly},
1289 @inputfileref{input/regression,collision-head-chords.ly},
1290 @inputfileref{input/regression,collision-heads.ly},
1291 @inputfileref{input/regression,collision-mesh.ly}, and
1292 @inputfileref{input/regression,collisions.ly}.
1297 Resolving collisions is a intricate subject, and only a few situations
1298 are handled. When LilyPond cannot cope, the @code{force-hshift}
1299 property of the @internalsref{NoteColumn} object and pitched rests can
1300 be used to override typesetting decisions.
1302 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1303 note, and a downstem half note, the 8th note gets the wrong offset.
1308 Beams are used to group short notes into chunks that are aligned with
1309 the metrum. They are inserted automatically in most cases:
1311 @lilypond[fragment,verbatim, relative=2]
1312 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1315 When these automatic decisions are not good enough, beaming can be
1316 entered explicitly. It is also possible to define beaming patterns
1317 that differ from the defaults.
1321 @internalsref{Beam}.
1324 @cindex Automatic beams
1325 @subsection Manual beams
1326 @cindex beams, manual
1330 In some cases it may be necessary to override the automatic beaming
1331 algorithm. For example, the auto beamer will not put beams over rests
1332 or bar lines. Such beams are specified by manually: the begin and end
1333 point are marked with @code{[} and @code{]}:
1335 @lilypond[fragment,relative,verbatim]
1337 r4 r8[ g' a r8] r8 g[ | a] r8
1341 @cindex @code{stemLeftBeamCount}
1343 Normally, beaming patterns within a beam are determined automatically.
1344 When this mechanism fouls up, the properties
1345 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1346 be used to control the beam subdivision on a stem. If either property
1347 is set, its value will be used only once, and then it is erased.
1349 @lilypond[fragment,relative,verbatim]
1352 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1355 @cindex @code{stemRightBeamCount}
1358 The property @code{subdivideBeams} can be set in order to subdivide
1359 all 16th or shorter beams at beat positions, as defined by the
1360 @code{beatLength} property . This accomplishes the same effect as
1361 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1362 but it take less typing:
1365 @lilypond[relative=1,verbatim,noindent]
1367 \property Voice.subdivideBeams = ##t
1369 \property Score.beatLength = #(ly:make-moment 1 8)
1372 @cindex subdivideBeams
1374 Kneed beams are inserted automatically, when a large gap is detected
1375 between the note heads. This behavior can be tuned through the object
1376 property @code{auto-knee-gap}.
1378 Normally, line breaks are forbidden when beams cross bar lines. This
1379 behavior can be changed by setting @code{allowBeamBreak}.
1381 @cindex @code{allowBeamBreak}
1382 @cindex beams and line breaks
1384 @cindex beams, kneed
1386 @cindex auto-knee-gap
1392 @cindex Frenched staves
1394 Automatically kneed beams cannot be used together with hidden staves.
1399 * Setting automatic beam behavior ::
1403 @no de Beam typography
1404 @sub section Beam typography
1406 One of the strong points of LilyPond is how beams are formatted. Beams
1407 are quantized, meaning that the left and right endpoints beams start
1408 exactly on staff lines. Without quantization, small wedges of white
1409 space appear between the beam and staff line, and this looks untidy.
1411 Beams are also slope-damped: melodies that go up or down should also
1412 have beams that go up or down, but the slope of the beams should be
1413 less than the slope of the notes themselves.
1415 Some beams should be horizontal. These are so-called concave beams.
1417 [TODO: some pictures.]
1421 @node Setting automatic beam behavior
1422 @subsection Setting automatic beam behavior
1424 @cindex @code{autoBeamSettings}
1425 @cindex @code{(end * * * *)}
1426 @cindex @code{(begin * * * *)}
1427 @cindex automatic beams, tuning
1428 @cindex tuning automatic beaming
1430 @c [TODO: use \applycontext]
1432 In normal time signatures, automatic beams can start on any note but can
1433 only end in a few positions within the measure: beams can end on a beat,
1434 or at durations specified by the properties in
1435 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1436 are defined in @file{scm/auto-beam.scm}.
1438 The value of @code{autoBeamSettings} is changed using
1439 @code{\override} and restored with @code{\revert}:
1441 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1442 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1444 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1445 whether the rule applies to begin or end-points. The quantity
1446 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1447 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1448 signature (wildcards, `@code{* *}' may be entered to designate all time
1451 For example, if automatic beams should end on every quarter note, use
1454 \property Voice.autoBeamSettings \override
1455 #'(end * * * *) = #(ly:make-moment 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 \property Voice.autoBeamSettings \override
1464 #'(end * * * *) = #(ly:make-moment 3 8)
1466 In 4/4 time signature, this means that automatic beams could end only on
1467 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1468 3/8 has passed within the measure).
1470 Rules can also be restricted to specific time signatures. A rule that
1471 should only be applied in @var{N}/@var{M} time signature is formed by
1472 replacing the second asterisks by @var{N} and @var{M}. For example, a
1473 rule for 6/8 time exclusively looks like
1475 \property Voice.autoBeamSettings \override
1476 #'(begin * * 6 8) = ...
1479 If a rule should be to applied only to certain types of beams, use the
1480 first pair of asterisks. Beams are classified according to the
1481 shortest note they contain. For a beam ending rule that only applies
1482 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1485 If a score ends while an automatic beam has not been ended and is still
1486 accepting notes, this last beam will not be typeset at all.
1488 @cindex automatic beam generation
1490 @cindex @code{Voice.autoBeaming}
1493 For melodies that have lyrics, you may want to switch off
1494 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1499 @cindex @code{\autoBeamOff}
1500 @code{\autoBeamOff},
1501 @cindex @code{\autoBeamOn}
1507 The rules for ending a beam depend on the shortest note in a beam.
1508 So, while it is possible to have different ending rules for eight
1509 beams and sixteenth beams, a beam that contains both eight and
1510 sixteenth notes will use the rules for the sixteenth beam.
1512 In the example below, the autobeamer makes eight beams and sixteenth
1513 end at 3 eights; the third beam can only be corrected by specifying
1516 @lilypond[singleline,fragment,relative,noverbatim,quote]
1517 \property Voice.autoBeamSettings
1518 \override #'(end * * * *) = #(ly:make-moment 3 8)
1519 % rather show case where it goes wrong
1520 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1521 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1523 It is not possible to specify beaming parameters that act differently in
1524 different parts of a measure. This means that it is not possible to use
1525 automatic beaming in irregular meters such as @code{5/8}.
1528 @section Accidentals
1531 This section describes how to change the way that accidentals are
1532 inserted automatically before the running notes.
1536 * Using the predefined accidental variables::
1537 * Customized accidental rules::
1540 @node Using the predefined accidental variables
1541 @subsection Using the predefined accidental variables
1543 The constructs for describing the accidental typesetting rules are
1544 quite hairy, so non-experts should stick to the variables
1545 defined in @file{ly/property-init.ly}.
1546 @cindex @file{property-init.ly}
1548 The variables set properties in the ``@code{Current}'' context (see
1549 @ref{Context properties}). This means that the variables should
1550 normally be added right after the creation of the context in which the
1551 accidental typesetting described by the variable is to take
1552 effect. For example, if you want to use piano-accidentals in a piano
1553 staff then issue @code{\pianoAccidentals} first thing after the
1554 creation of the piano staff:
1557 \notes \relative c'' <<
1558 \new Staff @{ cis4 d e2 @}
1559 \context GrandStaff <<
1561 \new Staff @{ cis4 d e2 @}
1562 \new Staff @{ es2 c @}
1564 \new Staff @{ es2 c @}
1568 @lilypond[singleline]
1570 \notes \relative c'' <<
1571 \new Staff { cis4 d e2 }
1572 \context GrandStaff <<
1574 \new Staff { cis4 d e2 }
1575 \new Staff { es2 c }
1577 \new Staff { es2 c }
1582 minimumVerticalExtent = #'(-4.0 . 4.0)
1590 @item \defaultAccidentals
1591 @cindex @code{\defaultAccidentals}
1592 This is the default typesetting behaviour. It should correspond
1593 to 18th century common practice: Accidentals are
1594 remembered to the end of the measure in which they occur and
1595 only on their own octave.
1597 @item \voiceAccidentals
1598 @cindex @code{\voiceAccidentals}
1600 The normal behaviour is to
1601 remember the accidentals on Staff-level. This variable, however,
1602 typesets accidentals individually for each voice. Apart from that the
1603 rule is similar to @code{\defaultAccidentals}.
1605 This leads to some weird and often unwanted results
1606 because accidentals from one voice do not get cancelled in other
1608 @lilypond[singleline,relative,fragment,verbatim,quote]
1616 Hence you should only use @code{\voiceAccidentals} if the voices
1617 are to be read solely by individual musicians. If the staff is to be
1618 used by one musician (e.g. a conductor) then you use
1619 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1622 @item \modernAccidentals
1623 @cindex @code{\modernAccidentals}
1624 This rule corresponds to the common practice in the 20th
1626 The rule is more complex than @code{\defaultAccidentals}.
1627 You get all the same accidentals, but temporary
1628 accidentals also get cancelled in other octaves. Furthermore,
1629 in the same octave, they also get cancelled in the following measure:
1630 @lilypond[singleline,fragment,verbatim]
1632 cis' c'' cis'2 | c'' c'
1635 @item \modernCautionaries
1636 @cindex @code{\modernCautionaries}
1637 This rule is similar to @code{\modernAccidentals}, but the
1638 ``extra'' accidentals (the ones not typeset by
1639 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1640 They are printed in reduced size or with parentheses:
1641 @lilypond[singleline,fragment,verbatim]
1643 cis' c'' cis'2 | c'' c'
1646 @cindex @code{\modernVoiceAccidentals}
1647 @item \modernVoiceAccidentals
1648 is used for multivoice accidentals to be read both by musicians
1649 playing one voice and musicians playing all voices. Accidentals are
1650 typeset for each voice, but they @emph{are} cancelled across voices in
1651 the same @internalsref{Staff}.
1653 @cindex @code{\modernVoiceCautionaries}
1654 @item \modernVoiceCautionaries
1655 is the same as @code{\modernVoiceAccidentals}, but with the extra
1656 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1657 as cautionaries. Even though all accidentals typeset by
1658 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1659 some of them are typeset as cautionaries.
1661 @item \pianoAccidentals
1662 @cindex @code{\pianoAccidentals}
1663 20th century practice for piano notation. Very similar to
1664 @code{\modernAccidentals} but accidentals also get cancelled
1665 across the staves in the same @internalsref{GrandStaff} or
1666 @internalsref{PianoStaff}.
1668 @item \pianoCautionaries
1669 @cindex @code{\pianoCautionaries}
1670 As @code{\pianoAccidentals} but with the extra accidentals
1671 typeset as cautionaries.
1674 @cindex @code{\noResetKey}
1675 Same as @code{\defaultAccidentals} but with accidentals lasting
1676 ``forever'' and not only until the next measure:
1677 @lilypond[singleline,fragment,verbatim,relative]
1682 @item \forgetAccidentals
1683 @cindex @code{\forgetAccidentals}
1684 This is sort of the opposite of @code{\noResetKey}: Accidentals
1685 are not remembered at all---and hence all accidentals are
1686 typeset relative to the key signature, regardless of what was
1687 before in the music:
1688 @lilypond[singleline,fragment,verbatim,relative]
1690 \key d\major c4 c cis cis d d dis dis
1694 @node Customized accidental rules
1695 @subsection Customized accidental rules
1697 For determining when to print an accidental, several different rules
1698 are tried. The rule that gives the highest number of accidentals is
1699 used. Each rule consists of
1702 In which context is the rule applied. For example, if
1703 @var{context} is @internalsref{Score} then all staves share
1704 accidentals, and if @var{context} is @internalsref{Staff} then all
1705 voices in the same staff share accidentals, but staves do not.
1707 Whether the accidental changes all octaves or only the current
1710 Over how many barlines the accidental lasts.
1711 If @var{lazyness} is @code{-1} then the accidental is forget
1712 immediately, and if @var{lazyness} is @code{#t} then the accidental
1715 @c [TODO: should use +infinity for this case?]
1721 @cindex @code{\defaultAccidentals}
1722 @code{\defaultAccidentals},
1723 @cindex @code{\voiceAccidentals}
1724 @code{\voiceAccidentals},
1725 @cindex @code{\modernAccidentals}
1726 @code{\modernAccidentals},
1727 @cindex @code{\modernCautionaries}
1728 @code{\modernCautionaries},
1729 @cindex @code{\modernVoiceAccidentals}
1730 @code{\modernVoiceAccidentals},
1731 @cindex @code{\modernVoiceCautionaries}
1732 @code{\modernVoiceCautionaries},
1733 @cindex @code{\pianoAccidentals}
1734 @code{\pianoAccidentals},
1735 @cindex @code{\pianoCautionaries}
1736 @code{\pianoCautionaries},
1737 @cindex @code{\noResetKey}
1739 @cindex @code{\forgetAccidentals}
1740 @code{\forgetAccidentals}.
1744 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1745 @internalsref{AccidentalPlacement}.
1750 Currently the simultaneous notes are considered to be entered in
1751 sequential mode. This means that in a chord the accidentals are
1752 typeset as if the notes in the chord happened once at a time - in the
1753 order in which they appear in the input file.
1755 This is only a problem when there are simultaneous notes whose
1756 accidentals depend on each other. The problem only occurs when using
1757 non-default accidentals. In the default scheme, accidentals only
1758 depend on other accidentals with the same pitch on the same staff, so
1759 no conflicts possible.
1761 This example shows two examples of the same music giving different
1762 accidentals depending on the order in which the notes occur in the
1765 @lilypond[singleline,fragment,verbatim]
1766 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1767 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1768 | <cis' c''> r | <c'' cis'> r |
1771 This problem can be solved by manually inserting @code{!} and @code{?}
1772 for the problematic notes.
1774 @node Expressive marks
1775 @section Expressive marks
1778 @c todo: should change ordering
1779 @c where to put text spanners, metronome marks,
1788 * Analysis brackets::
1790 * Fingering instructions::
1801 A slur indicates that notes are to be played bound or @emph{legato}.
1805 They are entered using parentheses:
1806 @lilypond[relative 1,fragment,verbatim,center]
1807 f( g)( a) a8 b( a4 g2 f4)
1812 @c TODO: should explain that ^( and _( set directions
1813 @c should set attachments with ^ and _ ?
1815 Slurs avoid crossing stems, and are generally attached to note heads.
1816 However, in some situations with beams, slurs may be attached to stem
1817 ends. If you want to override this layout you can do this through the
1818 object property @code{attachment} of @internalsref{Slur} in
1819 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1820 the attachment type of the left and right end points:
1822 @lilypond[fragment,relative,verbatim]
1824 \property Voice.Stem \set #'length = #5.5
1826 \property Voice.Slur \set #'attachment = #'(stem . stem)
1830 If a slur would strike through a stem or beam, the slur will be moved
1831 away upward or downward. If this happens, attaching the slur to the
1832 stems might look better:
1834 @lilypond[fragment,relative,verbatim]
1837 \property Voice.Slur \set #'attachment = #'(stem . stem)
1844 @cindex @code{\slurUp}
1846 @cindex @code{\slurDown}
1848 @cindex @code{\slurBoth}
1850 @cindex @code{\slurDotted}
1852 @cindex @code{\slurSolid}
1857 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1862 Producing nice slurs is a difficult problem, and LilyPond currently
1863 uses a simple, empiric method to produce slurs. In some cases, its
1867 @cindex Adjusting slurs
1869 @node Phrasing slurs
1870 @subsection Phrasing slurs
1872 @cindex phrasing slurs
1873 @cindex phrasing marks
1875 A phrasing slur (or phrasing mark) connects chords and is used to
1876 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1879 @lilypond[fragment,verbatim,center,relative]
1880 \time 6/4 c'\( d( e) f( e) d\)
1883 Typographically, the phrasing slur behaves almost exactly like a
1884 normal slur. However, they are treated as different objects. A
1885 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1886 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1887 @code{\phrasingSlurBoth}.
1889 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1890 will only affect normal slurs and not phrasing slurs.
1894 @cindex @code{\phrasingSlurUp}
1895 @code{\phrasingSlurUp},
1896 @cindex @code{\phrasingSlurDown}
1897 @code{\phrasingSlurDown},
1898 @cindex @code{\phrasingSlurBoth}
1899 @code{\phrasingSlurBoth},
1903 See also @internalsref{PhrasingSlur}, and
1904 @internalsref{PhrasingSlurEvent}.
1908 Phrasing slurs have the same limitations in their formatting as normal
1909 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1912 @subsection Breath marks
1914 Breath marks are entered using @code{\breathe}:
1917 @lilypond[fragment,relative,verbatim]
1921 The glyph of the breath mark can be tweaked by overriding the
1922 @code{text} property of the @code{BreathingSign} layout object with
1923 any markup text. For example,
1924 @lilypond[fragment,verbatim,relative]
1926 \property Voice.BreathingSign \override #'text
1927 = #(make-musicglyph-markup "scripts-rvarcomma")
1934 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1935 @inputfileref{input/regression,breathing-sign.ly}.
1938 @node Metronome marks
1939 @subsection Metronome marks
1942 @cindex beats per minute
1943 @cindex metronome marking
1945 Metronome settings can be entered as follows:
1947 \tempo @var{duration} = @var{perminute}
1950 In the MIDI output, they are interpreted as a tempo change, and in the
1951 paper output, a metronome marking is printed:
1952 @cindex @code{\tempo}
1953 @lilypond[fragment,verbatim]
1959 @internalsref{MetronomeChangeEvent}.
1964 @subsection Text spanners
1965 @cindex Text spanners
1967 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1968 are written as texts, and extended over many measures with dotted
1969 lines. You can create such texts using text spanners: attach
1970 @code{\startTextSpan} and @code{\stopTextSpan} to the
1971 start and ending note of the spanner.
1973 The string to be printed, as well as the style, is set through object
1976 @lilypond[fragment,relative,verbatim]
1978 \property Voice.TextSpanner \set #'direction = #-1
1979 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1980 c2\startTextSpan b c\stopTextSpan a }
1986 @internalsref{TextSpanEvent},
1987 @internalsref{TextSpanner}, and
1988 @inputfileref{input/regression,text-spanner.ly}.
1991 @node Analysis brackets
1992 @subsection Analysis brackets
1994 @cindex phrasing brackets
1995 @cindex musicological analysis
1996 @cindex note grouping bracket
1998 Brackets are used in musical analysis to indicate structure in musical
1999 pieces. LilyPond supports a simple form of nested horizontal brackets.
2000 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2001 @internalsref{Staff} context. A bracket is started with
2002 @code{\startGroup} and closed with @code{\stopGroup}:
2004 @lilypond[singleline,verbatim]
2005 \score { \notes \relative c'' {
2006 c4\startGroup\startGroup
2009 c4\stopGroup\stopGroup
2011 \paper { \translator {
2012 \StaffContext \consists "Horizontal_bracket_engraver"
2018 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
2019 @inputfileref{input/regression,note-group-bracket.ly}.
2023 @subsection Articulations
2024 @cindex Articulations
2026 @cindex articulations
2030 A variety of symbols can appear above and below notes to indicate
2031 different characteristics of the performance. They are added to a note
2032 by adding a dash and the character signifying the
2033 articulation. They are demonstrated here:
2035 @lilypondfile[notexidoc]{script-abbreviations.ly}
2037 The meanings of these shorthands can be changed: see
2038 @file{ly/script-init.ly} for examples.
2041 The script is automatically placed, but if you need to force
2042 directions, you can use @code{_} to force them down, or @code{^} to
2044 @lilypond[fragment, verbatim]
2048 Other symbols can be added using the syntax
2049 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2050 can be forced up or down using @code{^} and @code{_},
2053 @lilypond[verbatim,fragment,relative 2]
2054 c\fermata c^\fermata c_\fermata
2061 @cindex staccatissimo
2070 @cindex organ pedal marks
2079 @cindex prallmordent
2083 @cindex thumb marking
2088 @lilypondfile[notexidoc]{script-chart.ly}
2093 @cindex @code{\scriptUp}
2095 @cindex @code{\scriptDown}
2097 @cindex @code{\scriptBoth}
2102 @internalsref{ScriptEvent}, and @internalsref{Script}.
2106 These note ornaments appear in the printed output but have no
2107 effect on the MIDI rendering of the music.
2110 @node Fingering instructions
2111 @subsection Fingering instructions
2115 Fingering instructions can be entered using
2117 @var{note}-@var{digit}
2119 For finger changes, use markup texts:
2121 @lilypond[verbatim, singleline, fragment]
2122 c'4-1 c'4-2 c'4-3 c'4-4
2123 c'^\markup { \fontsize #-3 \number "2-3" }
2126 @cindex finger change
2131 You can use the thumb-script to indicate that a note should be
2132 played with your thumb (used in cello music):
2134 @lilypond[verbatim, singleline, fragment]
2135 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2136 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2139 Fingerings for chords can also be added to individual notes
2140 of the chord by adding them after the pitches:
2141 @lilypond[verbatim,singleline,fragment,relative=1]
2142 < c-1 e-2 g-3 b-5 > 4
2145 Setting @code{fingeringOrientations} will put fingerings next
2148 @lilypond[verbatim,singleline,fragment,relative=1]
2149 \property Voice.fingeringOrientations = #'(left down)
2150 <c-1 es-2 g-4 bes-5 > 4
2151 \property Voice.fingeringOrientations = #'(up right down)
2152 <c-1 es-2 g-4 bes-5 > 4
2157 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2161 @subsection Text scripts
2162 @cindex Text scripts
2164 It is possible to place arbitrary strings of text or markup text (see
2165 @ref{Text markup}) above or below notes by using a string:
2166 @code{c^"text"}. By default, these indications do not influence the
2167 note spacing, but by using the command @code{\fatText}, the widths
2168 will be taken into account:
2170 @lilypond[fragment,singleline,verbatim] \relative c' {
2171 c4^"longtext" \fatText c4_"longlongtext" c4 }
2174 It is possible to use @TeX{} commands in the strings, but this should
2175 be avoided because the exact dimensions of the string can then no
2181 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2187 @subsection Grace notes
2190 @c should have blurb about accaciatura / appogiatura
2192 @cindex @code{\grace}
2196 Grace notes are ornaments that are written out. The most common ones
2197 are acciaccatura, which should be played as very short. It is denoted
2198 by a slurred small note with a slashed stem. The appoggiatura is a
2199 grace note that takes a fixed fraction of the main note, is and
2200 denoted as a slurred note in small print without a slash.
2201 They are entered with the commands @code{\acciaccatura} and
2202 @code{\appoggiatura}, as demonstrated in the following example:
2205 @cindex appoggiatura
2206 @cindex acciaccatura
2208 @lilypond[relative=2,verbatim,fragment]
2209 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2210 \acciaccatura { g16[ f] } e4
2213 Both are special forms of the @code{\grace} command. By prefixing this
2214 keyword to a music expression, a new one is formed, which will be
2215 printed in a smaller font and takes up no logical time in a measure.
2216 @lilypond[relative=2,verbatim,fragment]
2218 \grace { c16[ d16] } c2 c4
2222 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2223 @code{\grace} command does not start a slur.
2225 Internally, timing for grace notes is done using a second, `grace'
2226 time. Every point in time consists of two rational numbers: one
2227 denotes the logical time, one denotes the grace timing. The above
2228 example is shown here with timing tuples:
2230 @lilypond[singleline]
2233 c4 \grace c16 c4 \grace {
2236 \new Lyrics \lyrics {
2239 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2240 \markup { (\fraction 1 4 , 0 ) } 4
2242 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2243 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2245 \markup { ( \fraction 2 4 , 0 ) }
2250 The placement of grace notes is synchronized between different staves.
2251 In the following example, there are two sixteenth graces notes for
2252 every eighth grace note:
2254 @lilypond[relative=2,verbatim,fragment]
2255 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2256 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2261 If you want to end a note with a grace, then the standard trick
2262 is to put the grace notes after a ``space note'', e.g.
2263 @lilypond[fragment,verbatim, relative=2]
2266 { s2 \grace { c16[ d] } } >>
2272 By adjusting the duration of the skip note (here it is a half-note),
2273 the space between the main-note and the grace is adjusted.
2276 A @code{\grace} section will introduce special typesetting settings,
2277 for example, to produce smaller type, and set directions. Hence, when
2278 introducing layout tweaks, they should be inside the grace section,
2280 @lilypond[fragment,verbatim,relative 1]
2283 \property Voice.Stem \override #'direction = #-1
2285 \property Voice.Stem \revert #'direction
2292 The overrides should also be reverted inside the grace section.
2294 If the layout of grace sections must be changed throughout the music,
2295 then this can be accomplished through the function
2296 @code{add-grace-property}. The following example
2297 undefines the Stem direction grace section, so stems do not always
2302 #(add-grace-property "Voice" Stem direction '())
2308 Another option is to change the variables @code{startGraceMusic},
2309 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2310 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2311 @code{stopAppoggiaturaMstuic}. More information is in the file
2312 @file{ly/grace-init.ly}
2317 @internalsref{GraceMusic}.
2321 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2323 A score that starts with an @code{\grace} section needs an explicit
2324 @code{\context Voice} declaration, otherwise the main note and grace
2325 note end up on different staves.
2327 Grace note synchronization can also lead to surprises. Staff notation,
2328 such as key signatures, barlines, etc. are also synchronized. Take
2329 care when you mix staves with grace notes and staves without, for example,
2331 @lilypond[relative=2,verbatim,fragment]
2332 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2333 \new Staff { c4 \bar "|:" d4 } >>
2336 Grace sections should only be used within sequential music
2337 expressions. Nesting or juxtaposing grace sections is not supported,
2338 and might produce crashes or other errors.
2340 Overriding settings cannot be done in separate styles for appoggiatura
2345 @subsection Glissando
2348 @cindex @code{\glissando}
2350 A glissando is a smooth change in pitch. It is denoted by a line or a
2351 wavy line between two notes.
2355 A glissando line can be requested by attaching a @code{\glissando} to
2358 @lilypond[fragment,relative,verbatim]
2364 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2369 Adding additional texts (such as @emph{gliss.}) is not supported.
2373 @subsection Dynamics
2386 @cindex @code{\ffff}
2396 Absolute dynamic marks are specified using an variable after a
2397 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2398 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2399 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2400 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2402 @lilypond[verbatim,singleline,fragment,relative]
2403 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2409 @cindex @code{\decr}
2410 @cindex @code{\rced}
2417 A crescendo mark is started with @code{\<} and terminated with
2418 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2419 with @code{\!}. Because these marks are bound to notes, if you must
2420 use spacer notes if multiple marks during one note are needed:
2422 @lilypond[fragment,verbatim,center,quote]
2423 c''\< c''\! d''\decr e''\rced
2424 << f''1 { s4 s4\< s4\! \> s4\! } >>
2426 This may give rise to very short hairpins. Use @code{minimum-length}
2427 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2431 \property Staff.Hairpin \override #'minimum-length = #5
2434 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2435 is an example how to do it:
2437 @lilypond[fragment,relative=2,verbatim]
2438 c4 \cresc c4 c c c \endcresc c4
2444 You can also supply your own texts:
2445 @lilypond[fragment,relative,verbatim]
2447 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2448 \property Voice.crescendoSpanner = #'dashed-line
2458 @cindex @code{\dynamicUp}
2460 @cindex @code{\dynamicDown}
2461 @code{\dynamicDown},
2462 @cindex @code{\dynamicBoth}
2463 @code{\dynamicBoth}.
2465 @cindex direction, of dynamics
2469 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2470 @internalsref{AbsoluteDynamicEvent}.
2472 Dynamics are objects of @internalsref{DynamicText} and
2473 @internalsref{Hairpin}. Vertical positioning of these symbols is
2474 handled by the @internalsref{DynamicLineSpanner} object.
2476 If you want to adjust padding or vertical direction of the dynamics, you
2477 must set properties for the @internalsref{DynamicLineSpanner} object.
2485 @cindex @code{\repeat}
2488 Repetition is a central concept in music, and multiple notations exist
2489 for repetitions. In LilyPond, most of these notations can be captured
2490 in a uniform syntax. One of the advantages is that they can be
2491 rendered in MIDI accurately.
2493 The following types of repetition are supported:
2497 Repeated music is fully written (played) out. Useful for MIDI
2498 output, and entering repetitive music.
2501 This is the normal notation: Repeats are not written out, but
2502 alternative endings (voltas) are printed, left to right.
2506 Alternative endings are written stacked. This has limited use but may be
2507 used to typeset two lines of lyrics in songs with repeats, see
2508 @inputfileref{input,star-spangled-banner.ly}.
2515 Make beat or measure repeats. These look like percent signs.
2521 * Repeats and MIDI::
2522 * Manual repeat commands::
2524 * Tremolo subdivisions::
2529 @subsection Repeat syntax
2533 LilyPond has one syntactic construct for specifying different types of
2534 repeats. The syntax is
2537 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2540 If you have alternative endings, you may add
2541 @cindex @code{\alternative}
2543 \alternative @code{@{} @var{alternative1}
2545 @var{alternative3} @dots{} @code{@}}
2547 where each @var{alternative} is a music expression. If you do not
2548 give enough alternatives for all of the repeats, then the first
2549 alternative is assumed to be played more than once.
2551 Normal notation repeats are used like this:
2552 @lilypond[fragment,verbatim,relative 1]
2554 \repeat volta 2 { c4 d e f }
2555 \repeat volta 2 { f e d c }
2558 With alternative endings:
2559 @lilypond[fragment,verbatim,relative 1]
2561 \repeat volta 2 {c4 d e f}
2562 \alternative { {d2 d} {f f,} }
2566 @lilypond[fragment,verbatim,relative 1]
2569 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2570 \alternative { { g4 g g } { a | a a a a | b2. } }
2576 If you do a nested repeat like
2585 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2586 belongs. This ambiguity is resolved by always having the
2587 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2588 it is advisable to use braces in such situations.
2591 @node Repeats and MIDI
2592 @subsection Repeats and MIDI
2594 @cindex expanding repeats
2596 For instructions on how to unfold repeats for MIDI output, see the
2597 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2602 Timing information is not remembered at the start of an alternative,
2603 so after a repeat timing information must be reset by hand, for
2604 example by setting @code{Score.measurePosition} or entering
2605 @code{\partial}. Similarly, slurs or ties are also not repeated.
2608 @node Manual repeat commands
2609 @subsection Manual repeat commands
2611 @cindex @code{repeatCommands}
2613 The property @code{repeatCommands} can be used to control the layout of
2614 repeats. Its value is a Scheme list of repeat commands, where each repeat
2618 @item the symbol @code{start-repeat},
2619 which prints a @code{|:} bar line,
2620 @item the symbol @code{end-repeat},
2621 which prints a @code{:|} bar line,
2622 @item the list @code{(volta @var{text})},
2623 which prints a volta bracket saying @var{text}: The text can be specified as
2624 a text string or as a markup text, see @ref{Text markup}. Do not
2625 forget to change the font, as the default number font does not contain
2626 alphabetic characters. Or,
2627 @item the list @code{(volta #f)}, which
2628 stops a running volta bracket:
2631 @lilypond[verbatim, fragment,relative 2]
2633 \property Score.repeatCommands = #'((volta "93") end-repeat)
2635 \property Score.repeatCommands = #'((volta #f))
2642 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2643 @internalsref{VoltaRepeatedMusic},
2644 @internalsref{UnfoldedRepeatedMusic}, and
2645 @internalsref{FoldedRepeatedMusic}.
2647 @node Tremolo repeats
2648 @subsection Tremolo repeats
2649 @cindex tremolo beams
2651 To place tremolo marks between notes, use @code{\repeat} with tremolo
2653 @lilypond[verbatim,center,singleline]
2655 \context Voice \notes\relative c' {
2656 \repeat "tremolo" 8 { c16 d16 }
2657 \repeat "tremolo" 4 { c16 d16 }
2658 \repeat "tremolo" 2 { c16 d16 }
2659 \repeat "tremolo" 4 c16
2666 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2667 are @internalsref{StemTremolo}s. The music expression is
2668 @internalsref{TremoloEvent}.
2673 The single stem tremolo must be entered without @code{@{} and
2676 @node Tremolo subdivisions
2677 @subsection Tremolo subdivisions
2678 @cindex tremolo marks
2679 @cindex @code{tremoloFlags}
2681 Tremolo marks can be printed on a single note by adding
2682 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2683 A @var{length} value of 8 gives one line across the note stem. If the
2684 length is omitted, then then the last value (stored in
2685 @code{Voice.tremoloFlags}) is used:
2687 @lilypond[verbatim,fragment,center]
2688 c'2:8 c':32 | c': c': |
2691 @c [TODO : stok is te kort bij 32en]
2695 Tremolos in this style do not carry over into the MIDI output.
2698 @node Measure repeats
2699 @subsection Measure repeats
2701 @cindex percent repeats
2702 @cindex measure repeats
2704 In the @code{percent} style, a note pattern can be repeated. It is
2705 printed once, and then the pattern is replaced with a special sign.
2706 Patterns of a one and two measures are replaced by percent-like signs,
2707 patterns that divide the measure length are replaced by slashes:
2709 @lilypond[verbatim,singleline]
2710 \context Voice { \repeat "percent" 4 { c'4 }
2711 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2717 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2718 @internalsref{PercentRepeatedMusic}, and
2719 @internalsref{DoublePercentRepeat}.
2723 @node Rhythmic music
2724 @section Rhythmic music
2726 Sometimes you might want to show only the rhythm of a melody. This
2727 can be done with the rhythmic staff. All pitches of notes on such a
2728 staff are squashed, and the staff itself has a single line:
2730 @lilypond[fragment,relative,verbatim]
2731 \context RhythmicStaff {
2733 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2738 * Percussion staves::
2739 * Percussion MIDI output::
2742 @node Percussion staves
2743 @subsection Percussion staves
2747 A percussion part for more than one instrument typically uses a
2748 multiline staff where each position in the staff refers to one piece
2753 Percussion staves are typeset with help of a set of Scheme
2754 functions. The system is based on the general MIDI drum-pitches.
2755 Include @file{drumpitch-init.ly} to use drum pitches. This file
2756 defines the pitches from the Scheme variable @code{drum-pitch-names},
2757 the definition of which can be read in @file{scm/drums.scm}. Each
2758 piece of percussion has a full name and an abbreviated name, and either
2759 the full name or the abbreviation may be used in input files.
2761 To typeset the music on a staff apply the function @code{drums->paper}
2762 to the percussion music. This function takes a list of percussion
2763 instrument names, notehead scripts and staff positions (that is:
2764 pitches relative to the C-clef) and transforms the input
2765 music by moving the pitch, changing the notehead and (optionally)
2768 @lilypond[singleline,verbatim,quote]
2769 \include "drumpitch-init.ly"
2770 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2771 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2773 \apply #(drums->paper 'drums) \context Staff <<
2775 \new Voice { \voiceOne \up }
2776 \new Voice { \voiceTwo \down }
2781 In the above example the music was transformed using the list @code{'drums}.
2782 The following lists are defined in @file{scm/drums.scm}:
2785 to typeset a typical drum kit on a five-line staff:
2788 \include "drumpitch-init.ly"
2789 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2790 bd sn ss tomh tommh tomml toml tomfh tomfl }
2791 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2792 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2795 \apply #(drums->paper 'drums) \context Staff <<
2799 \context Lyrics \nam
2802 linewidth = 100.0\mm
2805 \remove Bar_engraver
2806 \remove Time_signature_engraver
2807 minimumVerticalExtent = #'(-4.0 . 5.0)
2811 \remove Stem_engraver
2817 The drum scheme supports six different toms. When there fewer toms, simply
2818 select the toms that produce the desired result, i.e. to get toms on
2819 the three middle lines you use @code{tommh}, @code{tomml} and
2822 Because general MIDI does not contain rimshots the sidestick is used
2823 for this purpose instead.
2825 to typeset timbales on a two line staff:
2827 @lilypond[singleline]
2828 \include "drumpitch-init.ly"
2829 nam = \lyrics { timh ssh timl ssl cb }
2830 mus = \notes { timh ssh timl ssl cb s16 }
2833 \apply #(drums->paper 'timbales) \context Staff <<
2837 \context Lyrics \nam
2842 \remove Bar_engraver
2843 \remove Time_signature_engraver
2844 StaffSymbol \override #'line-count = #2
2845 StaffSymbol \override #'staff-space = #2
2846 minimumVerticalExtent = #'(-3.0 . 4.0)
2850 \remove Stem_engraver
2857 to typeset congas on a two line staff:
2859 @lilypond[singleline]
2860 \include "drumpitch-init.ly"
2861 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2862 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2865 \apply #(drums->paper 'congas) \context Staff <<
2869 \context Lyrics \nam
2874 \remove Bar_engraver
2875 \remove Time_signature_engraver
2876 StaffSymbol \override #'line-count = #2
2877 StaffSymbol \override #'staff-space = #2
2878 minimumVerticalExtent = #'(-3.0 . 4.0)
2882 \remove Stem_engraver
2888 to typeset bongos on a two line staff:
2890 @lilypond[singleline]
2891 \include "drumpitch-init.ly"
2892 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2893 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2896 \apply #(drums->paper 'bongos) \context Staff <<
2900 \context Lyrics \nam
2905 \remove Bar_engraver
2906 \remove Time_signature_engraver
2907 StaffSymbol \override #'line-count = #2
2908 StaffSymbol \override #'staff-space = #2
2909 minimumVerticalExtent = #'(-3.0 . 4.0)
2913 \remove Stem_engraver
2919 to typeset all kinds of simple percussion on one line staves:
2920 @lilypond[singleline]
2921 \include "drumpitch-init.ly"
2922 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2923 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2926 \apply #(drums->paper 'percussion) \context Staff <<
2930 \context Lyrics \nam
2935 \remove Bar_engraver
2936 \remove Time_signature_engraver
2937 StaffSymbol \override #'line-count = #1
2938 minimumVerticalExtent = #'(-2.0 . 3.0)
2942 \remove Stem_engraver
2949 If you do not like any of the predefined lists you can define your own
2950 list at the top of your file:
2952 @lilypond[singleline, verbatim]
2953 #(set-drum-kit 'mydrums `(
2954 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2955 (snare default #f ,(ly:make-pitch 0 1 0))
2956 (hihat cross #f ,(ly:make-pitch 0 5 0))
2957 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2958 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2960 \include "drumpitch-init.ly"
2961 up = \notes { hh8 hh hh hh hhp4 hhp }
2962 down = \notes { bd4 sn bd toml8 toml }
2964 \apply #(drums->paper 'mydrums) \context Staff <<
2966 \new Voice { \voiceOne \up }
2967 \new Voice { \voiceTwo \down }
2972 To use a modified existing list, one can prepend modifications to the
2976 #(set-drum-kit 'mydrums (append `(
2977 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2978 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2979 ) (get-drum-kit 'drums)))
2982 You can easily combine percussion notation with pitched notation.
2983 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2984 names, so you will have to reinclude @file{nederlands.ly} after the
2985 drum-pattern-definitions to enter normal notes:
2987 @lilypond[singleline,verbatim]
2988 \include "drumpitch-init.ly"
2989 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2990 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2991 \include "nederlands.ly"
2992 bass = \notes \transpose c c,, { a4. e8 r e g e }
2995 \apply #(drums->paper 'drums) \new Staff <<
2997 \new Voice { \voiceOne \up }
2998 \new Voice { \voiceTwo \down }
3000 \new Staff { \clef "F_8" \bass }
3005 @node Percussion MIDI output
3006 @subsection Percussion MIDI output
3008 In order to produce correct MIDI output you need to produce two score
3009 blocks---one for the paper and one for the MIDI output. To use the
3010 percussion channel you set the property @code{instrument} to
3011 @code{'drums}. Because the drum-pitches themselves are similar to the
3012 general MIDI pitches all you have to do is to insert the voices with
3013 none of the scheme functions to get the correct MIDI output:
3017 \apply #(drums->paper 'mydrums) \context Staff <<
3026 \property Staff.instrument = #'drums
3035 This scheme is a temporary implementation.
3039 @section Piano music
3041 Piano staves are two normal staves coupled with a brace. The staves
3042 are largely independent, but sometimes voices can cross between the
3043 two staves. The same notation is also used for harps and other key
3044 instruments. The @internalsref{PianoStaff} is especially built to
3045 handle this cross-staffing behavior. In this section we discuss the
3046 @internalsref{PianoStaff} and some other pianistic peculiarities.
3050 * Automatic staff changes::
3051 * Manual staff switches::
3054 * Staff switch lines::
3059 There is no support for putting chords across staves. You can get
3060 this result by increasing the length of the stem in the lower stave so
3061 it reaches the stem in the upper stave, or vice versa. An example is
3062 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3064 Dynamics are not centered, but kludges do exist. See
3065 @inputfileref{input/template,piano-dynamics.ly}.
3067 @cindex cross staff stem
3068 @cindex stem, cross staff
3071 @c fixme: should have hyperlinks as well.
3077 @node Automatic staff changes
3078 @subsection Automatic staff changes
3079 @cindex Automatic staff changes
3081 Voices can switch automatically between the top and the bottom
3082 staff. The syntax for this is
3084 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3086 The two staffs of the piano staff must be named @code{up} and
3089 The autochanger switches on basis of pitch (central C is the turning
3090 point), and it looks ahead skipping over rests to switch in
3091 advance. Here is a practical example:
3093 @lilypond[verbatim,singleline,quote]
3094 \score { \notes \context PianoStaff <<
3095 \context Staff = "up" {
3096 \autochange Staff \context Voice = VA << \relative c' {
3097 g4 a b c d r4 a g } >> }
3098 \context Staff = "down" {
3105 In this example, spacer rests are used to prevent the bottom staff from
3106 terminating too soon.
3111 @internalsref{AutoChangeMusic}.
3115 The staff switches often do not end up in optimal places. For high
3116 quality output, staff switches should be specified manually.
3120 @node Manual staff switches
3121 @subsection Manual staff switches
3123 @cindex manual staff switches
3124 @cindex staff switch, manual
3126 Voices can be switched between staves manually, using the following command:
3128 \translator Staff = @var{staffname} @var{music}
3132 The string @var{staffname} is the name of the staff. It switches the
3133 current voice from its current staff to the Staff called
3134 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3142 Pianos have pedals that alter the way sound are produced. Generally, a
3143 piano has three pedals, sustain, una corda, and sostenuto.
3147 Piano pedal instruction can be expressed by attaching
3148 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3149 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3152 @lilypond[fragment,verbatim]
3153 c'4\sustainDown c'4\sustainUp
3156 What is printed can be modified by setting @code{pedal@var{X}Strings},
3157 where @var{X} is one of the pedal types: @code{Sustain},
3158 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3159 documentation of @internalsref{SustainPedal} for more information.
3161 Pedals can also be indicated by a sequence of brackets, by setting the
3162 @code{pedalSustainStyle} property to @code{bracket} objects:
3164 @lilypond[fragment,verbatim]
3165 \property Staff.pedalSustainStyle = #'bracket
3166 c''4\sustainDown d''4 e''4
3167 a'4\sustainUp\sustainDown
3168 f'4 g'4 a'4\sustainUp
3171 A third style of pedal notation is a mixture of text and brackets,
3172 obtained by setting @code{pedal-type} to @code{mixed}:
3174 @lilypond[fragment,verbatim]
3175 \property Staff.pedalSustainStyle = #'mixed
3176 c''4\sustainDown d''4 e''4
3177 c'4\sustainUp\sustainDown
3178 f'4 g'4 a'4\sustainUp
3181 The default `*Ped' style for sustain and damper pedals corresponds to
3182 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3183 for a sostenuto pedal:
3185 @lilypond[fragment,verbatim]
3186 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3189 For fine-tuning of the appearance of a pedal bracket, the properties
3190 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3191 @code{PianoPedalBracket} objects (see
3192 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3193 bracket may be extended to the end of the note head:
3195 @lilypond[fragment,verbatim]
3196 \property Staff.PianoPedalBracket \override
3197 #'shorten-pair = #'(0 . -1.0)
3198 c''4\sostenutoDown d''4 e''4 c'4
3199 f'4 g'4 a'4\sostenutoUp
3203 @subsection Arpeggio
3206 @cindex broken arpeggio
3207 @cindex @code{\arpeggio}
3209 You can specify an arpeggio sign on a chord by attaching an
3210 @code{\arpeggio} to a chord:
3213 @lilypond[fragment,relative,verbatim]
3217 When an arpeggio crosses staves, you attach an arpeggio to the chords
3218 in both staves, and set
3219 @internalsref{PianoStaff}.@code{connectArpeggios}:
3221 @lilypond[fragment,relative,verbatim]
3222 \context PianoStaff <<
3223 \property PianoStaff.connectArpeggios = ##t
3224 \new Staff { <c' e g c>\arpeggio }
3225 \new Staff { \clef bass <c,, e g>\arpeggio }
3229 The direction of the arpeggio is sometimes denoted by adding an
3230 arrowhead to the wiggly line. This can be typeset by setting
3231 @code{arpeggio-direction}:
3233 @lilypond[fragment,relative,verbatim]
3235 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3237 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3242 A square bracket on the left indicates that the player should not
3243 arpeggiate the chord. To draw these brackets, set the
3244 @code{molecule-callback} property of @code{Arpeggio} or
3245 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3246 @code{\arpeggio} statements within the chords as before:
3248 @lilypond[fragment,relative,verbatim]
3249 \property PianoStaff.Arpeggio \override
3250 #'molecule-callback = \arpeggioBracket
3256 @cindex @code{\arpeggioBracket}
3257 @code{\arpeggioBracket},
3258 @cindex @code{\arpeggio}
3263 @internalsref{ArpeggioEvent} music expressions lead to
3264 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3265 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3269 It is not possible to mix connected arpeggios and unconnected
3270 arpeggios in one @internalsref{PianoStaff} at the same time.
3272 @node Staff switch lines
3273 @subsection Staff switch lines
3276 @cindex follow voice
3277 @cindex staff switching
3280 @cindex @code{followVoice}
3282 Whenever a voice switches to another staff a line connecting the notes
3283 can be printed automatically. This is enabled if the property
3284 @code{PianoStaff.followVoice} is set to true:
3286 @lilypond[fragment,relative,verbatim]
3287 \context PianoStaff <<
3288 \property PianoStaff.followVoice = ##t
3289 \context Staff \context Voice {
3291 \translator Staff=two
3294 \context Staff=two { \clef bass \skip 1*2 }
3298 The associated object is @internalsref{VoiceFollower}.
3302 @cindex @code{\showStaffSwitch}
3303 @code{\showStaffSwitch},
3304 @cindex @code{\hideStaffSwitch}
3305 @code{\hideStaffSwitch}.
3309 @section Vocal music
3311 This section discusses how to enter and print lyrics.
3315 * The Lyrics context::
3320 @node Entering lyrics
3321 @subsection Entering lyrics
3325 @cindex @code{\lyrics}
3328 Lyrics are entered in a special input mode. This mode is is introduced
3329 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3330 punctuation and accents without any hassle. Syllables are entered like
3331 notes, but with pitches replaced by text. For example,
3333 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3336 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3337 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3338 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3339 any 8-bit character with ASCII code over 127, or a two-character
3340 combination of a backslash followed by one of @code{`}, @code{'},
3341 @code{"}, or @code{^}.
3343 Subsequent characters of a word can be any character that is not a digit
3344 and not white space. One important consequence of this is that a word
3345 can end with @code{@}}. The following example is usually a bug. The
3346 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3348 \lyrics @{ twinkle@}
3351 @cindex @code{\property}, in @code{\lyrics}
3352 Similarly, a period following a alphabetic sequence, is included in the
3353 resulting string. As a consequence, spaces must be inserted around
3354 @code{\property} commands:
3356 \property Lyrics . LyricText \set #'font-shape = #'italic
3360 @cindex spaces, in lyrics
3361 @cindex quotes, in lyrics
3363 Any @code{_} character which appears in an unquoted word is converted
3364 to a space. This provides a mechanism for introducing spaces into words
3365 without using quotes. Quoted words can also be used in Lyrics mode to
3366 specify words that cannot be written with the above rules:
3369 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3373 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3378 These will be attached to the end of the first syllable.
3380 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3381 as a separate word between syllables. The hyphen will have variable
3382 length depending on the space between the syllables and it will be
3383 centered between the syllables.
3388 When a lyric is sung over many notes (this is called a melisma), this is
3389 indicated with a horizontal line centered between a syllable and the
3390 next one. Such a line is called an extender line, and it is entered as
3395 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3396 @internalsref{ExtenderEvent}.
3400 The definition of lyrics mode is too complex.
3402 @node The Lyrics context
3403 @subsection The Lyrics context
3405 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3407 \context Lyrics \lyrics @dots{}
3410 @cindex automatic syllable durations
3411 @cindex @code{\addlyrics}
3412 @cindex lyrics and melodies
3414 This will place the lyrics according to the durations that were
3415 entered. The lyrics can also be aligned under a given melody
3416 automatically. In this case, it is no longer necessary to enter the
3417 correct duration for each syllable. This is achieved by combining the
3418 melody and the lyrics with the @code{\addlyrics} expression:
3422 \context Lyrics @dots{}
3425 @cindex staff order, with @code{\addlyrics}
3427 Normally, this will put the lyrics below the staff. For different or
3428 more complex orderings, the best way is to setup the hierarchy of
3429 staves and lyrics first, e.g.
3431 \context ChoirStaff \notes <<
3432 \context Lyrics = sopr @{ s1 @}
3433 \context Staff = soprStaff @{ s1 @}
3434 \context Lyrics = tenor @{ s1 @}
3435 \context Staff = tenorStaff @{ s1 @}
3438 and then combine the appropriate melodies and lyric lines:
3441 \context Staff = soprStaff @emph{the music}
3442 \context Lyrics = sopr @emph{the lyrics}
3445 putting both together, you would get
3447 \context ChoirStaff \notes <<
3448 \context Lyrics = @dots{}
3449 \context Staff = @dots{}
3455 @cindex choral score
3457 A complete example of a SATB score setup is in the file
3458 @inputfileref{input/template,satb.ly}.
3462 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3463 @inputfileref{input/template,satb.ly}.
3467 @code{\addlyrics} is not automatic enough: melismata are not detected
3468 automatically, and melismata are not stopped when they hit a rest. A
3469 melisma on the last note in a melody is not printed.
3473 @subsection More stanzas
3476 @cindex phrasing, in lyrics
3478 When multiple stanzas are printed underneath each other, the vertical
3479 groups of syllables should be aligned around punctuation. This can be
3480 done automatically when corresponding lyric lines and melodies are
3483 To this end, give the @internalsref{Voice} context an identity:
3485 \context Voice = duet @{
3490 Then set the @internalsref{LyricsVoice} contexts to names starting with
3491 that identity followed by a dash. In the preceding example, the
3492 @internalsref{Voice} identity is @code{duet}, so the identities of the
3493 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3495 \context LyricsVoice = "duet-1" @{
3496 Hi, my name is bert. @}
3497 \context LyricsVoice = "duet-2" @{
3498 Ooooo, ch\'e -- ri, je t'aime. @}
3500 The convention for naming @internalsref{LyricsVoice} and
3501 @internalsref{Voice} must also be used to get melismata correct in
3502 conjunction with rests.
3504 The complete example is shown here:
3505 @lilypond[singleline,verbatim]
3508 \notes \relative c'' \context Voice = duet { \time 3/4
3510 \lyrics \context Lyrics <<
3511 \context LyricsVoice = "duet-1" {
3512 \property LyricsVoice . stanza = "Bert"
3513 Hi, my name is bert. }
3514 \context LyricsVoice = "duet-2" {
3515 \property LyricsVoice . stanza = "Ernie"
3516 Ooooo, ch\'e -- ri, je t'aime. }
3521 Stanza numbers, or the names of the singers can be added by setting
3522 @code{LyricsVoice.Stanza} (for the first system) and
3523 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3524 surrounded with spaces in @code{\lyrics} mode:
3527 \property LyricsVoice . stanza = "Bert"
3529 \property LyricsVoice . stanza = "Ernie"
3532 To make empty spaces in lyrics, use @code{\skip}.
3540 Input for lyrics introduces a syntactical ambiguity:
3547 is interpreted as assigning a string identifier @code{\foo} such that
3548 it contains @code{"bar"}. However, it could also be interpreted as
3549 making or a music identifier @code{\foo} containing the syllable
3550 `bar'. The force the latter interpretation, use
3560 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3561 for a given voice in a part of music. It also may denote the pitch
3562 range that a musical instrument is capable of playing. Most musical
3563 instruments have their ambitus standardized (or at least there is
3564 agreement upon the minimal ambitus of a particular type of
3565 instrument), such that a composer or arranger of a piece of music can
3566 easily meet the ambitus constraints of the targeted instrument.
3567 However, the ambitus of the human voice depends on individual
3568 physiological state, including education and training of the voice.
3569 Therefore, a singer potentially has to check for each piece of music
3570 if the ambitus of that piece meets his individual capabilities. This
3571 is why the ambitus of a piece may be of particular value to vocal
3574 The ambitus is typically notated on a per-voice basis at the very
3575 beginning of a piece, e.g. nearby the initial clef or time signature of
3576 each staff. The range is graphically specified by two noteheads, that
3577 represent the minimum and maximum pitch. Some publishers use a textual
3578 notation: they put the range in words in front of the corresponding
3579 staff. LilyPond only supports the graphical ambitus notation.
3581 To apply, add the @internalsref{Ambitus_engraver} to the
3582 @internalsref{Voice} context, i.e.
3588 \consists Ambitus_engraver
3593 This results in the following output:
3594 @lilypond[singleline]
3595 upper = \notes \relative c {
3598 as'' c e2 bes f cis d4 e f2 g
3600 lower = \notes \relative c {
3603 e'4 b g a c es fis a cis b a g f e d2
3606 \context ChoirStaff {
3608 \new Staff { \upper }
3609 \new Staff { \lower }
3615 \consists Ambitus_engraver
3621 If you have multiple voices in a single staff, and you want a single
3622 ambitus per staff rather than per each voice, then add the
3623 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3624 rather than to the @internalsref{Voice} context.
3626 It is possible to tune individual ambituses for multiple voices on a
3627 single staff, for example by erasing or shifting them horizontally. An
3628 example is in @inputfileref{input/test,ambitus-mixed.ly}
3632 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly},
3633 @inputfileref{input/test,ambitus-mixed.ly}.
3637 There is no collision handling in the case of multiple per-voice
3643 Tablature notation is used for notating music for plucked string
3644 instruments. It notates pitches not by using note heads, but by
3645 indicating on which string and fret a note must be played. LilyPond
3646 offers limited support for tablature.
3649 * Tablatures basic::
3650 * Non-guitar tablatures::
3653 @node Tablatures basic
3654 @subsection Tablatures basic
3655 @cindex Tablatures basic
3657 The string number associated to a note is given as a backslash
3658 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3659 string. By default, string 1 is the highest one, and the tuning
3660 defaults to the standard guitar tuning (with 6 strings). The notes
3661 are printed as tablature, by using @internalsref{TabStaff} and
3662 @internalsref{TabVoice} contexts:
3664 @lilypond[fragment,verbatim]
3665 \notes \context TabStaff {
3671 When no string is specified, the first string that does not give a
3672 fret number less than @code{minimumFret} is selected. The default
3673 value for @code{minimumFret} is 0:
3677 e8 fis gis a b cis' dis' e'
3678 \property TabStaff.minimumFret = #8
3679 e8 fis gis a b cis' dis' e'
3684 e8 fis gis a b cis' dis' e'
3685 \property TabStaff.minimumFret = #8
3686 e8 fis gis a b cis' dis' e'
3689 \context StaffGroup <<
3690 \context Staff { \clef "G_8" \frag }
3691 \context TabStaff { \frag }
3698 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3699 @internalsref{StringNumberEvent}.
3703 Chords are not handled in a special way, and hence the automatic
3704 string selector may easily select the same string to two notes in a
3708 @node Non-guitar tablatures
3709 @subsection Non-guitar tablatures
3710 @cindex Non-guitar tablatures
3712 You can change the number of strings, by setting the number of lines
3713 in the @internalsref{TabStaff} (the @code{line-count} property of
3714 @internalsref{TabStaff} can only be changed using
3715 @code{\applyoutput}, for more information, see @ref{Tuning
3718 You can change the tuning of the strings. A string tuning is given as
3719 a Scheme list with one integer number for each string, the number
3720 being the pitch (measured in semitones relative to central C) of an
3721 open string. The numbers specified for @code{stringTuning} are the
3722 numbers of semitones to subtract or add, starting the specified pitch
3723 by default middle C, in string order. Thus, the notes are e, a, d, and
3726 @lilypond[fragment,verbatim]
3727 \context TabStaff <<
3729 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface)
3731 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3734 a,4 c' a e' e c' a e'
3739 It is possible to change the Scheme function to format the tablature
3740 note text. The default is @code{fret-number-tablature-format}, which
3741 uses the fret number. For instruments that do not use this notation,
3742 you can create a special tablature formatting function. This function
3743 takes three argument: string number, string tuning and note pitch.
3747 No guitar special effects have been implemented.
3752 @section Chord names
3755 LilyPond has support for both printing chord names. Chords may be
3756 entered in musical chord notation, i.e. @code{< .. >}, but they can
3757 also be entered by name. Internally, the chords are represented as a
3758 set of pitches, so they can be transposed:
3761 @lilypond[verbatim,singleline]
3762 twoWays = \notes \transpose c c' {
3772 << \context ChordNames \twoWays
3773 \context Voice \twoWays >> }
3776 This example also shows that the chord printing routines do not try to
3777 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3783 * Printing chord names::
3788 @subsection Chords mode
3791 Chord mode is a mode where you can input sets of pitches using common
3792 names. It is introduced by the keyword @code{\chords}.
3793 In chords mode, a chord is entered by the root, which is entered
3794 like a common pitch:
3795 @lilypond[fragment,verbatim,quote, relative=1]
3796 \chords { es4. d8 c2 }
3801 Other chords may be entered by suffixing a colon, and introducing a
3802 modifier, and optionally, a number:
3804 @lilypond[fragment,verbatim,quote]
3805 \chords { e1:m e1:7 e1:m7 }
3807 The first number following the root is taken to be the `type' of the
3808 chord, thirds are added to the root until it reaches the specified
3810 @lilypond[fragment,verbatim]
3811 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3814 @cindex root of chord
3815 @cindex additions, in chords
3816 @cindex removals, in chords
3818 More complex chords may also be constructed adding separate steps
3819 to a chord. Additions are added after the number following
3820 the colon, and are separated by dots:
3822 @lilypond[verbatim,fragment,quote]
3823 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3825 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3827 @lilypond[verbatim,fragment,quote]
3828 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3830 Removals are specified similarly, and are introduced by a caret. They
3831 must come after the additions:
3832 @lilypond[verbatim,fragment]
3833 \chords { c^3 c:7^5 c:9^3.5 }
3836 Modifiers can be used to change pitches. The following modifiers are
3840 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3842 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3845 is the augmented chord. This modifier raises the 5th step.
3847 is the major 7th chord. This modifier raises the 7th step if present.
3849 is the suspended 4th or 2nd. This modifier removes the 3rd
3850 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3853 Modifiers can be mixed with additions:
3854 @lilypond[verbatim,fragment]
3855 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3858 @cindex modifiers, in chords.
3865 Since an unaltered 11 does not sound good when combined with an
3866 unaltered 13, the 11 is removed in this case (unless it is added
3869 @lilypond[fragment,verbatim]
3870 \chords { c:13 c:13.11 c:m13 }
3875 An inversion (putting one pitch of the chord on the bottom), as well
3876 as bass notes, can be specified by appending
3877 @code{/}@var{pitch} to the chord:
3878 @lilypond[fragment,verbatim,center]
3879 \chords { c1 c/g c/f }
3883 A bass note can be added instead of transposed out of the chord,
3884 by using @code{/+}@var{pitch}.
3886 @lilypond[fragment,verbatim,center]
3887 \chords { c1 c/+g c/+f }
3890 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3891 of the commands continue to work, for example, @code{r} and
3892 @code{\skip} can be used to insert rests and spaces, and
3893 @code{\property} may be used to change various settings.
3899 Each step can only be present in a chord once. The following
3900 simply produces the augmented chord, since @code{5+} is interpreted
3903 @lilypond[verbatim,fragment]
3904 \chords { c:5.5-.5+ }
3908 @node Printing chord names
3909 @subsection Printing chord names
3911 @cindex printing chord names
3915 For displaying printed chord names, use the @internalsref{ChordNames} context.
3916 The chords may be entered either using the notation
3917 described above, or directly using @code{<} and @code{>}:
3919 @lilypond[verbatim,singleline]
3921 \chords {a1 b c} <d' f' a'> <e' g' b'>
3925 \context ChordNames \scheme
3926 \context Staff \scheme
3931 You can make the chord changes stand out by setting
3932 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3933 display chord names when there is a change in the chords scheme and at
3934 the start of a new line:
3936 @lilypond[verbatim, linewidth=9cm]
3938 c1:m c:m \break c:m c:m d
3942 \context ChordNames {
3943 \property ChordNames.chordChanges = ##t
3945 \context Staff \transpose c c' \scheme
3950 The default chord name layout is a system for Jazz music, proposed by
3951 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3952 following properties:
3955 @cindex chordNameExceptions
3956 @item chordNameExceptions
3957 This is a list that contains the chords that have special formatting.
3959 @inputfileref{input/regression,chord-name-exceptions.ly}.
3960 @cindex exceptions, chord names.
3963 @cindex majorSevenSymbol
3964 @item majorSevenSymbol
3965 This property contains the markup object used for the 7th step, when
3966 it is major. Predefined options are @code{whiteTriangleMarkup} and
3967 @code{blackTriangleMarkup}. See
3968 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3970 @cindex chordNameSeparator
3971 @item chordNameSeparator
3972 Different parts of a chord name are normally separated by a
3973 slash. By setting @code{chordNameSeparator}, you can specify other
3975 @lilypond[fragment,verbatim]
3976 \context ChordNames \chords {
3978 \property ChordNames.chordNameSeparator
3979 = \markup { \typewriter "|" }
3983 @cindex chordRootNamer
3984 @item chordRootNamer
3985 The root of a chord is usually printed as a letter with an optional
3986 alteration. The transformation from pitch to letter is done by this
3987 function. Special note names (for example, the German ``H'' for a
3988 B-chord) can be produced by storing a new function in this property.
3990 The pre-defined variables @code{\germanChords},
3991 @code{\semiGermanChords} set these variables.
3994 @cindex chordNoteNamer
3995 @item chordNoteNamer
3996 The default is to print single pitch, e.g. the bass note, using the
3997 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3998 to a specialized function to change this behavior. For example, the
3999 base can be printed in lower case.
4004 There are also two other chord name schemes implemented: an alternate
4005 Jazz chord notation, and a systematic scheme called Banter chords. The
4006 alternate jazz notation is also shown on the chart in @ref{Chord name
4007 chart}. Turning on these styles is described in the input file
4008 @inputfileref{input/test,chord-names-jazz.ly}.
4012 @cindex chords, jazz
4017 @cindex @code{\germanChords}
4018 @code{\germanChords},
4019 @cindex @code{\semiGermanChords}
4020 @code{\semiGermanChords}.
4027 @inputfileref{input/regression,chord-name-major7.ly},
4028 @inputfileref{input/regression,chord-name-exceptions.ly},
4029 @inputfileref{input/test,chord-names-jazz.ly},
4030 @inputfileref{input/test,chord-names-german.ly},
4031 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4036 Chord names are determined solely from the list of pitches. Chord
4037 inversions are not identified, and neither are added bass notes. This
4038 may result in strange chord names when chords are entered with the
4039 @code{< .. >} syntax.
4044 @node Orchestral music
4045 @section Orchestral music
4047 @cindex Writing parts
4049 Orchestral music involves some special notation, both in the full
4050 score and the individual parts. This section explains how to tackle
4051 some common problems in orchestral music.
4056 * Multiple staff contexts::
4059 * Instrument names::
4061 * Multi measure rests::
4062 * Automatic part combining::
4064 * Different editions from one source::
4065 * Sound output for transposing instruments::
4068 @node Multiple staff contexts
4069 @subsection Multiple staff contexts
4071 Polyphonic scores consist of many staves. These staves can be
4072 constructed in three different ways:
4074 @item The group is started with a brace at the left. This is done with the
4075 @internalsref{GrandStaff} context.
4076 @item The group is started with a bracket. This is done with the
4077 @internalsref{StaffGroup} context
4078 @item The group is started with a vertical line. This is the default
4082 @cindex Staff, multiple
4083 @cindex bracket, vertical
4084 @cindex brace, vertical
4091 @node Rehearsal marks
4092 @subsection Rehearsal marks
4093 @cindex Rehearsal marks
4095 @cindex @code{\mark}
4097 To print a rehearsal mark, use the @code{\mark} command:
4098 @lilypond[fragment,verbatim]
4108 The mark is incremented automatically if you use @code{\mark
4109 \default}. The value to use is stored in the property
4110 @code{rehearsalMark} is used and automatically incremented.
4112 The @code{\mark} command can also be used to put signs like coda,
4113 segno and fermatas on a barline. Use @code{\markup} to
4114 to access the appropriate symbol:
4116 @lilypond[fragment,verbatim,relative=1]
4117 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4121 In this case, during line breaks,
4122 marks must also be printed at the end of the line, and not at the
4123 beginning. Use the following to force that behavior:
4125 \property Score.RehearsalMark \override
4126 #'break-visibility = #begin-of-line-invisible
4129 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4135 @cindex barlines, putting symbols on
4139 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4140 @inputfileref{input/test,boxed-molecule.ly}.
4144 @subsection Bar numbers
4148 @cindex measure numbers
4149 @cindex currentBarNumber
4151 Bar numbers are printed by default at the start of the line. The
4152 number itself is stored in the
4153 @code{currentBarNumber} property,
4154 which is normally updated automatically for every measure.
4156 Bar numbers can be typeset at regular intervals instead of at the
4157 beginning of each line. This is illustrated in the following example,
4158 whose source is available as
4159 @inputfileref{input/test,bar-number-regular-interval.ly}:
4161 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4166 @internalsref{BarNumber},
4167 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4168 @inputfileref{input/test,bar-number-regular-interval.ly}.
4172 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4173 there is one at the top. To solve this, the
4174 @code{padding} property of @internalsref{BarNumber} can be
4175 used to position the number correctly.
4177 @node Instrument names
4178 @subsection Instrument names
4180 In an orchestral score, instrument names are printed left side of the
4183 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4184 and @internalsref{Staff}.@code{instr}. This will print a string before
4185 the start of the staff. For the first start, @code{instrument} is
4186 used, for the next ones @code{instr} is used:
4189 @lilypond[verbatim,singleline]
4190 \property Staff.instrument = "ploink " { c''4 }
4194 You can also use markup texts to construct more complicated instrument
4198 @lilypond[fragment,verbatim,singleline]
4200 \property Staff.instrument = \markup {
4201 \column < "Clarinetti"
4203 \smaller \musicglyph #"accidentals--1"
4214 @internalsref{InstrumentName}.
4218 When you put a name on a grand staff or piano staff the width of the
4219 brace is not taken into account. You must add extra spaces to the end of
4220 the name to avoid a collision.
4223 @subsection Transpose
4225 @cindex transposition of pitches
4226 @cindex @code{\transpose}
4228 A music expression can be transposed with @code{\transpose}. The syntax
4231 \transpose @var{from} @var{to} @var{musicexpr}
4234 This means that @var{musicexpr} is transposed by the interval
4235 between @var{from} and @var{to}.
4237 @code{\transpose} distinguishes between enharmonic pitches: both
4238 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4239 half a tone. The first version will print sharps and the second
4240 version will print flats:
4242 @lilypond[singleline, verbatim]
4243 mus =\notes { \key d \major cis d fis g }
4244 \score { \notes \context Staff {
4247 \transpose c g' \mus
4248 \transpose c f' \mus
4254 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4258 If you want to use both @code{\transpose} and @code{\relative}, then
4259 you must put @code{\transpose} outside of @code{\relative}, since
4260 @code{\relative} will have no effect music that appears inside a
4266 @node Multi measure rests
4267 @subsection Multi measure rests
4268 @cindex multi measure rests
4269 @cindex Rests, multi measure
4273 Multi measure rests are entered using `@code{R}'. It is specifically
4274 meant for full bar rests and for entering parts: the rest can expand
4275 to fill a score with rests, or it can be printed as a single
4276 multimeasure rest. This expansion is controlled by the property
4277 @code{Score.skipBars}. If this is set to true, empty measures will not
4278 be expanded, and the appropriate number is added automatically:
4280 @lilypond[fragment,verbatim]
4281 \time 4/4 r1 | R1 | R1*2
4282 \property Score.skipBars = ##t R1*17 R1*4
4285 The @code{1} in @code{R1} is similar to the duration notation used for
4286 notes. Hence, for time signatures other than 4/4, you must enter other
4287 durations. This can be done with augmentation dots or fractions:
4289 @lilypond[fragment,verbatim]
4290 \property Score.skipBars = ##t
4298 An @code{R} spanning a single measure is printed as either a whole rest
4299 or a breve, centered in the measure regardless of the time signature.
4301 @cindex text on multi-measure rest
4302 @cindex script on multi-measure rest
4303 @cindex fermata on multi-measure rest
4305 Texts can be added to multi-measure rests by using the
4306 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4307 replaced. If you need both texts and the number, you must add the
4308 number by hand. A variable (@code{\fermataMarkup}) is provided for
4312 @lilypond[verbatim,fragment]
4314 R2._\markup { "Ad lib" }
4318 If you want to have a text on the left end of a multi-measure rest,
4319 attach the text to a zero-length skip note, i.e.
4327 @cindex whole rests for a full measure
4331 @internalsref{MultiMeasureRestEvent},
4332 @internalsref{MultiMeasureTextEvent},
4333 @internalsref{MultiMeasureRestMusicGroup}, and
4334 @internalsref{MultiMeasureRest}.
4336 The layout object @internalsref{MultiMeasureRestNumber} is for the
4337 default number, and @internalsref{MultiMeasureRestText} for user
4342 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4343 over multi-measure rests.
4345 @cindex condensing rests
4347 There is no way to automatically condense multiple rests into a single
4348 multimeasure rest. Multi measure rests do not take part in rest
4351 Be careful when entering multimeasure rests followed by whole
4352 notes. The following will enter two notes lasting four measures each:
4356 When @code{skipBars} is set, then the result will look OK, but the
4357 bar numbering will be off.
4359 @node Automatic part combining
4360 @subsection Automatic part combining
4361 @cindex automatic part combining
4362 @cindex part combiner
4365 Automatic part combining is used to merge two parts of music onto a
4366 staff. It is aimed at typesetting orchestral scores. When the two
4367 parts are identical for a period of time, only one is shown. In
4368 places where the two parts differ, they are typeset as separate
4369 voices, and stem directions are set automatically. Also, solo and
4370 @emph{a due} parts are identified and can be marked.
4374 The syntax for part combining is
4377 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4379 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4380 combined into one context of type @var{context}. The music expressions
4381 must be interpreted by contexts whose names should start with @code{one}
4384 The following example demonstrates the basic functionality of the part
4385 combiner: putting parts on one staff, and setting stem directions and
4388 @lilypond[verbatim,singleline,fragment]
4390 \context Voice=one \partcombine Voice
4391 \context Thread=one \relative c'' {
4394 \context Thread=two \relative c'' {
4400 The first @code{g} appears only once, although it was
4401 specified twice (once in each part). Stem, slur and tie directions are
4402 set automatically, depending whether there is a solo or unisono. The
4403 first part (with context called @code{one}) always gets up stems, and
4404 `solo', while the second (called @code{two}) always gets down stems and
4407 If you just want the merging parts, and not the textual markings, you
4408 may set the property @var{soloADue} to false:
4410 @lilypond[verbatim,singleline,fragment]
4412 \property Staff.soloADue = ##f
4413 \context Voice=one \partcombine Voice
4414 \context Thread=one \relative c'' {
4417 \context Thread=two \relative c'' {
4425 @internalsref{PartCombineMusic},
4426 @internalsref{Thread_devnull_engraver}, and
4427 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4431 The syntax for naming contexts in inconsistent with the syntax for
4434 In @code{soloADue} mode, when the two voices play the same notes on and
4435 off, the part combiner may typeset @code{a2} more than once in a
4438 @lilypond[fragment,singleline]
4440 \context Voice=one \partcombine Voice
4441 \context Thread=one \relative c'' {
4444 \context Thread=two \relative c'' {
4450 The part combiner is rather buggy, and it will be replaced by a better
4451 mechanism in the near future.
4453 @cindex @code{Thread_devnull_engraver}
4454 @cindex @code{Voice_engraver}
4455 @cindex @code{A2_engraver}
4458 @subsection Hiding staves
4460 @cindex Frenched scores
4461 @cindex Hiding staves
4463 In orchestral scores, staff lines that only have rests are usually
4464 removed. This saves some space. This style is called `French Score'.
4465 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4466 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4467 switched on by default. When these line of these contexts turn out
4468 empty after the line-breaking process, they are removed.
4470 For normal staves, a specialized @internalsref{Staff} context is
4471 available, which does the same: staves containing nothing (or only
4472 multi measure rests) are removed. The context definition is stored in
4473 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4474 in this example disappears in the second line:
4479 \notes \relative c' <<
4480 \new Staff { e4 f g a \break c1 }
4481 \new Staff { c4 d e f \break R1 }
4485 \translator { \RemoveEmptyStaffContext }
4490 The first page shows all staffs in full. If they should be removed
4491 from the first page too, set @code{remove-first} to false
4492 in @internalsref{RemoveEmptyVerticalGroup}.
4494 @node Different editions from one source
4495 @subsection Different editions from one source
4497 The @code{\tag} command marks music expressions with a name. These
4498 tagged expressions can be filtered out later. With this mechanism it
4499 is possible to make different versions of the same music source.
4501 In the following example, we see two versions of a piece of music, one
4502 for the full score, and one with cue notes for the instrumental part:
4510 \property Voice.fontSize = #-1
4518 The same can be applied to articulations, texts, etc.: they are
4521 -\tag #@var{your-tag}
4523 to an articulation, for example,
4528 This defines a note with a conditional fingering indication.
4530 By applying the @code{remove-tag} function, tagged expressions can be
4531 filtered. For example,
4535 \apply #(remove-tag 'score) @var{the music}
4536 \apply #(remove-tag 'part) @var{the music}
4541 @lilypondfile[notexidoc]{tag-filter.ly}
4543 The argument of the @code{\tag} command should be a symbol, or a list
4544 of symbols, for example,
4546 \tag #'(original-part transposed-part) @dots{}
4551 @inputfileref{input/regression,tag-filter.ly}
4554 @node Sound output for transposing instruments
4555 @subsection Sound output for transposing instruments
4557 When you want to make a MIDI file from a score containing transposed
4558 and untransposed instruments, you have to instruct LilyPond the pitch
4559 offset (in semitones) for the transposed instruments. This is done
4560 using the @code{transposing} property. It does not affect printed
4563 @cindex @code{transposing}
4566 \property Staff.instrument = #"Cl. in B-flat"
4567 \property Staff.transposing = #-2
4571 @node Ancient notation
4572 @section Ancient notation
4574 @cindex Vaticana, Editio
4575 @cindex Medicaea, Editio
4580 @c [TODO: write more comprehensive introduction on ancient notation]
4582 Support for ancient notation is still under heavy development.
4583 Regardless of all of the current limitations (see the bugs section
4584 below for details), it includes features for mensural
4585 notation and Gregorian Chant notation. There is also limited support
4586 for figured bass notation.
4588 Many graphical objects provide a @code{style} property, see
4589 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4590 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4591 signatures}. By manipulating such a grob property, the typographical
4592 appearance of the affected graphical objects can be accomodated for a
4593 specific notation flavour without need for introducing any new
4597 Other aspects of ancient notation can not that easily be expressed as
4598 in terms of just changing a style property of a graphical object.
4599 Therefore, some notational concepts are introduced specifically for
4600 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4601 @ref{Ligatures}, and @ref{Figured bass}.
4605 * Ancient note heads::
4606 * Ancient accidentals::
4610 * Ancient time signatures::
4615 * Vaticana style contexts::
4618 If this all is way too much of documentation for you, and you just
4619 want to dive into typesetting without worrying too much about the
4620 details on how to customize a context, then you may have a look at the
4621 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4622 set up predefined style-specific voice and staff contexts, and
4623 directly go ahead with the note entry.
4627 Ligatures need special spacing that has not yet been implemented. As
4628 a result, there is too much space between ligatures most of the time,
4629 and line breaking often is unsatisfactory. Also, lyrics do not
4630 correctly align with ligatures.
4632 Accidentals must not be printed within a ligature, but instead need to
4633 be collected and printed in front of it.
4635 Augmentum dots within ligatures are not handled correctly.
4638 @node Ancient note heads
4639 @subsection Ancient note heads
4645 For ancient notation, a note head style other than the @code{default}
4646 style may be chosen. This is accomplished by setting the @code{style}
4647 property of the NoteHead object to the desired value (@code{baroque},
4648 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4649 differs from the @code{default} style only in using a square shape for
4650 @code{\breve} note heads. The @code{neo_mensural} style differs from
4651 the @code{baroque} style in that it uses rhomboidal heads for whole
4652 notes and all smaller durations. Stems are centered on the note
4653 heads. This style is in particular useful when transcribing mensural
4654 music, e.g. for the incipit. The @code{mensural} style finally
4655 produces note heads that mimick the look of note heads in historic
4656 printings of the 16th century.
4658 The following example demonstrates the @code{neo_mensural} style:
4660 @lilypond[fragment,singleline,verbatim]
4661 \property Voice.NoteHead \set #'style = #'neo_mensural
4662 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4665 When typesetting a piece in Gregorian Chant notation, a Gregorian
4666 ligature engraver will automatically select the proper note heads,
4667 such there is no need to explicitly set the note head style. Still,
4668 the note head style can be set e.g. to @code{vaticana_punctum} to
4669 produce punctum neumes. Similarly, a mensural ligature engraver is
4670 used to automatically assemble mensural ligatures. See
4671 @ref{Ligatures} for how ligature engravers work.
4675 @inputfileref{input/regression,note-head-style.ly} gives an overview
4676 over all available note head styles.
4678 @ref{Percussion staves} use note head styles of their own that are
4679 frequently used in contemporary music notation.
4681 @node Ancient accidentals
4682 @subsection Ancient accidentals
4688 Use the @code{style} property of grob @internalsref{Accidental} to
4689 select ancient accidentals. Supported styles are
4690 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4692 @lilypond[singleline,26pt]
4700 { " " \musicglyph #"accidentals-vaticana-1"
4701 " " \musicglyph #"accidentals-vaticana0" }
4705 { " " \musicglyph #"accidentals-medicaea-1" }
4709 { " " \musicglyph #"accidentals-hufnagel-1" }
4713 { " " \musicglyph #"accidentals-mensural-1"
4714 " " \musicglyph #"accidentals-mensural1" }
4723 \remove "Bar_number_engraver"
4727 \remove "Clef_engraver"
4728 \remove "Key_engraver"
4729 \remove "Time_signature_engraver"
4730 \remove "Staff_symbol_engraver"
4731 minimumVerticalExtent = ##f
4737 As shown, not all accidentals are supported by each style. When
4738 trying to access an unsupported accidental, LilyPond will switch to a
4739 different style, as demonstrated in
4740 @inputfileref{input/test,ancient-accidentals.ly}.
4742 Similarly to local accidentals, the style of the key signature can be
4743 controlled by the @code{style} property of the
4744 @internalsref{KeySignature} grob.
4748 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4749 a general introduction into the use of accidentals. @ref{Key
4750 signature} gives a general introduction into the use of key
4755 @subsection Ancient rests
4761 Use the @code{style} property of grob @internalsref{Rest} to select
4762 ancient accidentals. Supported styles are @code{classical},
4763 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4764 from the @code{default} style only in that the quarter rest looks like
4765 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4766 well for e.g. the incipit of a transcribed mensural piece of music.
4767 The @code{mensural} style finally mimicks the appearance of rests as
4768 in historic prints of the 16th century.
4770 The following example demonstrates the @code{neo_mensural} style:
4772 @lilypond[fragment,singleline,verbatim]
4773 \property Voice.Rest \set #'style = #'neo_mensural
4774 r\longa r\breve r1 r2 r4 r8 r16
4777 There are no 32th and 64th rests specifically for the mensural or
4778 neo-mensural style. Instead, the rests from the default style will be
4779 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4782 There are no rests in Gregorian Chant notation; instead, it uses
4787 @ref{Rests} gives a general introduction into the use of rests.
4791 @subsection Ancient clefs
4797 LilyPond supports a variety of clefs, many of them ancient.
4799 The following table shows all ancient clefs that are supported via the
4800 @code{\clef} command. Some of the clefs use the same glyph, but
4801 differ only with respect to the line they are printed on. In such
4802 cases, a trailing number in the name is used to enumerate these clefs.
4803 Still, you can manually force a clef glyph to be typeset on an
4804 arbitrary line, as described in @ref{Clef}. The note printed to the
4805 right side of each clef in the example column denotes the @code{c'}
4806 with respect to that clef.
4808 @multitable @columnfractions .3 .3 .3 .1
4812 @b{Description} @tab
4813 @b{Supported Clefs} @tab
4817 @code{clefs-neo_mensural_c} @tab
4818 modern style mensural C clef @tab
4819 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4820 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4821 @lilypond[relative 0, notime]
4822 \property Staff.TimeSignature \set #'transparent = ##t
4823 \clef "neo_mensural_c2" c
4827 @code{clefs-petrucci_c1}
4828 @code{clefs-petrucci_c2}
4829 @code{clefs-petrucci_c3}
4830 @code{clefs-petrucci_c4}
4831 @code{clefs-petrucci_c5}
4834 petrucci style mensural C clefs, for use on different stafflines
4835 (the examples shows the 2nd staffline C clef).
4845 @lilypond[relative 0, notime]
4846 \property Staff.TimeSignature \set #'transparent = ##t
4847 \clef "petrucci_c2" c
4851 @code{clefs-petrucci_f} @tab
4852 petrucci style mensural F clef @tab
4853 @code{petrucci_f} @tab
4854 @lilypond[relative 0, notime]
4855 \property Staff.TimeSignature \set #'transparent = ##t
4856 \clef "petrucci_f" c
4860 @code{clefs-petrucci_g} @tab
4861 petrucci style mensural G clef @tab
4862 @code{petrucci_g} @tab
4863 @lilypond[relative 0, notime]
4864 \property Staff.TimeSignature \set #'transparent = ##t
4865 \clef "petrucci_g" c
4869 @code{clefs-mensural_c} @tab
4870 historic style mensural C clef @tab
4871 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4872 @code{mensural_c4} @tab
4873 @lilypond[relative 0, notime]
4874 \property Staff.TimeSignature \set #'transparent = ##t
4875 \clef "mensural_c2" c
4879 @code{clefs-mensural_f} @tab
4880 historic style mensural F clef @tab
4881 @code{mensural_f} @tab
4882 @lilypond[relative 0, notime]
4883 \property Staff.TimeSignature \set #'transparent = ##t
4884 \clef "mensural_f" c
4888 @code{clefs-mensural_g} @tab
4889 historic style mensural G clef @tab
4890 @code{mensural_g} @tab
4891 @lilypond[relative 0, notime]
4892 \property Staff.TimeSignature \set #'transparent = ##t
4893 \clef "mensural_g" c
4897 @code{clefs-vaticana_do} @tab
4898 Editio Vaticana style do clef @tab
4899 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4900 @lilypond[relative 0, notime]
4902 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4903 \property Staff.TimeSignature \set #'transparent = ##t
4904 \clef "vaticana_do2" c
4908 @code{clefs-vaticana_fa} @tab
4909 Editio Vaticana style fa clef @tab
4910 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4911 @lilypond[relative 0, notime]
4913 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4914 \property Staff.TimeSignature \set #'transparent = ##t
4915 \clef "vaticana_fa2" c
4919 @code{clefs-medicaea_do} @tab
4920 Editio Medicaea style do clef @tab
4921 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4922 @lilypond[relative 0, notime]
4924 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4925 \property Staff.TimeSignature \set #'transparent = ##t
4926 \clef "medicaea_do2" c
4930 @code{clefs-medicaea_fa} @tab
4931 Editio Medicaea style fa clef @tab
4932 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4933 @lilypond[relative 0, notime]
4935 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4936 \property Staff.TimeSignature \set #'transparent = ##t
4937 \clef "medicaea_fa2" c
4941 @code{clefs-hufnagel_do} @tab
4942 historic style hufnagel do clef @tab
4943 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4944 @lilypond[relative 0, notime]
4946 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4947 \property Staff.TimeSignature \set #'transparent = ##t
4948 \clef "hufnagel_do2" c
4952 @code{clefs-hufnagel_fa} @tab
4953 historic style hufnagel fa clef @tab
4954 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4955 @lilypond[relative 0, notime]
4957 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4958 \property Staff.TimeSignature \set #'transparent = ##t
4959 \clef "hufnagel_fa2" c
4963 @code{clefs-hufnagel_do_fa} @tab
4964 historic style hufnagel combined do/fa clef @tab
4965 @code{hufnagel_do_fa} @tab
4966 @lilypond[relative 0, notime]
4967 \property Staff.TimeSignature \set #'transparent = ##t
4968 \clef "hufnagel_do_fa" c
4973 @c --- This should go somewhere else: ---
4974 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4977 @c @code{percussion}
4979 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4981 @c @item modern style tab clef (glyph: @code{clefs-tab})
4986 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4988 @emph{Modern style} means ``as is typeset in contemporary editions of
4989 transcribed mensural music''.
4991 @emph{Petrucci style} means ``inspired by printings published by the
4992 famous engraver Petrucci (1466-1539)''.
4994 @emph{Historic style} means ``as was typeset or written in historic
4995 editions (other than those of Petrucci)''.
4997 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4999 Petrucci used C clefs with differently balanced left-side vertical
5000 beams, depending on which staffline it is printed.
5004 For modern clefs, see @ref{Clef}. For the percussion clef, see
5005 @ref{Percussion staves}. For the @code{TAB} clef, see
5010 @subsection Ancient flags
5016 Use the @code{flag-style} property of grob @internalsref{Stem} to
5017 select ancient flags. Besides the @code{default} flag style,
5018 only @code{mensural} style is supported:
5020 @lilypond[fragment,singleline,verbatim]
5021 \property Voice.Stem \set #'flag-style = #'mensural
5022 \property Voice.Stem \set #'thickness = #1.0
5023 \property Voice.NoteHead \set #'style = #'mensural
5025 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
5026 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5029 Note that the innermost flare of each mensural flag always is
5030 vertically aligned with a staff line. If you do not like this
5031 behaviour, you can set the @code{adjust-if-on-staffline} property of
5032 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5033 of the end of each flare is different between notes on staff lines and
5034 notes between staff lines:
5036 @lilypond[fragment,singleline]
5037 \property Voice.Stem \set #'flag-style = #'mensural
5038 \property Voice.Stem \set #'thickness = #1.0
5039 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5040 \property Voice.NoteHead \set #'style = #'mensural
5042 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
5043 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5046 There is no particular flag style for neo-mensural notation. Hence,
5047 when typesetting e.g. the incipit of a transcibed piece of mensural
5048 music, the default flag style should be used. There are no flags in
5049 Gregorian Chant notation.
5052 @node Ancient time signatures
5053 @subsection Ancient time signatures
5055 @cindex time signatures
5059 There is limited support for mensural time signatures. The
5060 glyphs are hard-wired to particular time fractions. In other words,
5061 to get a particular mensural signature glyph with the @code{\time n/m}
5062 command, @code{n} and @code{m} have to be chosen according to the
5068 \property Score.timing = ##f
5069 \property Score.barAlways = ##t
5070 s_\markup { "$\\backslash$time 4/4" }
5071 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
5073 s_\markup { "$\\backslash$time 2/2" }
5074 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
5076 s_\markup { "$\\backslash$time 6/4" }
5077 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
5079 s_\markup { "$\\backslash$time 6/8" }
5080 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
5082 s_\markup { "$\\backslash$time 3/2" }
5083 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
5085 s_\markup { "$\\backslash$time 3/4" }
5086 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
5088 s_\markup { "$\\backslash$time 9/4" }
5089 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
5091 s_\markup { "$\\backslash$time 9/8" }
5092 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
5094 s_\markup { "$\\backslash$time 4/8" }
5095 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
5097 s_\markup { "$\\backslash$time 2/4" }
5098 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
5106 \remove Staff_symbol_engraver
5107 \remove Clef_engraver
5108 \remove Time_signature_engraver
5114 Use the @code{style} property of grob @internalsref{TimeSignature} to
5115 select ancient time signatures. Supported styles are
5116 @code{neo_mensural} and @code{mensural}. The above table uses the
5117 @code{neo_mensural} style. This style is appropriate e.g. for the
5118 incipit of transcriptions of mensural pieces. The @code{mensural}
5119 style mimicks the look of historical printings of the 16th century.
5121 @inputfileref{input/test,time.ly} gives an overview over all available
5122 ancient and modern styles.
5126 @ref{Time signature} gives a general introduction into the use of time
5131 Mensural signature glyphs are mapped to time fractions in a
5132 hard-wired way. This mapping is sensible, but still arbitrary: given
5133 a mensural time signature, the time fraction represents a modern meter
5134 that usually will be a good choice when transcribing a mensural piece
5135 of music. For a particular piece of mensural music, however, the
5136 mapping may be unsatisfactory. In particular, the mapping assumes a
5137 fixed transcription of durations (e.g. brevis = half note in 2/2,
5138 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5139 are not at all accessible through the @code{\time} command.
5141 Mensural time signatures are supported typographically, but not yet
5142 musically. The internal representation of durations is
5143 based on a purely binary system; a ternary division such as 1 brevis =
5144 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5145 prolatione maiori) is not correctly handled: event times in ternary
5146 modes will be badly computed, resulting e.g. in horizontally
5147 misaligned note heads, and bar checks are likely to erroneously fail.
5149 The syntax and semantics of the @code{\time} command for mensural
5150 music is subject to change.
5153 @subsection Custodes
5158 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5159 symbol that appears at the end of a staff. It anticipates the pitch
5160 of the first note(s) of the following line and thus helps the player
5161 or singer to manage line breaks during performance, thus enhancing
5162 readability of a score.
5164 Custodes were frequently used in music notation until the 17th
5165 century. Nowadays, they have survived only in a few particular forms
5166 of musical notation such as contemporary editions of Gregorian chant
5167 like the @emph{editio vaticana}. There are different custos glyphs
5168 used in different flavours of notational style.
5172 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5173 @internalsref{Staff} context when declaring the @code{\paper} block,
5174 as shown in the following example:
5180 \consists Custos_engraver
5181 Custos \override #'style = #'mensural
5186 The result looks like this:
5192 \property Staff.Custos \set #'style = #'mensural
5199 \consists Custos_engraver
5206 The custos glyph is selected by the @code{style} property. The styles
5207 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5208 @code{mensural}. They are demonstrated in the following fragment:
5218 { " " \musicglyph #"custodes-vaticana-u0" }
5222 { " " \musicglyph #"custodes-medicaea-u0" }
5226 { " " \musicglyph #"custodes-hufnagel-u0" }
5230 { " " \musicglyph #"custodes-mensural-u0" }
5239 \remove "Bar_number_engraver"
5243 \remove "Clef_engraver"
5244 \remove "Key_engraver"
5245 \remove "Time_signature_engraver"
5246 \remove "Staff_symbol_engraver"
5247 minimumVerticalExtent = ##f
5253 If the boolean property @code{adjust-if-on-staffline} is set to
5254 @code{#t} (which it is by default), lily typesets slightly different
5255 variants of the custos glyph, depending on whether the custos, is
5256 typeset on or between stafflines. The glyph will
5257 optically fit well into the staff, with the appendage on the right of
5258 the custos always ending at the same vertical position between two
5259 stafflines regardless of the pitch. If you set
5260 @code{adjust-if-on-staffline} to @code{#f}, then
5261 a compromise between both forms is used.
5263 Just like stems can be attached to noteheads in two directions
5264 @emph{up} and @emph{down}, each custos glyph is available with its
5265 appendage pointing either up or down. If the pitch of a custos is
5266 above a selectable position, the appendage will point downwards; if
5267 the pitch is below this position, the appendage will point upwards.
5268 Use property @code{neutral-position} to select this position. By
5269 default, it is set to @code{0}, such that the neutral position is the
5270 center of the staff. Use property @code{neutral-direction} to control
5271 what happens if a custos is typeset on the neutral position itself.
5272 By default, this property is set to @code{-1}, such that the appendage
5273 will point downwards. If set to @code{1}, the appendage will point
5274 upwards. Other values such as @code{0} are reserved for future
5275 extensions and should not be used.
5279 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5283 @subsection Divisiones
5289 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5290 `division') is a staff context symbol that is used to structure
5291 Gregorian music into phrases and sections. The musical meaning of
5292 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5293 can be characterized as short, medium and long pause, somewhat like
5294 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5295 a chant, but is also frequently used within a single
5296 antiphonal/responsorial chant to mark the end of each section.
5300 To use divisiones, include the file @code{gregorian-init.ly}. It
5301 contains definitions that you can apply by just inserting
5302 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5303 and @code{\finalis} at proper places in the input. Some editions use
5304 @emph{virgula} or @emph{caesura} instead of divisio minima.
5305 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5308 @lilypondfile[notexidoc]{divisiones.ly}
5312 @cindex @code{\virgula}
5314 @cindex @code{\caesura}
5316 @cindex @code{\divisioMinima}
5317 @code{\divisioMinima},
5318 @cindex @code{\divisioMaior}
5319 @code{\divisioMaior},
5320 @cindex @code{\divisioMaxima}
5321 @code{\divisioMaxima},
5322 @cindex @code{\finalis}
5327 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5328 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5331 @subsection Ligatures
5335 @c TODO: Should double check if I recalled things correctly when I wrote
5336 @c down the following paragraph by heart.
5338 In musical terminology, a ligature is a coherent graphical symbol that
5339 represents at least two distinct notes. Ligatures originally appeared
5340 in the manuscripts of Gregorian chant notation roughly since the 9th
5341 century as an allusion to the accent symbols of greek lyric poetry to
5342 denote ascending or descending sequences of notes. Both, the shape
5343 and the exact meaning of ligatures changed tremendously during the
5344 following centuries: In early notation, ligatures were used for
5345 monophonic tunes (Gregorian chant) and very soon denoted also the way
5346 of performance in the sense of articulation. With upcoming
5347 multiphony, the need for a metric system arised, since multiple voices
5348 of a piece have to be synchronized some way. New notation systems
5349 were invented that used the manifold shapes of ligatures to now denote
5350 rhythmical patterns (e.g. black mensural notation, mannered notation,
5351 ars nova). With the invention of the metric system of the white
5352 mensural notation, the need for ligatures to denote such patterns
5353 disappeared. Nevertheless, ligatures were still in use in the
5354 mensural system for a couple of decades until they finally disappeared
5355 during the late 16th / early 17th century. Still, ligatures have
5356 survived in contemporary editions of Gregorian chant such as the
5357 Editio Vaticana from 1905/08.
5361 Syntactically, ligatures are simply enclosed by @code{\[} and
5362 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5363 additional input syntax specific for this particular type of ligature.
5364 By default, the @internalsref{LigatureBracket} engraver just puts a
5365 square bracket above the ligature:
5367 @lilypond[singleline,verbatim]
5369 \notes \transpose c c' {
5377 To select a specific style of ligatures, a proper ligature engraver
5378 has to be added to the @internalsref{Voice} context, as explained in
5379 the following subsections. Only white mensural ligatures
5380 are supported with certain limitations. Support for Editio Vaticana
5381 will be added in the future.
5384 * White mensural ligatures::
5385 * Gregorian square neumes ligatures::
5388 @node White mensural ligatures
5389 @subsubsection White mensural ligatures
5391 @cindex Mensural ligatures
5392 @cindex White mensural ligatures
5394 There is limited support for white mensural ligatures. The
5395 implementation is still experimental; it may output strange
5396 warnings or even crash in some cases or produce weird results on more
5401 To engrave white mensural ligatures, in the paper block the
5402 @internalsref{Mensural_ligature_engraver} has to be put into the
5403 @internalsref{Voice} context, and remove the
5404 @internalsref{Ligature_bracket_engraver}:
5410 \remove Ligature_bracket_engraver
5411 \consists Mensural_ligature_engraver
5416 There is no additional input language to describe the shape of a
5417 white mensural ligature. The shape is rather determined solely from
5418 the pitch and duration of the enclosed notes. While this approach may
5419 take a new user a while to get accustomed, it has the great advantage
5420 that the full musical information of the ligature is known internally.
5421 This is not only required for correct MIDI output, but also allows for
5422 automatic transcription of the ligatures.
5427 \property Score.timing = ##f
5428 \property Score.defaultBarType = "empty"
5429 \property Voice.NoteHead \set #'style = #'neo_mensural
5430 \property Staff.TimeSignature \set #'style = #'neo_mensural
5432 \[ g\longa c\breve a\breve f\breve d'\longa \]
5434 \[ e1 f1 a\breve g\longa \]
5436 @lilypond[singleline]
5438 \notes \transpose c c' {
5439 \property Score.timing = ##f
5440 \property Score.defaultBarType = "empty"
5441 \property Voice.NoteHead \set #'style = #'neo_mensural
5442 \property Staff.TimeSignature \set #'style = #'neo_mensural
5444 \[ g\longa c\breve a\breve f\breve d'\longa \]
5446 \[ e1 f1 a\breve g\longa \]
5451 \remove Ligature_bracket_engraver
5452 \consists Mensural_ligature_engraver
5458 Without replacing @internalsref{Ligature_bracket_engraver} with
5459 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5462 @lilypond[singleline]
5464 \notes \transpose c c' {
5465 \property Score.timing = ##f
5466 \property Score.defaultBarType = "empty"
5467 \property Voice.NoteHead \set #'style = #'neo_mensural
5468 \property Staff.TimeSignature \set #'style = #'neo_mensural
5470 \[ g\longa c\breve a\breve f\breve d'\longa \]
5472 \[ e1 f1 a\breve g\longa \]
5478 @node Gregorian square neumes ligatures
5479 @subsubsection Gregorian square neumes ligatures
5481 @cindex Square neumes ligatures
5482 @cindex Gregorian square neumes ligatures
5484 Gregorian square neumes notation (following the style of the Editio
5485 Vaticana) is under heavy development, but not yet really usable for
5486 production purposes. Core ligatures can already be typeset, but
5487 essential issues for serious typesetting are still under development,
5488 such as (among others) horizontal alignment of multiple ligatures,
5489 lyrics alignment and proper accidentals handling. Still, this section
5490 gives a sneak preview of what Gregorian chant may look like once it
5493 The following table contains the extended neumes table of the 2nd
5494 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5495 1983 by the monks of Solesmes.
5497 @multitable @columnfractions .4 .2 .2 .2
5500 @b{Neuma aut@*Neumarum Elementa} @tab
5501 @b{Figurae@*Rectae} @tab
5502 @b{Figurae@*Liquescentes Auctae} @tab
5503 @b{Figurae@*Liquescentes Deminutae}
5505 @c TODO: \paper block is identical in all of the below examples.
5506 @c Therefore, it should somehow be included rather than duplicated all
5509 @c why not make identifiers in ly/engraver-init.ly? --hwn
5511 @c Because it's just used to typeset plain notes without
5512 @c a staff for demonstration purposes rather than something
5513 @c special of Gregorian chant notation. --jr
5518 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5519 \include "gregorian-init.ly"
5521 \notes \transpose c c' {
5524 \noBreak s^\markup {"a"} \noBreak
5526 % Punctum Inclinatum
5528 \noBreak s^\markup {"b"}
5534 \remove "Bar_number_engraver"
5538 \remove "Clef_engraver"
5539 \remove "Key_engraver"
5540 StaffSymbol \set #'transparent = ##t
5541 \remove "Time_signature_engraver"
5542 \remove "Bar_engraver"
5543 minimumVerticalExtent = ##f
5547 \remove Ligature_bracket_engraver
5548 \consists Vaticana_ligature_engraver
5549 NoteHead \set #'style = #'vaticana_punctum
5550 Stem \set #'transparent = ##t
5556 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5557 \include "gregorian-init.ly"
5559 \notes \transpose c c' {
5560 % Punctum Auctum Ascendens
5561 \[ \auctum \ascendens b \]
5562 \noBreak s^\markup {"c"} \noBreak
5564 % Punctum Auctum Descendens
5565 \[ \auctum \descendens b \]
5566 \noBreak s^\markup {"d"} \noBreak
5568 % Punctum Inclinatum Auctum
5569 \[ \inclinatum \auctum b \]
5570 \noBreak s^\markup {"e"}
5576 \remove "Bar_number_engraver"
5580 \remove "Clef_engraver"
5581 \remove "Key_engraver"
5582 StaffSymbol \set #'transparent = ##t
5583 \remove "Time_signature_engraver"
5584 \remove "Bar_engraver"
5585 minimumVerticalExtent = ##f
5589 \remove Ligature_bracket_engraver
5590 \consists Vaticana_ligature_engraver
5591 NoteHead \set #'style = #'vaticana_punctum
5592 Stem \set #'transparent = ##t
5598 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5599 \include "gregorian-init.ly"
5601 \notes \transpose c c' {
5602 % Punctum Inclinatum Parvum
5603 \[ \inclinatum \deminutum b \]
5604 \noBreak s^\markup {"f"}
5610 \remove "Bar_number_engraver"
5614 \remove "Clef_engraver"
5615 \remove "Key_engraver"
5616 StaffSymbol \set #'transparent = ##t
5617 \remove "Time_signature_engraver"
5618 \remove "Bar_engraver"
5619 minimumVerticalExtent = ##f
5623 \remove Ligature_bracket_engraver
5624 \consists Vaticana_ligature_engraver
5625 NoteHead \set #'style = #'vaticana_punctum
5626 Stem \set #'transparent = ##t
5635 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5636 \include "gregorian-init.ly"
5638 \notes \transpose c c' {
5641 \noBreak s^\markup {"g"}
5647 \remove "Bar_number_engraver"
5651 \remove "Clef_engraver"
5652 \remove "Key_engraver"
5653 StaffSymbol \set #'transparent = ##t
5654 \remove "Time_signature_engraver"
5655 \remove "Bar_engraver"
5656 minimumVerticalExtent = ##f
5660 \remove Ligature_bracket_engraver
5661 \consists Vaticana_ligature_engraver
5662 NoteHead \set #'style = #'vaticana_punctum
5663 Stem \set #'transparent = ##t
5672 @code{3. Apostropha vel Stropha}
5674 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5675 \include "gregorian-init.ly"
5677 \notes \transpose c c' {
5680 \noBreak s^\markup {"h"}
5686 \remove "Bar_number_engraver"
5690 \remove "Clef_engraver"
5691 \remove "Key_engraver"
5692 StaffSymbol \set #'transparent = ##t
5693 \remove "Time_signature_engraver"
5694 \remove "Bar_engraver"
5695 minimumVerticalExtent = ##f
5699 \remove Ligature_bracket_engraver
5700 \consists Vaticana_ligature_engraver
5701 NoteHead \set #'style = #'vaticana_punctum
5702 Stem \set #'transparent = ##t
5708 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5709 \include "gregorian-init.ly"
5711 \notes \transpose c c' {
5713 \[ \stropha \auctum b \]
5714 \noBreak s^\markup {"i"}
5720 \remove "Bar_number_engraver"
5724 \remove "Clef_engraver"
5725 \remove "Key_engraver"
5726 StaffSymbol \set #'transparent = ##t
5727 \remove "Time_signature_engraver"
5728 \remove "Bar_engraver"
5729 minimumVerticalExtent = ##f
5733 \remove Ligature_bracket_engraver
5734 \consists Vaticana_ligature_engraver
5735 NoteHead \set #'style = #'vaticana_punctum
5736 Stem \set #'transparent = ##t
5746 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5747 \include "gregorian-init.ly"
5749 \notes \transpose c c' {
5752 \noBreak s^\markup {"j"}
5758 \remove "Bar_number_engraver"
5762 \remove "Clef_engraver"
5763 \remove "Key_engraver"
5764 StaffSymbol \set #'transparent = ##t
5765 \remove "Time_signature_engraver"
5766 \remove "Bar_engraver"
5767 minimumVerticalExtent = ##f
5771 \remove Ligature_bracket_engraver
5772 \consists Vaticana_ligature_engraver
5773 NoteHead \set #'style = #'vaticana_punctum
5774 Stem \set #'transparent = ##t
5783 @code{5. Clivis vel Flexa}
5785 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5786 \include "gregorian-init.ly"
5788 \notes \transpose c c' {
5797 \remove "Bar_number_engraver"
5801 \remove "Clef_engraver"
5802 \remove "Key_engraver"
5803 StaffSymbol \set #'transparent = ##t
5804 \remove "Time_signature_engraver"
5805 \remove "Bar_engraver"
5806 minimumVerticalExtent = ##f
5810 \remove Ligature_bracket_engraver
5811 \consists Vaticana_ligature_engraver
5812 NoteHead \set #'style = #'vaticana_punctum
5813 Stem \set #'transparent = ##t
5819 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5820 \include "gregorian-init.ly"
5822 \notes \transpose c c' {
5823 % Clivis Aucta Descendens
5824 \[ b \flexa \auctum \descendens g \]
5825 \noBreak s^\markup {"l"} \noBreak
5827 % Clivis Aucta Ascendens
5828 \[ b \flexa \auctum \ascendens g \]
5829 \noBreak s^\markup {"m"}
5835 \remove "Bar_number_engraver"
5839 \remove "Clef_engraver"
5840 \remove "Key_engraver"
5841 StaffSymbol \set #'transparent = ##t
5842 \remove "Time_signature_engraver"
5843 \remove "Bar_engraver"
5844 minimumVerticalExtent = ##f
5848 \remove Ligature_bracket_engraver
5849 \consists Vaticana_ligature_engraver
5850 NoteHead \set #'style = #'vaticana_punctum
5851 Stem \set #'transparent = ##t
5857 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5858 \include "gregorian-init.ly"
5860 \notes \transpose c c' {
5862 \[ b \flexa \deminutum g \]
5869 \remove "Bar_number_engraver"
5873 \remove "Clef_engraver"
5874 \remove "Key_engraver"
5875 StaffSymbol \set #'transparent = ##t
5876 \remove "Time_signature_engraver"
5877 \remove "Bar_engraver"
5878 minimumVerticalExtent = ##f
5882 \remove Ligature_bracket_engraver
5883 \consists Vaticana_ligature_engraver
5884 NoteHead \set #'style = #'vaticana_punctum
5885 Stem \set #'transparent = ##t
5892 @code{6. Podatus vel Pes}
5894 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5895 \include "gregorian-init.ly"
5897 \notes \transpose c c' {
5906 \remove "Bar_number_engraver"
5910 \remove "Clef_engraver"
5911 \remove "Key_engraver"
5912 StaffSymbol \set #'transparent = ##t
5913 \remove "Time_signature_engraver"
5914 \remove "Bar_engraver"
5915 minimumVerticalExtent = ##f
5919 \remove Ligature_bracket_engraver
5920 \consists Vaticana_ligature_engraver
5921 NoteHead \set #'style = #'vaticana_punctum
5922 Stem \set #'transparent = ##t
5928 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5929 \include "gregorian-init.ly"
5931 \notes \transpose c c' {
5932 % Pes Auctus Descendens
5933 \[ g \pes \auctum \descendens b \]
5934 \noBreak s^\markup {"p"} \noBreak
5936 % Pes Auctus Ascendens
5937 \[ g \pes \auctum \ascendens b \]
5938 \noBreak s^\markup {"q"}
5944 \remove "Bar_number_engraver"
5948 \remove "Clef_engraver"
5949 \remove "Key_engraver"
5950 StaffSymbol \set #'transparent = ##t
5951 \remove "Time_signature_engraver"
5952 \remove "Bar_engraver"
5953 minimumVerticalExtent = ##f
5957 \remove Ligature_bracket_engraver
5958 \consists Vaticana_ligature_engraver
5959 NoteHead \set #'style = #'vaticana_punctum
5960 Stem \set #'transparent = ##t
5966 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5967 \include "gregorian-init.ly"
5969 \notes \transpose c c' {
5971 \[ g \pes \deminutum b \]
5978 \remove "Bar_number_engraver"
5982 \remove "Clef_engraver"
5983 \remove "Key_engraver"
5984 StaffSymbol \set #'transparent = ##t
5985 \remove "Time_signature_engraver"
5986 \remove "Bar_engraver"
5987 minimumVerticalExtent = ##f
5991 \remove Ligature_bracket_engraver
5992 \consists Vaticana_ligature_engraver
5993 NoteHead \set #'style = #'vaticana_punctum
5994 Stem \set #'transparent = ##t
6001 @code{7. Pes Quassus}
6003 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6004 \include "gregorian-init.ly"
6006 \notes \transpose c c' {
6008 \[ \oriscus g \pes \virga b \]
6015 \remove "Bar_number_engraver"
6019 \remove "Clef_engraver"
6020 \remove "Key_engraver"
6021 StaffSymbol \set #'transparent = ##t
6022 \remove "Time_signature_engraver"
6023 \remove "Bar_engraver"
6024 minimumVerticalExtent = ##f
6028 \remove Ligature_bracket_engraver
6029 \consists Vaticana_ligature_engraver
6030 NoteHead \set #'style = #'vaticana_punctum
6031 Stem \set #'transparent = ##t
6037 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6038 \include "gregorian-init.ly"
6040 \notes \transpose c c' {
6041 % Pes Quassus Auctus Descendens
6042 \[ \oriscus g \pes \auctum \descendens b \]
6049 \remove "Bar_number_engraver"
6053 \remove "Clef_engraver"
6054 \remove "Key_engraver"
6055 StaffSymbol \set #'transparent = ##t
6056 \remove "Time_signature_engraver"
6057 \remove "Bar_engraver"
6058 minimumVerticalExtent = ##f
6062 \remove Ligature_bracket_engraver
6063 \consists Vaticana_ligature_engraver
6064 NoteHead \set #'style = #'vaticana_punctum
6065 Stem \set #'transparent = ##t
6073 @code{8. Quilisma Pes}
6075 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6076 \include "gregorian-init.ly"
6078 \notes \transpose c c' {
6080 \[ \quilisma g \pes b \]
6087 \remove "Bar_number_engraver"
6091 \remove "Clef_engraver"
6092 \remove "Key_engraver"
6093 StaffSymbol \set #'transparent = ##t
6094 \remove "Time_signature_engraver"
6095 \remove "Bar_engraver"
6096 minimumVerticalExtent = ##f
6100 \remove Ligature_bracket_engraver
6101 \consists Vaticana_ligature_engraver
6102 NoteHead \set #'style = #'vaticana_punctum
6103 Stem \set #'transparent = ##t
6109 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6110 \include "gregorian-init.ly"
6112 \notes \transpose c c' {
6113 % Quilisma Pes Auctus Descendens
6114 \[ \quilisma g \pes \auctum \descendens b \]
6121 \remove "Bar_number_engraver"
6125 \remove "Clef_engraver"
6126 \remove "Key_engraver"
6127 StaffSymbol \set #'transparent = ##t
6128 \remove "Time_signature_engraver"
6129 \remove "Bar_engraver"
6130 minimumVerticalExtent = ##f
6134 \remove Ligature_bracket_engraver
6135 \consists Vaticana_ligature_engraver
6136 NoteHead \set #'style = #'vaticana_punctum
6137 Stem \set #'transparent = ##t
6145 @code{9. Podatus Initio Debilis}
6147 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6148 \include "gregorian-init.ly"
6150 \notes \transpose c c' {
6151 % Pes Initio Debilis
6152 \[ \deminutum g \pes b \]
6159 \remove "Bar_number_engraver"
6163 \remove "Clef_engraver"
6164 \remove "Key_engraver"
6165 StaffSymbol \set #'transparent = ##t
6166 \remove "Time_signature_engraver"
6167 \remove "Bar_engraver"
6168 minimumVerticalExtent = ##f
6172 \remove Ligature_bracket_engraver
6173 \consists Vaticana_ligature_engraver
6174 NoteHead \set #'style = #'vaticana_punctum
6175 Stem \set #'transparent = ##t
6181 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6182 \include "gregorian-init.ly"
6184 \notes \transpose c c' {
6185 % Pes Auctus Descendens Initio Debilis
6186 \[ \deminutum g \pes \auctum \descendens b \]
6193 \remove "Bar_number_engraver"
6197 \remove "Clef_engraver"
6198 \remove "Key_engraver"
6199 StaffSymbol \set #'transparent = ##t
6200 \remove "Time_signature_engraver"
6201 \remove "Bar_engraver"
6202 minimumVerticalExtent = ##f
6206 \remove Ligature_bracket_engraver
6207 \consists Vaticana_ligature_engraver
6208 NoteHead \set #'style = #'vaticana_punctum
6209 Stem \set #'transparent = ##t
6219 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6220 \include "gregorian-init.ly"
6222 \notes \transpose c c' {
6224 \[ a \pes b \flexa g \]
6231 \remove "Bar_number_engraver"
6235 \remove "Clef_engraver"
6236 \remove "Key_engraver"
6237 StaffSymbol \set #'transparent = ##t
6238 \remove "Time_signature_engraver"
6239 \remove "Bar_engraver"
6240 minimumVerticalExtent = ##f
6244 \remove Ligature_bracket_engraver
6245 \consists Vaticana_ligature_engraver
6246 NoteHead \set #'style = #'vaticana_punctum
6247 Stem \set #'transparent = ##t
6253 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6254 \include "gregorian-init.ly"
6256 \notes \transpose c c' {
6257 % Torculus Auctus Descendens
6258 \[ a \pes b \flexa \auctum \descendens g \]
6265 \remove "Bar_number_engraver"
6269 \remove "Clef_engraver"
6270 \remove "Key_engraver"
6271 StaffSymbol \set #'transparent = ##t
6272 \remove "Time_signature_engraver"
6273 \remove "Bar_engraver"
6274 minimumVerticalExtent = ##f
6278 \remove Ligature_bracket_engraver
6279 \consists Vaticana_ligature_engraver
6280 NoteHead \set #'style = #'vaticana_punctum
6281 Stem \set #'transparent = ##t
6287 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6288 \include "gregorian-init.ly"
6290 \notes \transpose c c' {
6291 % Torculus Deminutus
6292 \[ a \pes b \flexa \deminutum g \]
6299 \remove "Bar_number_engraver"
6303 \remove "Clef_engraver"
6304 \remove "Key_engraver"
6305 StaffSymbol \set #'transparent = ##t
6306 \remove "Time_signature_engraver"
6307 \remove "Bar_engraver"
6308 minimumVerticalExtent = ##f
6312 \remove Ligature_bracket_engraver
6313 \consists Vaticana_ligature_engraver
6314 NoteHead \set #'style = #'vaticana_punctum
6315 Stem \set #'transparent = ##t
6322 @code{11. Torculus Initio Debilis}
6324 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6325 \include "gregorian-init.ly"
6327 \notes \transpose c c' {
6328 % Torculus Initio Debilis
6329 \[ \deminutum a \pes b \flexa g \]
6336 \remove "Bar_number_engraver"
6340 \remove "Clef_engraver"
6341 \remove "Key_engraver"
6342 StaffSymbol \set #'transparent = ##t
6343 \remove "Time_signature_engraver"
6344 \remove "Bar_engraver"
6345 minimumVerticalExtent = ##f
6349 \remove Ligature_bracket_engraver
6350 \consists Vaticana_ligature_engraver
6351 NoteHead \set #'style = #'vaticana_punctum
6352 Stem \set #'transparent = ##t
6358 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6359 \include "gregorian-init.ly"
6361 \notes \transpose c c' {
6362 % Torculus Auctus Descendens Initio Debilis
6363 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6370 \remove "Bar_number_engraver"
6374 \remove "Clef_engraver"
6375 \remove "Key_engraver"
6376 StaffSymbol \set #'transparent = ##t
6377 \remove "Time_signature_engraver"
6378 \remove "Bar_engraver"
6379 minimumVerticalExtent = ##f
6383 \remove Ligature_bracket_engraver
6384 \consists Vaticana_ligature_engraver
6385 NoteHead \set #'style = #'vaticana_punctum
6386 Stem \set #'transparent = ##t
6392 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6393 \include "gregorian-init.ly"
6395 \notes \transpose c c' {
6396 % Torculus Deminutus Initio Debilis
6397 \[ \deminutum a \pes b \flexa \deminutum g \]
6404 \remove "Bar_number_engraver"
6408 \remove "Clef_engraver"
6409 \remove "Key_engraver"
6410 StaffSymbol \set #'transparent = ##t
6411 \remove "Time_signature_engraver"
6412 \remove "Bar_engraver"
6413 minimumVerticalExtent = ##f
6417 \remove Ligature_bracket_engraver
6418 \consists Vaticana_ligature_engraver
6419 NoteHead \set #'style = #'vaticana_punctum
6420 Stem \set #'transparent = ##t
6427 @code{12. Porrectus}
6429 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6430 \include "gregorian-init.ly"
6432 \notes \transpose c c' {
6434 \[ a \flexa g \pes b \]
6441 \remove "Bar_number_engraver"
6445 \remove "Clef_engraver"
6446 \remove "Key_engraver"
6447 StaffSymbol \set #'transparent = ##t
6448 \remove "Time_signature_engraver"
6449 \remove "Bar_engraver"
6450 minimumVerticalExtent = ##f
6454 \remove Ligature_bracket_engraver
6455 \consists Vaticana_ligature_engraver
6456 NoteHead \set #'style = #'vaticana_punctum
6457 Stem \set #'transparent = ##t
6463 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6464 \include "gregorian-init.ly"
6466 \notes \transpose c c' {
6467 % Porrectus Auctus Descendens
6468 \[ a \flexa g \pes \auctum \descendens b \]
6475 \remove "Bar_number_engraver"
6479 \remove "Clef_engraver"
6480 \remove "Key_engraver"
6481 StaffSymbol \set #'transparent = ##t
6482 \remove "Time_signature_engraver"
6483 \remove "Bar_engraver"
6484 minimumVerticalExtent = ##f
6488 \remove Ligature_bracket_engraver
6489 \consists Vaticana_ligature_engraver
6490 NoteHead \set #'style = #'vaticana_punctum
6491 Stem \set #'transparent = ##t
6497 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6498 \include "gregorian-init.ly"
6500 \notes \transpose c c' {
6501 % Porrectus Deminutus
6502 \[ a \flexa g \pes \deminutum b \]
6509 \remove "Bar_number_engraver"
6513 \remove "Clef_engraver"
6514 \remove "Key_engraver"
6515 StaffSymbol \set #'transparent = ##t
6516 \remove "Time_signature_engraver"
6517 \remove "Bar_engraver"
6518 minimumVerticalExtent = ##f
6522 \remove Ligature_bracket_engraver
6523 \consists Vaticana_ligature_engraver
6524 NoteHead \set #'style = #'vaticana_punctum
6525 Stem \set #'transparent = ##t
6534 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6535 \include "gregorian-init.ly"
6537 \notes \transpose c c' {
6539 \[ \virga b \inclinatum a \inclinatum g \]
6546 \remove "Bar_number_engraver"
6550 \remove "Clef_engraver"
6551 \remove "Key_engraver"
6552 StaffSymbol \set #'transparent = ##t
6553 \remove "Time_signature_engraver"
6554 \remove "Bar_engraver"
6555 minimumVerticalExtent = ##f
6559 \remove Ligature_bracket_engraver
6560 \consists Vaticana_ligature_engraver
6561 NoteHead \set #'style = #'vaticana_punctum
6562 Stem \set #'transparent = ##t
6568 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6569 \include "gregorian-init.ly"
6571 \notes \transpose c c' {
6573 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6580 \remove "Bar_number_engraver"
6584 \remove "Clef_engraver"
6585 \remove "Key_engraver"
6586 StaffSymbol \set #'transparent = ##t
6587 \remove "Time_signature_engraver"
6588 \remove "Bar_engraver"
6589 minimumVerticalExtent = ##f
6593 \remove Ligature_bracket_engraver
6594 \consists Vaticana_ligature_engraver
6595 NoteHead \set #'style = #'vaticana_punctum
6596 Stem \set #'transparent = ##t
6602 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6603 \include "gregorian-init.ly"
6605 \notes \transpose c c' {
6606 % Climacus Deminutus
6607 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6614 \remove "Bar_number_engraver"
6618 \remove "Clef_engraver"
6619 \remove "Key_engraver"
6620 StaffSymbol \set #'transparent = ##t
6621 \remove "Time_signature_engraver"
6622 \remove "Bar_engraver"
6623 minimumVerticalExtent = ##f
6627 \remove Ligature_bracket_engraver
6628 \consists Vaticana_ligature_engraver
6629 NoteHead \set #'style = #'vaticana_punctum
6630 Stem \set #'transparent = ##t
6637 @code{14. Scandicus}
6639 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6640 \include "gregorian-init.ly"
6642 \notes \transpose c c' {
6644 \[ g \pes a \virga b \]
6651 \remove "Bar_number_engraver"
6655 \remove "Clef_engraver"
6656 \remove "Key_engraver"
6657 StaffSymbol \set #'transparent = ##t
6658 \remove "Time_signature_engraver"
6659 \remove "Bar_engraver"
6660 minimumVerticalExtent = ##f
6664 \remove Ligature_bracket_engraver
6665 \consists Vaticana_ligature_engraver
6666 NoteHead \set #'style = #'vaticana_punctum
6667 Stem \set #'transparent = ##t
6673 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6674 \include "gregorian-init.ly"
6676 \notes \transpose c c' {
6677 % Scandicus Auctus Descendens
6678 \[ g \pes a \pes \auctum \descendens b \]
6685 \remove "Bar_number_engraver"
6689 \remove "Clef_engraver"
6690 \remove "Key_engraver"
6691 StaffSymbol \set #'transparent = ##t
6692 \remove "Time_signature_engraver"
6693 \remove "Bar_engraver"
6694 minimumVerticalExtent = ##f
6698 \remove Ligature_bracket_engraver
6699 \consists Vaticana_ligature_engraver
6700 NoteHead \set #'style = #'vaticana_punctum
6701 Stem \set #'transparent = ##t
6707 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6708 \include "gregorian-init.ly"
6710 \notes \transpose c c' {
6711 % Scandicus Deminutus
6712 \[ g \pes a \pes \deminutum b \]
6719 \remove "Bar_number_engraver"
6723 \remove "Clef_engraver"
6724 \remove "Key_engraver"
6725 StaffSymbol \set #'transparent = ##t
6726 \remove "Time_signature_engraver"
6727 \remove "Bar_engraver"
6728 minimumVerticalExtent = ##f
6732 \remove Ligature_bracket_engraver
6733 \consists Vaticana_ligature_engraver
6734 NoteHead \set #'style = #'vaticana_punctum
6735 Stem \set #'transparent = ##t
6744 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6745 \include "gregorian-init.ly"
6747 \notes \transpose c c' {
6749 \[ g \oriscus a \pes \virga b \]
6756 \remove "Bar_number_engraver"
6760 \remove "Clef_engraver"
6761 \remove "Key_engraver"
6762 StaffSymbol \set #'transparent = ##t
6763 \remove "Time_signature_engraver"
6764 \remove "Bar_engraver"
6765 minimumVerticalExtent = ##f
6769 \remove Ligature_bracket_engraver
6770 \consists Vaticana_ligature_engraver
6771 NoteHead \set #'style = #'vaticana_punctum
6772 Stem \set #'transparent = ##t
6778 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6779 \include "gregorian-init.ly"
6781 \notes \transpose c c' {
6782 % Salicus Auctus Descendens
6783 \[ g \oriscus a \pes \auctum \descendens b \]
6790 \remove "Bar_number_engraver"
6794 \remove "Clef_engraver"
6795 \remove "Key_engraver"
6796 StaffSymbol \set #'transparent = ##t
6797 \remove "Time_signature_engraver"
6798 \remove "Bar_engraver"
6799 minimumVerticalExtent = ##f
6803 \remove Ligature_bracket_engraver
6804 \consists Vaticana_ligature_engraver
6805 NoteHead \set #'style = #'vaticana_punctum
6806 Stem \set #'transparent = ##t
6816 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6817 \include "gregorian-init.ly"
6819 \notes \transpose c c' {
6821 \[ \stropha b \stropha b \stropha a \]
6828 \remove "Bar_number_engraver"
6832 \remove "Clef_engraver"
6833 \remove "Key_engraver"
6834 StaffSymbol \set #'transparent = ##t
6835 \remove "Time_signature_engraver"
6836 \remove "Bar_engraver"
6837 minimumVerticalExtent = ##f
6841 \remove Ligature_bracket_engraver
6842 \consists Vaticana_ligature_engraver
6843 NoteHead \set #'style = #'vaticana_punctum
6844 Stem \set #'transparent = ##t
6856 Unlike most other neumes notation systems, the input language for
6857 neumes does not necessarily reflect directly the typographical
6858 appearance, but is designed to solely focuse on musical meaning. For
6859 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6860 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6861 a Porrectus with a curved flexa shape and only a single Punctum head.
6862 There is no command to explicitly typeset the curved flexa shape; the
6863 decision of when to typeset a curved flexa shape is purely taken from
6864 the musical input. The idea of this approach is to separate the
6865 musical aspects of the input from the notation style of the output.
6866 This way, the same input can be reused to typeset the same music in a
6867 different style of Gregorian chant notation such as Hufnagel (also
6868 known as German gothic neumes) or Medicaea (kind of a very simple
6869 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6870 engraver and Medicaea ligature engraver will have been implemented, it
6871 will be as simple as replacing the ligature engraver in the
6872 @internalsref{Voice} context to get the desired notation style from
6875 The following table shows the code fragments that produce the
6876 ligatures in the above neumes table. The letter in the first column
6877 in each line of the below table indicates to which ligature in the
6878 above table it refers. The second column gives the name of the
6879 ligature. The third column shows the code fragment that produces this
6880 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6882 @multitable @columnfractions .1 .4 .5
6896 Punctum Inclinatum @tab
6897 @code{\[ \inclinatum b \]}
6901 Punctum Auctum Ascendens @tab
6902 @code{\[ \auctum \ascendens b \]}
6906 Punctum Auctum Descendens @tab
6907 @code{\[ \auctum \descendens b \]}
6911 Punctum Inclinatum Auctum @tab
6912 @code{\[ \inclinatum \auctum b \]}
6916 Punctum Inclinatum Parvum @tab
6917 @code{\[ \inclinatum \deminutum b \]}
6922 @code{\[ \virga b \]}
6927 @code{\[ \stropha b \]}
6932 @code{\[ \stropha \auctum b \]}
6937 @code{\[ \oriscus b \]}
6941 Clivis vel Flexa @tab
6942 @code{\[ b \flexa g \]}
6946 Clivis Aucta Descendens @tab
6947 @code{\[ b \flexa \auctum \descendens g \]}
6951 Clivis Aucta Ascendens @tab
6952 @code{\[ b \flexa \auctum \ascendens g \]}
6957 @code{\[ b \flexa \deminutum g \]}
6961 Podatus vel Pes @tab
6962 @code{\[ g \pes b \]}
6966 Pes Auctus Descendens @tab
6967 @code{\[ g \pes \auctum \descendens b \]}
6971 Pes Auctus Ascendens @tab
6972 @code{\[ g \pes \auctum \ascendens b \]}
6977 @code{\[ g \pes \deminutum b \]}
6982 @code{\[ \oriscus g \pes \virga b \]}
6986 Pes Quassus Auctus Descendens @tab
6987 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6992 @code{\[ \quilisma g \pes b \]}
6996 Quilisma Pes Auctus Descendens @tab
6997 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7001 Pes Initio Debilis @tab
7002 @code{\[ \deminutum g \pes b \]}
7006 Pes Auctus Descendens Initio Debilis @tab
7007 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7012 @code{\[ a \pes b \flexa g \]}
7016 Torculus Auctus Descendens @tab
7017 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7021 Torculus Deminutus @tab
7022 @code{\[ a \pes b \flexa \deminutum g \]}
7026 Torculus Initio Debilis @tab
7027 @code{\[ \deminutum a \pes b \flexa g \]}
7031 Torculus Auctus Descendens Initio Debilis @tab
7032 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7036 Torculus Deminutus Initio Debilis @tab
7037 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7042 @code{\[ a \flexa g \pes b \]}
7046 Porrectus Auctus Descendens @tab
7047 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7051 Porrectus Deminutus @tab
7052 @code{\[ a \flexa g \pes \deminutum b \]}
7057 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7061 Climacus Auctus @tab
7062 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7066 Climacus Deminutus @tab
7067 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7072 @code{\[ g \pes a \virga b \]}
7076 Scandicus Auctus Descendens @tab
7077 @code{\[ g \pes a \pes \auctum \descendens b \]}
7081 Scandicus Deminutus @tab
7082 @code{\[ g \pes a \pes \deminutum b \]}
7087 @code{\[ g \oriscus a \pes \virga b \]}
7091 Salicus Auctus Descendens @tab
7092 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7097 @code{\[ \stropha b \stropha b \stropha a \]}
7103 The following head prefixes are supported:
7105 @cindex @code{\virga}
7107 @cindex @code{\stropha}
7109 @cindex @code{\inclinatum}
7111 @cindex @code{\auctum}
7113 @cindex @code{\descendens}
7115 @cindex @code{\ascendens}
7117 @cindex @code{\oriscus}
7119 @cindex @code{\quilisma}
7121 @cindex @code{\deminutum}
7124 Head prefixes can be accumulated, though restrictions apply. For
7125 example, either @code{\descendens} or @code{\ascendens} can be applied
7126 to a head, but not both to the same head.
7129 @cindex @code{\flexa}
7130 Two adjacent heads can be tied together with the @code{\pes} and
7131 @code{\flexa} infix commands for a rising and falling line of melody,
7136 Trigonus: apply equal spacing, regardless of pitch.
7139 @subsection Figured bass
7141 @cindex Basso continuo
7143 @c TODO: musicological blurb about FB
7147 LilyPond has limited support for figured bass:
7149 @lilypond[verbatim,fragment]
7151 \context Voice \notes { \clef bass dis4 c d ais}
7152 \context FiguredBass
7154 < 6 >4 < 7 >8 < 6+ [_!] >
7160 The support for figured bass consists of two parts: there is an input
7161 mode, introduced by @code{\figures}, where you can enter bass figures
7162 as numbers, and there is a context called @internalsref{FiguredBass} that
7163 takes care of making @internalsref{BassFigure} objects.
7165 In figures input mode, a group of bass figures is delimited by
7166 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7171 \context FiguredBass
7175 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7182 \context FiguredBass
7183 \figures { <4- 6+ 7!> }
7186 Spaces or dashes may be inserted by using @code{_}. Brackets are
7187 introduced with @code{[} and @code{]}:
7193 \context FiguredBass
7194 \figures { < [4 6] 8 [_! 12]> }
7197 Although the support for figured bass may superficially resemble chord
7198 support, it works much simpler. The @code{\figures} mode simply
7199 stores the numbers , and @internalsref{FiguredBass} context prints
7200 them as entered. There is no conversion to pitches, and no
7201 realizations of the bass are played in the MIDI file.
7203 Internally, the code produces markup texts. You can use any of the
7204 markup text properties to override formatting. For example, the
7205 vertical spacing of the figures may be set with @code{baseline-skip}.
7209 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7210 and @internalsref{FiguredBass} context.
7214 Slash notation for alterations is not supported.
7217 @node Vaticana style contexts
7218 @subsection Vaticana style contexts
7220 @cindex VaticanaVoiceContext
7221 @cindex VaticanaStaffContext
7223 The predefined @code{VaticanaVoiceContext} and
7224 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7225 Gregorian Chant in the style of the Editio Vaticana. These contexts
7226 initialize all relevant context properties and grob properties to
7227 proper values. With these contexts, you can immediately go ahead
7228 entering the chant, as the following short excerpt demonstrates:
7230 @lilypond[raggedright,verbatim,noindent]
7231 \include "gregorian-init.ly"
7234 \context VaticanaVoice {
7235 \property Score.BarNumber \set #'transparent = ##t
7237 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7238 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7239 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7242 \context Lyrics \lyrics {
7243 San- ctus, San- ctus, San- ctus
7248 @node Contemporary notation
7249 @section Contemporary notation
7251 In the 20th century, composers have greatly expanded the musical
7252 vocabulary. With this expansion, many innovations in musical notation
7253 have been tried. The book by Stone (1980) gives a comprehensive
7254 overview (see @ref{Literature list}). In general, the use of new,
7255 innovative notation makes a piece harder to understand and perform and
7256 its use should therefore be avoided if possible. For this reason,
7257 support for contemporary notation in LilyPond is limited.
7266 @subsection Clusters
7270 In musical terminology, a @emph{cluster} denotes a range of
7271 simultaneously sounding pitches that may change over time. The set of
7272 available pitches to apply usually depends on the accoustic source.
7273 Thus, in piano music, a cluster typically consists of a continous range
7274 of the semitones as provided by the piano's fixed set of a chromatic
7275 scale. In choral music, each singer of the choir typically may sing an
7276 arbitrary pitch within the cluster's range that is not bound to any
7277 diatonic, chromatic or other scale. In electronic music, a cluster
7278 (theoretically) may even cover a continuous range of pitches, thus
7279 resulting in coloured noise, such as pink noise.
7281 Clusters can be denoted in the context of ordinary staff notation by
7282 engraving simple geometrical shapes that replace ordinary notation of
7283 notes. Ordinary notes as musical events specify starting time and
7284 duration of pitches; however, the duration of a note is expressed by the
7285 shape of the note head rather than by the horizontal graphical extent of
7286 the note symbol. In contrast, the shape of a cluster geometrically
7287 describes the development of a range of pitches (vertical extent) over
7288 time (horizontal extent). Still, the geometrical shape of a cluster
7289 covers the area in wich any single pitch contained in the cluster would
7290 be notated as an ordinary note. From this point of view, it is
7291 reasonable to specify a cluster as the envelope of a set of notes.
7295 A cluster is engraved as the envelope of a set of
7296 cluster-notes. Cluster notes are created by applying the function
7297 @code{notes-to-clusters} to a sequence of chords, e.g.
7299 @lilypond[relative 1,verbatim]
7300 \apply #notes-to-clusters { <c e > <b f'> }
7303 The following example (from
7304 @inputfileref{input/regression,cluster.ly}) shows what the result
7307 @lilypondfile[notexidoc]{cluster.ly}
7309 By default, @internalsref{Cluster_spanner_engraver} is in the
7310 @internalsref{Voice} context. This allows putting ordinary notes and
7311 clusters together in the same staff, even simultaneously. In such a
7312 case no attempt is made to automatically avoid collisions between
7313 ordinary notes and clusters.
7317 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7318 @inputfileref{input/regression,cluster.ly},
7319 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7323 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7324 accurately. Use @code{<g a>8 <e a>8} instead.
7329 @subsection Fermatas
7335 Contemporary music notation frequently uses special fermata symbols to
7336 indicate fermatas of differing lengths.
7340 The following are supported
7342 @lilypond[singleline]
7344 << \addlyrics \notes {
7364 \context Lyrics \lyrics {
7365 "shortfermata" "fermata" "longfermata" "verylongfermata"
7370 See @ref{Articulations} for general instructions how to apply scripts
7371 such as fermatas to a @code{\notes@{@}} block.
7374 @section Tuning output
7376 There are situations where default layout decisions are not
7377 sufficient. In this section we discuss ways to override these
7380 Formatting is internally done by manipulating so called objects
7381 (graphic objects). Each object carries with it a set of properties
7382 (object or layout properties) specific to that object. For example, a
7383 stem object has properties that specify its direction, length and
7386 The most direct way of tuning the output is by altering the values of
7387 these properties. There are two ways of doing that: first, you can
7388 temporarily change the definition of one type of object, thus
7389 affecting a whole set of objects. Second, you can select one specific
7390 object, and set a layout property in that object.
7392 Do not confuse layout properties with translation
7393 properties. Translation properties always use a mixed caps style
7394 naming, and are manipulated using @code{\property}:
7396 \property Context.propertyName = @var{value}
7398 Layout properties are use Scheme style variable naming, i.e. lower
7399 case words separated with dashes. They are symbols, and should always
7400 be quoted using @code{#'}. For example, this could be an imaginary
7401 layout property name:
7403 #'layout-property-name
7408 * Constructing a tweak::
7416 @node Tuning objects
7417 @subsection Tuning objects
7419 @cindex object description
7421 The definition of an object is a list of default object
7422 properties. For example, the definition of the Stem object (available
7423 in @file{scm/define-grobs.scm}), includes the following definitions
7424 for @internalsref{Stem}:
7428 (beamed-lengths . (0.0 2.5 2.0 1.5))
7429 (Y-extent-callback . ,Stem::height)
7434 Adding variables on top of this existing definition overrides the
7435 system default, and alters the resulting appearance of the layout
7441 Changing a variable for only one object is commonly achieved with
7445 \once \property @var{context}.@var{objectname}
7446 \override @var{symbol} = @var{value}
7448 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7449 and @var{objectname} is a string and @var{value} is a Scheme expression.
7450 This command applies a setting only during one moment in the score.
7452 In the following example, only one @internalsref{Stem} object is
7453 changed from its original setting:
7455 @lilypond[verbatim, fragment, relative=1]
7457 \once \property Voice.Stem \set #'thickness = #4
7461 @cindex @code{\once}
7463 For changing more objects, the same command, without @code{\once} can
7466 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7468 This command adds @code{@var{symbol} = @var{value}} to the definition
7469 of @var{objectname} in the context @var{context}, and this definition
7470 stays in place until it is removed.
7472 An existing definition may be removed by the following command:
7475 \property @var{context}.@var{objectname} \revert @var{symbol}
7478 All @code{\override} and @code{\revert} commands should be balanced.
7479 The @code{\set} shorthand performs a revert followed by an override,
7480 and is often more convenient to use
7483 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7487 @lilypond[verbatim,quote]
7488 c'4 \property Voice.Stem \override #'thickness = #4.0
7490 c'4 \property Voice.Stem \revert #'thickness
7494 The following example gives exactly the same result as the previous
7495 one (assuming the system default for stem thickness is 1.3):
7497 @lilypond[verbatim,quote]
7498 c'4 \property Voice.Stem \set #'thickness = #4.0
7500 c'4 \property Voice.Stem \set #'thickness = #1.3
7504 Reverting a setting which was not set in the first place has no
7505 effect. However, if the setting was set as a system default, this may
7506 remove the default value, and this may give surprising results,
7507 including crashes. In other words, @code{\override} and
7508 @code{\revert} must be carefully balanced. The following are examples
7509 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7513 a clumsy but correct form:
7515 \override \revert \override \revert \override \revert
7519 shorter version of the same:
7521 \override \set \set \revert
7525 a short form, using only @code{\set}. This requires you to know the
7528 \set \set \set \set @var{to default value}
7532 if there is no default (i.e. by default, the object property is unset),
7535 \set \set \set \revert
7539 The object description is an Scheme association
7540 list. Since a Scheme list is a singly linked list, we can treat it as
7541 a stack, and @code{\override} and @code{\revert} are push and pop
7542 operations. The association list is stored in a normal context
7545 \property Voice.NoteHead = #'()
7547 will effectively erase @internalsref{NoteHead}s from the current
7548 @internalsref{Voice}. Typically, this will blank the object. However,
7549 this mechanism should not be used: it may cause crashes or other
7554 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7555 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7556 @internalsref{All-layout-objects}.
7561 The backend is not very strict in type-checking object properties.
7562 Cyclic references in Scheme values for properties cause hangs and/or
7563 crashes. Reverting properties that are system defaults may also lead
7566 @node Constructing a tweak
7567 @subsection Constructing a tweak
7570 @cindex internal documentation
7571 @cindex finding graphical objects
7572 @cindex graphical object descriptions
7574 @cindex @code{\override}
7576 @cindex internal documentation
7580 Three pieces of information are required to use @code{\override} and
7581 @code{\set}: the name of the layout object, the context and the name
7582 of the property. We demonstrate how to glean this information from
7583 the notation manual and the generated documentation.
7585 The generated documentation is a set of HTML pages which should be
7586 included if you installed a binary distribution, typically in
7587 @file{/usr/share/doc/lilypond}. They are also available on the web:
7588 go to the @uref{http://lilypond.org,LilyPond website}, click
7589 ``Documentation'', select the correct version, and click then
7590 ``Program reference.'' It is advisable to bookmark the local HTML
7591 files. They will load faster than the ones on the web. If you use the
7592 version from the web, you must check whether the documentation matches
7593 the program version: it is generated from the definitions that the
7594 program uses, and therefore it is strongly tied to the LilyPond
7598 @c [TODO: revise for new site.]
7600 Suppose we want to move the fingering indication in the fragment below:
7602 @lilypond[relative=2,verbatim]
7608 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7609 instructions}), you will notice that there is written:
7614 @internalsref{FingerEvent} and @internalsref{Fingering}.
7621 In other words, the fingerings once entered, are internally stored as
7622 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7623 layout object is created for every @code{FingerEvent}.
7625 The Fingering object has a number of different functions, and each of
7626 those is captured in an interface. The interfaces are listed under
7627 @internalsref{Fingering} in the program reference.
7631 The @code{Fingering} object has a fixed size
7632 (@internalsref{item-interface}), the symbol is a piece of text
7633 (@internalsref{text-interface}), whose font can be set
7634 (@internalsref{font-interface}). It is centered horizontally
7635 (@internalsref{self-alignment-interface}), it is placed next to other
7636 objects (@internalsref{side-position-interface}) vertically, and its
7637 placement is coordinated with other scripts
7638 (@internalsref{text-script-interface}). It also has the standard
7639 @internalsref{grob-interface} (grob stands for Graphical object)
7641 @cindex graphical object
7642 @cindex layout object
7643 @cindex object, layout
7644 with all the variables that come with
7645 it. Finally, it denotes a fingering instruction, so it has
7646 @internalsref{finger-interface}.
7648 For the vertical placement, we have to look under
7649 @code{side-position-interface}:
7651 @code{side-position-interface}
7653 Position a victim object (this one) next to other objects (the
7654 support). In this case, the property @code{direction} signifies where to put the
7655 victim object relative to the support (left or right, up or down?)
7660 below this description, the variable @code{padding} is described as
7664 (dimension, in staff space)
7666 add this much extra space between objects that are next to each
7667 other. Default value: @code{0.6}
7671 By increasing the value of @code{padding}, we can move away the
7672 fingering. The following command inserts 3 staff spaces of white
7673 between the note and the fingering:
7675 \once \property Voice.Fingering \set #'padding = #3
7678 Inserting this command before the Fingering object is created,
7679 i.e. before @code{c2}, yields the following result:
7681 @lilypond[relative=2,fragment,verbatim]
7682 \once \property Voice.Fingering
7689 The context name @code{Voice} in the example above can be determined
7690 as follows. In the documentation for @internalsref{Fingering}, it says
7692 Fingering grobs are created by: @internalsref{Fingering_engraver}
7695 Clicking @code{Fingering_engraver} shows the documentation of
7696 the module responsible for interpreting the fingering instructions and
7697 translating them to a @code{Fingering} object. Such a module is called
7698 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7701 Fingering_engraver is part of contexts: Voice
7703 so tuning the settings for Fingering should be done with
7705 \property Voice.Fingering \set @dots{}
7708 Of course, the tweak may also done in a larger context than
7709 @code{Voice}, for example, @internalsref{Staff} or
7710 @internalsref{Score}.
7714 The program reference also contains alphabetical lists of
7715 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7716 @internalsref{Music-expressions}, so you can also find which objects to
7717 tweak by browsing the internals document.
7721 @subsection Applyoutput
7723 The most versatile way of tuning an object is @code{\applyoutput}. Its
7726 \applyoutput @var{proc}
7730 where @var{proc} is a Scheme function, taking three arguments.
7732 When interpreted, the function @var{proc} is called for every layout
7733 object found in the context, with the following arguments:
7735 @item the layout object itself,
7736 @item the context where the layout object was created, and
7737 @item the context where @code{\applyoutput} is processed.
7741 In addition, the cause of the layout object, i.e. the music
7742 expression or object that was responsible for creating it, is in the
7743 object property @code{cause}. For example, for a note head, this is a
7744 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7745 this is a @internalsref{NoteHead} object.
7747 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7750 (define (blanker grob grob-origin context)
7751 (if (and (memq (ly:get-grob-property grob 'interfaces)
7752 note-head-interface)
7753 (eq? (ly:get-grob-property grob 'staff-position) 0))
7755 (ly:set-grob-property! grob 'transparent #t)))
7760 @node Font selection
7761 @subsection Font selection
7763 The most common thing to change about the appearance of fonts is their
7764 size. The font size of any context can be easily changed by setting
7765 the @code{fontSize} property for that context. Its value is an
7766 integer: negative numbers make the font smaller, positive numbers
7767 larger. An example is given below:
7769 @lilypond[fragment,relative=1,verbatim,quote]
7770 c4 c4 \property Voice.fontSize = #-1
7773 This command will set @code{font-relative-size} (see below), and does
7774 not change the size of variable symbols, such as beams or slurs.
7777 One of the uses of @code{fontSize} is to get smaller symbol for cue
7778 notes. An elaborate example of those is in
7779 @inputfileref{input/test,cue-notes.ly}.
7781 @cindex magnification
7783 The size of the font may be scaled with the object property
7784 @code{font-magnification}. For example, @code{2.0} blows up all
7785 letters by a factor 2 in both directions.
7794 The font used for printing a object can be selected by setting
7795 @code{font-name}, e.g.
7797 \property Staff.TimeSignature
7798 \set #'font-name = #"cmr17"
7802 Any font can be used, as long as it is available to @TeX{}. Possible
7803 fonts include foreign fonts or fonts that do not belong to the
7804 Computer Modern font family.
7806 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7807 can also be adjusted with a more fine-grained mechanism. By setting
7808 the object properties described below, you can select a different font;
7809 all three mechanisms work for every object that supports
7810 @code{font-interface}:
7814 is a symbol indicating the general class of the typeface. Supported are
7815 @code{roman} (Computer Modern), @code{braces} (for piano staff
7816 braces), @code{music} (the standard music font, including ancient
7817 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7820 is a symbol indicating the shape of the font, there are typically several
7821 font shapes available for each font family. Choices are @code{italic},
7822 @code{caps} and @code{upright}.
7825 is a symbol indicating the series of the font. There are typically several
7826 font series for each font family and shape. Choices are @code{medium}
7829 @item font-relative-size
7830 is a number indicating the size relative the standard size. For example,
7831 with 20pt staff height, relative size -1 corresponds to 16pt staff
7832 height, and relative size +1 corresponds to 23 pt staff height.
7834 There are small differences in design between fonts designed for
7835 different sizes, hence @code{font-relative-size} is preferred over
7836 @code{font-magnification} for changing font sizes.
7839 @item font-design-size
7840 is a number indicating the design size of the font.
7842 This is a feature of the Computer Modern Font: each point size has a
7843 slightly different design. Smaller design sizes are relatively wider,
7844 which enhances readability.
7847 For any of these properties, the value @code{*} (i.e. the symbol
7848 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7849 to override default setting, which are always present. For example:
7851 \property Lyrics . LyricText \override #'font-series = #'bold
7852 \property Lyrics . LyricText \override #'font-family = #'typewriter
7853 \property Lyrics . LyricText \override #'font-shape = #'*
7856 @cindex @code{font-style}
7860 The following commands set @code{fontSize} for the current voice.
7862 @cindex @code{\tiny}
7864 @cindex @code{\small}
7866 @cindex @code{\normalsize}
7871 Relative size is not linked to any real size.
7873 There is no style sheet provided for other fonts besides the @TeX{}
7874 family, and the style sheet cannot be modified easily.
7876 @cindex font selection
7877 @cindex font magnification
7878 @cindex @code{font-interface}
7882 @subsection Text markup
7887 @cindex typeset text
7889 LilyPond has an internal mechanism to typeset texts. You can access it
7890 with the keyword @code{\markup}. Within markup mode, you can enter texts
7891 similar to lyrics: simply enter them, surrounded by spaces:
7894 @lilypond[verbatim,fragment,relative=1]
7895 c1^\markup { hello }
7896 c1_\markup { hi there }
7897 c1^\markup { hi \bold there, is \italic anyone home? }
7900 @cindex font switching
7902 The markup in the example demonstrates font switching commands. The
7903 command @code{\bold} and @code{\italic} only apply to the first
7904 following word; enclose a set of texts with braces to apply a command
7907 \markup @{ \bold @{ hi there @} @}
7911 For clarity, you can also do this for single arguments, e.g.
7913 \markup @{ is \italic @{ anyone @} home @}
7916 @cindex font size, texts
7918 The following size commands set absolute sizes:
7920 @cindex @code{\teeny}
7921 @cindex @code{\tiny}
7922 @cindex @code{\small}
7923 @cindex @code{\large}
7924 @cindex @code{\huge}
7934 You can also make letter larger or smaller relative to their neighbors,
7935 with the commands @code{\larger} and @code{\smaller}.
7939 @cindex font style, for texts
7940 @cindex @code{\bold}
7941 @cindex @code{\dynamic}
7942 @cindex @code{\number}
7943 @cindex @code{\italic}
7945 The following font change commands are defined:
7948 changes to the font used in dynamic signs. This font does not
7949 contain all characters of the alphabet, so when producing ``piu f'',
7950 the ``piu'' should be done in a different font.
7954 changes to the font used in time signatures. It only contains
7955 numbers and a few punctuation marks.
7957 changes @code{font-shape} to @code{italic}.
7959 changes @code{font-series} to @code{bold}.
7962 @cindex raising text
7963 @cindex lowering text
7965 @cindex translating text
7968 @cindex @code{\super}
7970 Raising and lowering texts can be done with @code{\super} and
7973 @lilypond[verbatim,fragment,relative=1]
7974 c1^\markup { E "=" mc \super "2" }
7977 @cindex @code{\raise}
7979 If you want to give an explicit amount for lowering or raising, use
7980 @code{\raise}. This command takes a Scheme valued first argument, and
7981 a markup object as second argument:
7983 @lilypond[verbatim,fragment,relative=1,quote]
7984 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7986 The argument to @code{\raise} is the vertical displacement amount,
7987 measured in (global) staff spaces. @code{\raise} and @code{\super}
7988 raise objects in relation to their surrounding markups. They cannot be
7989 used to move a single text up or down, when it is above or below a
7990 note, since the mechanism that positions it next to the note cancels
7991 any vertical shift. For vertical positioning, use the @code{padding}
7992 and/or @code{extra-offset} properties.
7994 Other commands taking single arguments include
7997 @item \bracket, \hbracket
7998 Bracket the argument markup with normal and horizontal brackets
8002 @cindex @code{\musicglyph}
8003 This is converted to a musical symbol, e.g. @code{\musicglyph
8004 #"accidentals-0"} will select the natural sign from the music font.
8005 See @ref{The Feta font} for a complete listing of the possible glyphs.
8007 This produces a single character, e.g. @code{\char #65} produces the
8010 @item \note @var{log} @var{dots} @var{dir}
8011 @cindex @code{\note}
8013 This produces a note with a stem pointing in @var{dir} direction, with
8014 duration log @var{log} and @var{dots} augmentation dots. The duration
8015 log is the negative 2-logarithm of the duration denominator. For
8016 example, a quarter note has log 2, an eighth note 3 and a breve has
8019 @item \hspace #@var{amount}
8020 @cindex @code{\hspace}
8021 This produces a invisible object taking horizontal space.
8023 \markup @{ A \hspace #2.0 B @}
8025 will put extra space between A and B, on top of the space that is
8026 normally inserted before elements on a line.
8028 @item \fontsize #@var{size}
8029 @cindex @code{\fontsize}
8030 This sets the relative font size, eg.
8032 A \fontsize #2 @{ B C @} D
8036 This will enlarge the B and the C by two steps.
8037 @item \translate #(cons @var{x} @var{y})
8039 This translates an object. Its first argument is a cons of numbers
8041 A \translate #(cons 2 -3) @{ B C @} D
8043 This moves `B C' 2 spaces to the right, and 3 down.
8045 @item \magnify #@var{mag}
8046 @cindex @code{\magnify}
8047 This sets the font magnification for the its argument. In the following
8048 example, the middle A will be 10% larger:
8050 A \magnify #1.1 @{ A @} A
8054 @item \override #(@var{key} . @var{value})
8055 @cindex @code{\override}
8056 This overrides a formatting property for its argument. The argument
8057 should be a key/value pair, e.g.
8059 m \override #'(font-family . math) m m
8063 In markup mode you can compose expressions, similar to mathematical
8064 expressions, XML documents and music expressions. The braces group
8065 notes into horizontal lines. Other types of lists also exist: you can
8066 stack expressions grouped with @code{<}, and @code{>} vertically with
8067 the command @code{\column}. Similarly, @code{\center} aligns texts by
8070 @lilypond[verbatim,fragment,relative=1]
8071 c1^\markup { \column < a bbbb c > }
8072 c1^\markup { \center < a bbbb c > }
8073 c1^\markup { \line < a b c > }
8076 The markup mechanism is extensible. Refer to
8077 @file{scm/new-markup.scm} for more information.
8083 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
8090 Text layout is ultimately done by @TeX{}, which does kerning of
8091 letters. LilyPond does not account for kerning, so texts will be
8092 spaced slightly too wide.
8094 Syntax errors for markup mode are confusing.
8096 Markup texts cannot be used in the titling of the @code{\header}
8097 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8104 @section Global layout
8106 The global layout determined by three factors: the page layout, the
8107 line breaks and the spacing. These all influence each other. The
8108 choice of spacing determines how densely each system of music is set,
8109 which influences where line breaks breaks are chosen, and thus
8110 ultimately how many pages a piece of music takes. This section
8111 explains how to tune the algorithm for spacing.
8113 Globally spoken, this procedure happens in three steps: first,
8114 flexible distances (``springs'') are chosen, based on durations. All
8115 possible line breaking combination are tried, and the one with the
8116 best results---a layout that has uniform density and requires as
8117 little stretching or cramping as possible---is chosen. When the score
8118 is processed by @TeX{}, each page is filled with systems, and page breaks
8119 are chosen whenever the page gets full.
8124 * Vertical spacing::
8125 * Horizontal spacing::
8132 @node Vertical spacing
8133 @subsection Vertical spacing
8135 @cindex vertical spacing
8136 @cindex distance between staves
8137 @cindex staff distance
8138 @cindex between staves, distance
8139 @cindex staffs per page
8140 @cindex space between staves
8142 The height of each system is determined automatically by LilyPond, to
8143 keep systems from bumping into each other, some minimum distances are
8144 set. By changing these, you can put staves closer together, and thus
8145 put more systems onto one page.
8147 Normally staves are stacked vertically. To make
8148 staves maintain a distance, their vertical size is padded. This is
8149 done with the property @code{minimumVerticalExtent}. It takes a pair
8150 of numbers, so if you want to make it smaller from its, then you could
8153 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8155 This sets the vertical size of the current staff to 4 staff spaces on
8156 either side of the center staff line. The argument of
8157 @code{minimumVerticalExtent} is interpreted as an interval, where the
8158 center line is the 0, so the first number is generally negative. The
8159 staff can be made larger at the bottom by setting it to @code{(-6
8162 The piano staves are handled a little differently: to make cross-staff
8163 beaming work correctly, it is necessary that the distance between staves
8164 is fixed beforehand. This is also done with a
8165 @internalsref{VerticalAlignment} object, created in
8166 @internalsref{PianoStaff}. In this object the distance between the
8167 staves is fixed by setting @code{forced-distance}. If you want to
8168 override this, use a @code{\translator} block as follows:
8172 VerticalAlignment \override #'forced-distance = #9
8175 This would bring the staves together at a distance of 9 staff spaces,
8176 measured from the center line of each staff.
8180 Vertical alignment of staves is handled by the
8181 @internalsref{VerticalAlignment} object.
8185 @node Horizontal spacing
8186 @subsection Horizontal Spacing
8188 The spacing engine translates differences in durations into
8189 stretchable distances (``springs'') of differing lengths. Longer
8190 durations get more space, shorter durations get less. The shortest
8191 durations get a fixed amount of space (which is controlled by
8192 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8193 /The longer the duration, the more space it gets: doubling a
8194 duration adds a fixed amount (this amount is controlled by
8195 @code{spacing-increment}) of space to the note.
8197 For example, the following piece contains lots of half, quarter and
8198 8th notes, the eighth note is followed by 1 note head width (NHW).
8199 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8200 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8204 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8205 width of a note head, and @code{shortest-duration-space} is set to
8206 2.0, meaning that the shortest note gets 2 NHW (2 times
8207 @code{shortest-duration-space}) of space. For normal notes, this space
8208 is always counted from the left edge of the symbol, so the shortest
8209 notes are generally followed by one NHW of space.
8211 If one would follow the above procedure exactly, then adding a single
8212 32th note to a score that uses 8th and 16th notes, would widen up the
8213 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8214 thus adding 1 NHW to every note. To prevent this, the
8215 shortest duration for spacing is not the shortest note in the score,
8216 but the most commonly found shortest note. Notes that are even
8217 shorter this are followed by a space that is proportional to their
8218 duration relative to the common shortest note. So if we were to add
8219 only a few 16th notes to the example above, they would be followed by
8222 @lilypond[fragment, verbatim, relative=2]
8223 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8226 The most common shortest duration is determined as follows: in every
8227 measure, the shortest duration is determined. The most common short
8228 duration, is taken as the basis for the spacing, with the stipulation
8229 that this shortest duration should always be equal to or shorter than
8230 1/8th note. The shortest duration is printed when you run lilypond
8231 with @code{--verbose}. These durations may also be customized. If you
8232 set the @code{common-shortest-duration} in
8233 @internalsref{SpacingSpanner}, then this sets the base duration for
8234 spacing. The maximum duration for this base (normally 1/8th), is set
8235 through @code{base-shortest-duration}.
8237 @cindex @code{common-shortest-duration}
8238 @cindex @code{base-shortest-duration}
8239 @cindex @code{stem-spacing-correction}
8240 @cindex @code{spacing}
8242 In the introduction it was explained that stem directions influence
8243 spacing. This is controlled with @code{stem-spacing-correction}
8244 property in @internalsref{NoteSpacing}, which are generated for every
8245 @internalsref{Voice} context. The @code{StaffSpacing} object
8246 (generated at @internalsref{Staff} context) contains the same property
8247 for controlling the stem/barline spacing. The following example
8248 shows these corrections, once with default settings, and once with
8249 exaggerated corrections:
8255 \property Staff.NoteSpacing \override #'stem-spacing-correction
8257 \property Staff.StaffSpacing \override #'stem-spacing-correction
8262 \paper { raggedright = ##t } }
8265 @cindex SpacingSpanner, overriding properties
8267 Properties of the @internalsref{SpacingSpanner} must be overridden
8268 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8269 created before any @code{\property} statements are interpreted.
8271 \paper @{ \translator @{
8273 SpacingSpanner \override #'spacing-increment = #3.0
8280 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8281 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8282 @internalsref{SeparatingGroupSpanner}.
8286 Spacing is determined on a score wide basis. If you have a score that
8287 changes its character (measured in durations) halfway during the
8288 score, the part containing the longer durations will be spaced too
8291 There is no convenient mechanism to manually override spacing.
8296 @subsection Font size
8297 @cindex font size, setting
8298 @cindex staff size, setting
8299 @cindex @code{paper} file
8301 The Feta font provides musical symbols at seven different sizes.
8302 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8303 26 point. The point size of a font is the height of the corresponding
8304 staff (excluding line thicknesses).
8306 Definitions for these sizes are the files @file{paperSZ.ly}, where
8307 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8308 of these files, the variables @code{paperEleven},
8309 @code{paperThirteen}, @code{paperSixteen},
8310 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8311 are defined respectively. The default @code{\paper} block is also
8312 set. These files should be imported at toplevel, i.e.
8314 \include "paper26.ly"
8318 The default font size settings for each staff heights are generated
8319 from the 20pt style sheet. For more details, see the file
8320 @file{scm/font.scm}.
8324 @subsection Line breaking
8327 @cindex breaking lines
8329 Line breaks are normally computed automatically. They are chosen such
8330 that lines look neither cramped nor loose, and that consecutive lines
8331 have similar density.
8333 Occasionally you might want to override the automatic breaks; you can
8334 do this by specifying @code{\break}. This will force a line break at
8335 this point. Line breaks can only occur at places where there are bar
8336 lines. If you want to have a line break where there is no bar line,
8337 you can force an invisible bar line by entering @code{\bar
8338 ""}. Similarly, @code{\noBreak} forbids a line break at a
8342 @cindex regular line breaks
8343 @cindex four bar music.
8345 For linebreaks at regular intervals use @code{\break} separated by
8346 skips and repeated with @code{\repeat}:
8348 << \repeat unfold 7 @{ s1 * 4 \break @}
8349 @emph{the real music}
8354 This makes the following 28 measures (assuming 4/4 time) be broken every
8359 @internalsref{BreakEvent}.
8363 @subsection Page layout
8366 @cindex breaking pages
8368 @cindex @code{indent}
8369 @cindex @code{linewidth}
8371 The most basic settings influencing the spacing are @code{indent} and
8372 @code{linewidth}. They are set in the @code{\paper} block. They
8373 control the indentation of the first line of music, and the lengths of
8376 If @code{raggedright} is set to true in the @code{\paper}
8377 block, then the lines are justified at their natural length. This
8378 useful for short fragments, and for checking how tight the natural
8382 @cindex vertical spacing
8384 The page layout process happens outside the LilyPond formatting
8385 engine: variables controlling page layout are passed to the output,
8386 and are further interpreted by @code{lilypond} wrapper program. It
8387 responds to the following variables in the @code{\paper} block. The
8388 variable @code{textheight} sets the total height of the music on each
8389 page. The spacing between systems is controlled with
8390 @code{interscoreline}, its default is 16pt. The distance between the
8391 score lines will stretch in order to fill the full page
8392 @code{interscorelinefill} is set to a positive number. In that case
8393 @code{interscoreline} specifies the minimum spacing.
8395 @cindex @code{textheight}
8396 @cindex @code{interscoreline}
8397 @cindex @code{interscorelinefill}
8399 If the variable @code{lastpagefill} is defined,
8400 @c fixme: this should only be done if lastpagefill == #t
8401 systems are evenly distributed vertically on the last page. This
8402 might produce ugly results in case there are not enough systems on the
8403 last page. The @command{lilypond-book} command ignores
8404 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8407 @cindex @code{lastpagefill}
8409 Page breaks are normally computed by @TeX{}, so they are not under
8410 direct control of LilyPond. However, you can insert a commands into
8411 the @file{.tex} output to instruct @TeX{} where to break pages. This
8412 is done by setting the @code{between-systems-strings} on the
8413 @internalsref{NonMusicalPaperColumn} where the system is broken.
8414 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8415 The predefined command @code{\newpage} also does this.
8419 @cindex @code{papersize}
8421 To change the paper size, you must first set the @code{papersize} paper
8422 variable variable as in the example below. Set it to
8423 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8424 specification, you must set the font as described above. If you want
8425 the default font, then use the 20 point font.
8428 \paper@{ papersize = "a4" @}
8429 \include "paper16.ly"
8432 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8433 will set the paper variables @code{hsize} and @code{vsize} (used by
8434 @code{lilypond-book} and @code{lilypond}).
8439 @cindex @code{\newpage}
8445 @ref{Invoking lilypond},
8446 @inputfileref{input/regression,between-systems.ly}, and
8447 @internalsref{NonMusicalPaperColumn}.
8451 LilyPond has no concept of page layout, which makes it difficult to
8452 reliably choose page breaks in longer pieces.
8461 Entered music can also be converted to MIDI output. The performance
8462 is good enough for proof-hearing the music for errors.
8464 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8465 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8466 marks translate to a fixed fraction of the available MIDI volume
8467 range, crescendi and decrescendi make the volume vary linearly between
8468 their two extremities. The fractions can be adjusted by
8469 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8470 For each type of MIDI instrument, a volume range can be defined. This
8471 gives a basic equalizer control, which can enhance the quality of
8472 the MIDI output remarkably. The equalizer can be controlled by
8473 setting @code{instrumentEqualizer}.
8477 Many musically interesting effects, such as swing, articulation,
8478 slurring, etc., are not translated to MIDI.
8483 * MIDI instrument names::
8488 @subsection MIDI block
8492 The MIDI block is analogous to the paper block, but it is somewhat
8493 simpler. The @code{\midi} block can contain:
8497 @item a @code{\tempo} definition, and
8498 @item context definitions.
8501 Assignments in the @code{\midi} block are not allowed.
8503 A number followed by a period is interpreted as a real number, so
8504 for setting the tempo for dotted notes, an extra space should be
8505 inserted, for example:
8508 \midi @{ \tempo 4 . = 120 @}
8512 @cindex context definition
8514 Context definitions follow precisely the same syntax as within the
8515 \paper block. Translation modules for sound are called performers.
8516 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8519 @node MIDI instrument names
8520 @subsection MIDI instrument names
8522 @cindex instrument names
8523 @cindex @code{Staff.midiInstrument}
8525 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8526 property. The instrument name should be chosen from the list in
8527 @ref{MIDI instruments}.
8531 If the selected string does not exactly match, then the default is
8532 used, which is the Grand Piano.