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
15 * Easier music entry::
22 * Fingering instructions::
31 * Contemporary notation::
37 @c FIXME: Note entry vs Music entry at top level menu is confusing.
43 This chapter describes all the different types of notation supported
44 by LilyPond. It is intended as a reference for users that are already
45 somewhat familiar with using LilyPond.
51 * Chromatic alterations::
59 * Easy Notation note heads ::
67 A note is printed by specifying its pitch and then its duration:
68 @footnote{Notes constitute the most basic elements of LilyPond input,
69 but they do not form valid input on their own without a @code{\score}
70 block. However, for the sake of brevity and simplicity we will
71 generally omit @code{\score} blocks and @code{\paper} declarations in
74 @lilypond[fragment,verbatim]
83 @cindex Note specification
85 @cindex entering notes
87 The most common syntax for pitch entry is used in @code{\chords} and
88 @code{\notes} mode. In Note and Chord mode, pitches may be designated
89 by names. The notes are specified by the letters @code{a} through
90 @code{g}, while the octave is formed with notes ranging from @code{c}
91 to @code{b}. The pitch @code{c} is an octave below middle C and the
92 letters span the octave above that C:
94 @lilypond[fragment,verbatim]
96 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
99 @cindex note names, Dutch
101 A sharp is formed by adding @code{-is} to the end of a pitch name and
102 a flat is formed by adding @code{-es}. Double sharps and double flats
103 are obtained by adding @code{-isis} or @code{-eses}. These
104 names are the Dutch note names. In Dutch, @code{aes} is contracted to
105 @code{as} in Dutch, but both forms are accepted. Similarly, both
106 @code{es} and @code{ees} are accepted.
108 There are predefined sets of note names for various other languages.
109 To use them, include the language specific init file. For
110 example: @code{\include "english.ly"}. The available language files
111 and the note names they define are:
116 Note Names sharp flat
117 nederlands.ly c d e f g a bes b -is -es
118 english.ly c d e f g a bf b -s/-sharp -f/-flat
120 deutsch.ly c d e f g a b h -is -es
121 norsk.ly c d e f g a b h -iss/-is -ess/-es
122 svenska.ly c d e f g a b h -iss -ess
123 italiano.ly do re mi fa sol la sib si -d -b
124 catalan.ly do re mi fa sol la sib si -d/-s -b
125 espanol.ly do re mi fa sol la sib si -s -b
134 The optional octave specification takes the form of a series of
135 single quote (`@code{'}') characters or a series of comma
136 (`@code{,}') characters. Each @code{'} raises the pitch by one
137 octave; each @code{,} lowers the pitch by an octave:
139 @lilypond[fragment,verbatim,center]
140 c' c'' es' g' as' gisis' ais'
144 There is also a verbose syntax for pitch specification:
147 @cindex @code{\pitch}
149 \pitch @var{scmpitch}
153 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
157 Notes can be hidden and unhidden with the following commands:
159 @cindex @code{\hideNotes}
161 @cindex @code{\unHideNotes}
168 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
170 @node Chromatic alterations
171 @subsection Chromatic alterations
173 Normally accidentals are printed automatically, but you may also
174 print them manually. A reminder accidental
175 @cindex reminder accidental
177 can be forced by adding an exclamation mark @code{!}
178 after the pitch. A cautionary accidental
179 @cindex cautionary accidental
180 @cindex parenthesized accidental
181 (an accidental within parentheses) can be obtained by adding the
182 question mark `@code{?}' after the pitch:
184 @lilypond[fragment,verbatim]
185 cis' cis' cis'! cis'?
189 The automatic production of accidentals can be tuned in many
190 ways. For more information, refer to @ref{Accidentals}.
195 A chord is formed by a enclosing a set of pitches in @code{<} and
196 @code{>}. A chord may be followed by a duration, and a set of
197 articulations, just like simple notes.
207 Rests are entered like notes, with the note name @code{r}:
209 @lilypond[singleline,verbatim]
213 Whole bar rests, centered in middle of the bar,
214 must be done with multi measure rests. They are discussed in
215 @ref{Multi measure rests}.
218 A rest's vertical position may be explicitly specified by entering a
219 note with the @code{\rest} keyword appended. This makes manual
220 formatting in polyphonic music easier. Rest collision testing will
221 leave these rests alone:
223 @lilypond[singleline,verbatim]
229 @internalsref{RestEvent}, and @internalsref{Rest}.
236 @cindex Invisible rest
239 An invisible rest (also called a `skip') can be entered like a note
240 with note name `@code{s}' or with @code{\skip @var{duration}}:
242 @lilypond[singleline,verbatim]
246 The @code{s} syntax is only available in Note mode and Chord mode. In
247 other situations, you should use the @code{\skip} command:
249 @lilypond[singleline,verbatim]
252 { \time 4/8 \skip 2 \time 4/4 }
253 \notes\relative c'' { a2 a1 }
258 The skip command is merely an empty musical placeholder. It does not
259 produce any output, not even transparent output.
263 @internalsref{SkipEvent}.
268 @subsection Durations
272 @cindex @code{\duration}
275 In Note, Chord, and Lyrics mode, durations are designated by numbers
276 and dots: durations are entered as their reciprocal values. For example,
277 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
278 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
279 longer than a whole you must use variables:
281 @c FIXME: what is an identifier? I do not think it's been introduced yet.
282 @c and if it has, I obviously skipped that part. - Graham
286 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
288 r1 r2 r4 r8 r16 r32 r64 r64
293 \notes \relative c'' {
295 a1 a2 a4 a8 a16 a32 a64 a64
297 r1 r2 r4 r8 r16 r32 r64 r64
302 \remove "Clef_engraver"
303 \remove "Staff_symbol_engraver"
304 \remove "Time_signature_engraver"
305 \consists "Pitch_squash_engraver"
312 If the duration is omitted then it is set to the previously entered
313 duration. The default for the first note is a quarter note. The duration
314 can be followed by dots (`@code{.}') in order to obtain dotted note
318 @lilypond[fragment,verbatim,center]
319 a' b' c''8 b' a'4 a'4. b'4.. c'8.
324 You can alter the length of duration by a fraction @var{N/M}
325 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
326 will not affect the appearance of the notes or rests produced.
327 In the following example, the first three notes take up exactly two
329 @lilypond[fragment,relative 2,verbatim]
331 a4*2/3 gis4*2/3 a4*2/3
335 Durations can also be produced using the verbose syntax
336 @code{\duration @var{Scheme object}}:
337 @lilypond[verbatim,fragment]
338 c'\duration #(ly:make-duration 4 1)
345 Dots are normally moved up to avoid staff lines, except in polyphonic
346 situations. The following commands may be used to force a particular
349 @cindex @code{\dotsUp}
351 @cindex @code{\dotsDown}
353 @cindex @code{\dotsBoth}
358 @internalsref{Dots}, and @internalsref{DotColumn}.
362 In dense chords, dots can overlap.
367 Whenever a note is found, a
368 @internalsref{Stem} object is created automatically. For whole notes
369 and rests, stem objects are also created, but in those cases, the stem
374 @cindex @code{\stemUp}
376 @cindex @code{\stemDown}
378 @cindex @code{\stemBoth}
389 A tie connects two adjacent note heads of the same pitch. The tie in
390 effect extends the length of a note. Ties should not be confused with
391 slurs, which indicate articulation, or phrasing slurs, which indicate
392 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
394 @lilypond[fragment,verbatim,center]
395 e' ~ e' <c' e' g'> ~ <c' e' g'>
398 When a tie is applied to a chord, all note heads whose pitches match
399 are connected. When no note heads match, no ties will be created.
401 In its meaning a tie is just a way of extending a note duration, similar
402 to the augmentation dot; in the following example there are two ways of
403 notating exactly the same concept:
405 @lilypond[fragment, singleline,quote]
406 \time 3/4 c'2. c'2 ~ c'4
408 If you need to tie a lot of notes over bars, it may be easier to use automatic
409 note splitting (See @ref{Automatic note splitting}).
414 @cindex @code{\tieUp}
416 @cindex @code{\tieDown}
418 @cindex @code{\tieBoth}
420 @cindex @code{\tieDotted}
422 @cindex @code{\tieSolid}
427 @internalsref{TieEvent}, @internalsref{NewTieEvent},
428 @internalsref{Tie}, and @ref{Automatic note splitting}.
431 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
435 Tieing only a subset of the note heads of a pair of chords is not
436 supported in a simple way. It can be achieved by moving the
437 tie-engraver into the @internalsref{Thread} context and turning on and
438 off ties per @internalsref{Thread}.
440 Switching staves when a tie is active, will not produce a slanted tie.
442 Formatting of ties is a difficult subject. The results are often not
452 @cindex @code{\times}
454 Tuplets are made out of a music expression by multiplying all durations
457 @cindex @code{\times}
459 \times @var{fraction} @var{musicexpr}
462 The duration of @var{musicexpr} will be multiplied by the fraction.
463 In the sheet music, the fraction's denominator will be printed over
464 the notes, optionally with a bracket. The most common tuplet is the
465 triplet in which 3 notes have the length of 2, so the notes are 2/3
466 of their written length:
468 @lilypond[fragment,verbatim,center]
469 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
472 The property @code{tupletSpannerDuration} specifies how long each
473 bracket should last. With this, you can make lots of tuplets while
474 typing @code{\times} only once, saving lots of typing. In the next
475 example, there are two triplets shown, while @code{\times} was only
478 @lilypond[fragment, relative, singleline, verbatim]
479 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
480 \times 2/3 { c'8 c c c c c }
483 The format of the number is determined by the property
484 @code{tupletNumberFormatFunction}. The default prints only the
485 denominator, but if it is set to the Scheme function
486 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
490 @cindex @code{tupletNumberFormatFunction}
491 @cindex tuplet formatting
496 @cindex @code{\tupletUp}
498 @cindex @code{\tupletDown}
500 @cindex @code{\tupletBoth}
505 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
509 Nested tuplets are not formatted automatically. In this case, outer
510 tuplet brackets should be moved manually.
512 @node Easy Notation note heads
513 @subsection Easy Notation note heads
515 @cindex easy notation
518 The `easy play' note head includes a note name inside the head. It is
519 used in music aimed at beginners:
521 @lilypond[singleline,verbatim,26pt]
523 \notes { c'2 e'4 f' | g'1 }
524 \paper { \translator { \EasyNotation } }
528 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
529 You probably will want to print it with magnification or a
530 large font size to make it more readable. To print with
531 magnification, you must create a DVI file (with @file{lilypond}) and
532 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
533 See the @code{dvips} documentation for more details. To print with a
534 larger font, see @ref{Font Size}.
540 If you view the result with Xdvi, then staff lines will show through
541 the letters. Printing the PostScript file obtained does produce the
545 @node Easier music entry
546 @section Easier music entry
549 When entering music it is easy to introduce errors. This section deals
550 with tricks and features of the input language that help when entering
551 music, and find and correct mistakes. Some features of the input
552 language ease entering music, but also have other applications. They
553 are not described in this section.
555 It is also possible to use external programs, for example GUI
556 interfaces, or MIDI transcription programs, to enter or edit
557 music. Refer to the website for more information. Finally, there are
558 tools make debugging easier, by linking the input file and the output
559 shown on screen. See @ref{Point and click} for more information.
566 * Skipping corrected music::
567 * Automatic note splitting ::
573 @node Relative octaves
574 @subsection Relative octaves
576 @cindex relative octave specification
578 Octaves are specified by adding @code{'} and @code{,} to pitch names.
579 When you copy existing music, it is easy to accidentally put a pitch
580 in the wrong octave and hard to find such an error. The relative
581 octave mode prevents these errors: a single error puts the rest of the
582 piece off by one octave:
584 @cindex @code{\relative}
586 \relative @var{startpitch} @var{musicexpr}
589 The octave of notes that appear in @var{musicexpr} are calculated as
590 follows: If no octave changing marks are used, the basic interval
591 between this and the last note is always taken to be a fourth or less
592 (; this distance is determined without regarding alterations: a
593 @code{fisis} following a @code{ceses} will be put above the
596 The octave changing marks @code{'} and @code{,} can be added to raise
597 or lower the pitch by an extra octave. Upon entering relative mode,
598 an absolute starting pitch must be specified that will act as the
599 predecessor of the first note of @var{musicexpr}.
601 Here is the relative mode shown in action:
602 @lilypond[fragment,singleline,verbatim,center]
608 Octave changing marks are used for intervals greater than a fourth:
609 @lilypond[fragment,verbatim,center]
614 If the preceding item is a chord, the first note of the chord is used
615 to determine the first note of the next chord:
617 @lilypond[fragment,verbatim,center]
624 @cindex @code{\notes}
626 The pitch after the @code{\relative} contains a note name. To parse
627 the pitch as a note name, you have to be in note mode, so there must
628 be a surrounding @code{\notes} keyword (which is not
631 The relative conversion will not affect @code{\transpose},
632 @code{\chords} or @code{\relative} sections in its argument. If you
633 want to use relative within transposed music, you must place an
634 additional @code{\relative} inside the @code{\transpose}.
637 @subsection Octave check
640 Octave checks make octave errors easier to correct.
646 This checks that @var{pitch} (without octave) yields @var{pitch} (with
647 octave) in \relative mode. If not, a warning is printed, and the
648 octave is corrected, for example, the first check is passed
649 successfully. The second check fails with an error message. The
650 octave is adjusted so the following notes are in the correct octave
661 The octave of a note following an octave check is determined with
662 respect to the note preceding it. In the next fragment, the last note
663 is a @code{a'}, above central C. Hence, the @code{\octave} check may
664 be deleted without changing the meaning of the piece.
666 @lilypond[verbatim,fragment]
677 @subsection Bar check
681 @cindex @code{barCheckSynchronize}
684 Bar checks help detect errors in the durations. A bar check is
685 entered using the bar symbol, `@code{|}'. Whenever it is encountered
686 during interpretation, it should fall on a measure boundary. If it
687 does not, a warning is printed. Depending on the value of
688 @code{barCheckSynchronize}, the beginning of the measure will be
691 In the next example, the second bar check will signal an error:
693 \time 3/4 c2 e4 | g2 |
698 @cindex skipTypesetting
700 Failed bar checks are caused by entering incorrect
701 durations. Incorrect durations often completely garble up the score,
702 especially if it is polyphonic, so you should start correcting the
703 score by scanning for failed bar checks and incorrect durations. To
704 speed up this process, you can use @code{skipTypesetting}, described
707 @node Skipping corrected music
708 @subsection Skipping corrected music
710 The property @code{Score.skipTypesetting} can be used to switch on and
711 off typesetting completely during the interpretation phase. When
712 typesetting is switched off, the music is processed much more quickly.
713 This can be used to skip over the parts of a score that have already
714 been checked for errors:
716 @lilypond[fragment,singleline,verbatim]
718 \property Score.skipTypesetting = ##t
720 \property Score.skipTypesetting = ##f
724 @node Automatic note splitting
725 @subsection Automatic note splitting
727 Long notes can be converted automatically to tied notes. This is done
728 by replacing the @internalsref{Note_heads_engraver} by the
729 @internalsref{Completion_heads_engraver}:
732 \paper @{ \translator @{
734 \remove "Note_heads_engraver"
735 \consists "Completion_heads_engraver"
739 which will make long notes tied in the following example:
742 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
749 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
751 \paper { \translator {
753 \remove "Note_heads_engraver"
754 \consists "Completion_heads_engraver"
759 This engraver splits all running notes at the bar line, and inserts
760 ties. One of its uses is to debug complex scores: if the measures are
761 not entirely filled, then the ties exactly show how much each measure
766 Not all durations (especially those containing tuplets) can be
767 represented exactly; the engraver will not insert tuplets.
773 @section Staff notation
775 This section describes music notation that occurs on staff level,
776 such as keys, clefs and time signatures.
778 @cindex Staff notation
792 @subsection Staff symbol
794 @cindex adjusting staff symbol
795 @cindex StaffSymbol, using \property
797 Notes, dynamic signs, etc. are grouped
798 with a set of horizontal lines, into a staff (plural `staves'). In our
799 system, these lines are drawn using a separate layout object called
803 @cindex staff lines, setting number of
804 @cindex staff lines, setting thickness of
805 @cindex thickness of staff lines, setting
806 @cindex number of staff lines, setting
808 This object is created whenever a @internalsref{Staff} context is
809 created. The appearance of the staff symbol cannot be changed by
810 using @code{\override} or @code{\set}. At the moment that
811 @code{\property Staff} is interpreted, a @internalsref{Staff} context
812 is made, and the @internalsref{StaffSymbol} is created before any
813 @code{\override} is effective. Properties can be changed in a
814 @code{\translator} definition, or by using @code{\outputproperty}.
818 If a staff is ended halfway a piece, the staff symbol may not end
819 exactly on the barline.
823 @subsection Key signature
824 @cindex Key signature
828 The key signature indicates the scale in which a piece is played. It
829 is denoted by a set of alterations (flats or sharps) at the start of
832 WARNING! The key signature only changes the output, not the music
833 itself. An F-sharp in the key of D major is still an F-sharp, not
834 an F -- you must type @code{fis}, not @code{f}. If you don't modify
835 a pitch with @code{-is} or @code{-es}, LilyPond will assume that
836 you want a natural note. See this example:
847 \score{ \notes { \relative c'{
857 Setting or changing the key signature is done with the @code{\key}
860 @code{\key} @var{pitch} @var{type}
863 @cindex @code{\minor}
864 @cindex @code{\major}
865 @cindex @code{\minor}
866 @cindex @code{\ionian}
867 @cindex @code{\locrian}
868 @cindex @code{\aeolian}
869 @cindex @code{\mixolydian}
870 @cindex @code{\lydian}
871 @cindex @code{\phrygian}
872 @cindex @code{\dorian}
874 Here, @var{type} should be @code{\major} or @code{\minor} to get
875 @var{pitch}-major or @var{pitch}-minor, respectively.
876 The standard mode names @code{\ionian},
877 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
878 @code{\phrygian}, and @code{\dorian} are also defined.
880 This command sets the context property
881 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
882 can be specified by setting this property directly.
886 The ordering of a key cancellation is wrong when it is combined with
887 repeat bar lines. The cancellation is also printed after a line break.
891 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
893 @cindex @code{keySignature}
900 The clef indicates which lines of the staff correspond to which
905 The clef can be set or changed with the @code{\clef} command:
906 @lilypond[fragment,verbatim]
907 \key f\major c''2 \clef alto g'2
910 Supported clef-names include:
911 @c Moved standard clefs to the top /MB
915 @item treble, violin, G, G2
928 G clef on 1st line, so-called French violin clef
933 @cindex mezzosoprano clef
936 @cindex baritone clef
939 @cindex varbaritone clef
948 By adding @code{_8} or @code{^8} to the clef name, the clef is
949 transposed one octave down or up, respectively, and @code{_15} and
950 @code{^15} transposes by two octaves. The argument @var{clefname}
951 must be enclosed in quotes when it contains underscores or digits. For
955 @cindex choral tenor clef
956 @lilypond[verbatim,fragment,relative]
960 This command is equivalent to setting @code{clefGlyph},
961 @code{clefPosition} (which controls the Y position of the clef),
962 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
963 when any of these properties are changed.
967 The object for this symbol is @internalsref{Clef}.
971 @node Ottava brackets
972 @subsection Ottava brackets
974 ``Ottava'' brackets introduce an extra transposition of an octave for
975 the staff. They are created by invoking the function
976 @code{set-octavation}:
982 @lilypond[verbatim,fragment]
991 Internally the @code{set-octavation} function sets the properties
992 @code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
996 @internalsref{OttavaSpanner}.
1000 @code{set-octavation} will get confused when clef changes happen
1001 during an octavation bracket.
1003 @node Time signature
1004 @subsection Time signature
1005 @cindex Time signature
1007 @cindex @code{\time}
1009 Time signature indicates the metrum of a piece: a regular pattern of
1010 strong and weak beats. It is denoted by a fraction at the start of the
1015 The time signature is set or changed by the @code{\time}
1017 @lilypond[fragment,verbatim]
1018 \time 2/4 c'2 \time 3/4 c'2.
1021 The symbol that is printed can be customized with the @code{style}
1022 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1023 2/2 time. There are many more options for its layout. See
1024 @inputfileref{input/test,time.ly} for more examples.
1027 This command sets the property @code{timeSignatureFraction},
1028 @code{beatLength} and @code{measureLength} in the @code{Timing}
1029 context, which is normally aliased to @internalsref{Score}. The
1030 property @code{measureLength} determines where bar lines should be
1031 inserted, and how automatic beams should be generated. Changing the
1032 value of @code{timeSignatureFraction} also causes the symbol to be
1035 More options are available through the Scheme function
1036 @code{set-time-signature}. In combination with the
1037 @internalsref{Measure_grouping_engraver}, it will create
1038 @internalsref{MeasureGrouping} signs. Such signs ease reading
1039 rhythmically complex modern music. In the following example, the 9/8
1040 measure is subdivided in 2, 2, 2 and 3. This is passed to
1041 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1044 \score { \notes \relative c'' {
1045 #(set-time-signature 9 8 '(2 2 2 3))
1046 g8[ g] d[ d] g[ g] a8[( bes g]) |
1047 #(set-time-signature 5 8 '(3 2))
1052 \translator { \StaffContext
1053 \consists "Measure_grouping_engraver"
1059 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1064 Automatic beaming does not use measure grouping specified with
1065 @code{set-time-signature}.
1067 @node Partial measures
1068 @subsection Partial measures
1071 @cindex partial measure
1072 @cindex measure, partial
1073 @cindex shorten measures
1074 @cindex @code{\partial}
1076 Partial measures, for example in upsteps, are entered using the
1077 @code{\partial} command:
1078 @lilypond[fragment,verbatim]
1079 \partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
1082 The syntax for this command is
1084 \partial @var{duration}
1086 This is internally translated into
1088 \property Timing.measurePosition = -@var{length of duration}
1091 The property @code{measurePosition} contains a rational number
1092 indicating how much of the measure has passed at this point.
1094 @node Unmetered music
1095 @subsection Unmetered music
1097 Bar lines and bar numbers are calculated automatically. For unmetered
1098 music (e.g. cadenzas), this is not desirable. By setting
1099 @code{Score.timing} to false, this automatic timing can be switched
1105 @cindex @code{\cadenzaOn}
1107 @cindex @code{\cadenzaOff}
1111 @subsection Bar lines
1115 @cindex measure lines
1119 Bar lines delimit measures, but are also used to indicate repeats.
1120 Normally, they are inserted automatically. Line breaks may only
1126 of barlines can be forced with the @code{\bar} command:
1127 @lilypond[relative=1,fragment,verbatim]
1131 The following bar types are available:
1132 @lilypond[fragment, relative, singleline, verbatim]
1144 In scores with many staves, a @code{\bar} command in one staff is
1145 automatically applied to all staves. The resulting bar lines are
1146 connected between different staves of a @internalsref{StaffGroup}:
1148 @lilypond[fragment, verbatim]
1149 << \context StaffGroup <<
1153 \new Staff { \clef bass c4 g e g } >>
1154 \new Staff { \clef bass c2 c2 } >>
1158 The command @code{\bar @var{bartype}} is a short cut for doing
1159 @code{\property Score.whichBar = @var{bartype}} Whenever
1160 @code{whichBar} is set to a string, a bar line of that type is
1161 created. At the start of a measure it is set to
1162 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1163 to override default measure bars.
1165 Property @code{whichBar} can also be set directly, using @code{\property}
1166 or @code{\bar}. These settings take precedence over the automatic
1167 @code{whichBar} settings.
1170 @cindex repeatCommands
1171 @cindex defaultBarType
1173 You are encouraged to use @code{\repeat} for repetitions. See
1183 The bar line objects that are created at @internalsref{Staff} level
1184 are called @internalsref{BarLine}, the bar lines that span staves are
1185 @internalsref{SpanBar}s.
1187 @cindex bar lines at start of system
1188 @cindex start of system
1190 The barlines at the start of each system are
1191 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1192 @internalsref{SystemStartBracket}. They are spanner objects and
1193 typically must be tuned from a @code{\translator} block.
1200 The easiest way to enter fragments with more than one voice on a staff
1201 is to split chords using the separator @code{\\}. You can use it for
1202 small, short-lived voices or for single chords:
1204 @lilypond[verbatim,fragment]
1205 \context Staff \relative c'' {
1206 c4 << { f d e } \\ { b c2 } >> c4 << g' \\ b, \\ f' \\ d >>
1210 The separator causes @internalsref{Voice} contexts to be
1212 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1213 contexts, vertical direction of slurs, stems, etc. is set
1216 This can also be done by instantiating @internalsref{Voice} contexts
1217 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1218 a stem directions and horizontal shift for each part:
1221 @lilypond[singleline, verbatim]
1223 \context Staff << \new Voice { \voiceOne cis2 b }
1224 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1225 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1228 Normally, note heads with a different number of dots are not merged, but
1229 when the object property @code{merge-differently-dotted} is set in
1230 the @internalsref{NoteCollision} object, they are merged:
1231 @lilypond[verbatim,fragment,singleline]
1232 \relative c'' \context Voice << {
1234 \property Staff.NoteCollision \override
1235 #'merge-differently-dotted = ##t
1237 } \\ { g8.[ f16] g8.[ f16] }
1241 Similarly, you can merge half note heads with eighth notes, by setting
1242 @code{merge-differently-headed}:
1243 @lilypond[fragment, relative=2,verbatim]
1246 \property Staff.NoteCollision
1247 \override #'merge-differently-headed = ##t
1248 c8 c4. } \\ { c2 c2 } >>
1251 LilyPond also vertically shifts rests that are opposite of a stem:
1254 @lilypond[singleline,fragment,verbatim]
1255 \context Voice << c''4 \\ r4 >>
1263 @cindex @code{\oneVoice}
1265 @cindex @code{\voiceOne}
1267 @cindex @code{\voiceTwo}
1269 @cindex @code{\voiceThree}
1271 @cindex @code{\voiceFour}
1274 The following commands specify in what chords of the current voice
1275 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1276 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1279 @cindex @code{\shiftOn}
1281 @cindex @code{\shiftOnn}
1283 @cindex @code{\shiftOnnn}
1285 @cindex @code{\shiftOff}
1292 The objects responsible for resolving collisions are
1293 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1294 also example files @inputfileref{input/regression,collision-dots.ly},
1295 @inputfileref{input/regression,collision-head-chords.ly},
1296 @inputfileref{input/regression,collision-heads.ly},
1297 @inputfileref{input/regression,collision-mesh.ly}, and
1298 @inputfileref{input/regression,collisions.ly}.
1303 Resolving collisions is a intricate subject, and only a few situations
1304 are handled. When LilyPond cannot cope, the @code{force-hshift}
1305 property of the @internalsref{NoteColumn} object and pitched rests can
1306 be used to override typesetting decisions.
1308 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1309 note, and a downstem half note, the 8th note gets the wrong offset.
1314 Beams are used to group short notes into chunks that are aligned with
1315 the metrum. They are inserted automatically in most cases:
1317 @lilypond[fragment,verbatim, relative=2]
1318 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1321 When these automatic decisions are not good enough, beaming can be
1322 entered explicitly. It is also possible to define beaming patterns
1323 that differ from the defaults.
1327 @internalsref{Beam}.
1330 @cindex Automatic beams
1331 @subsection Manual beams
1332 @cindex beams, manual
1336 In some cases it may be necessary to override the automatic beaming
1337 algorithm. For example, the auto beamer will not put beams over rests
1338 or bar lines. Such beams are specified by manually: the begin and end
1339 point are marked with @code{[} and @code{]}:
1341 @lilypond[fragment,relative,verbatim]
1343 r4 r8[ g' a r8] r8 g[ | a] r8
1347 @cindex @code{stemLeftBeamCount}
1349 Normally, beaming patterns within a beam are determined automatically.
1350 When this mechanism fouls up, the properties
1351 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1352 be used to control the beam subdivision on a stem. If either property
1353 is set, its value will be used only once, and then it is erased.
1355 @lilypond[fragment,relative,verbatim]
1358 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1361 @cindex @code{stemRightBeamCount}
1364 The property @code{subdivideBeams} can be set in order to subdivide
1365 all 16th or shorter beams at beat positions, as defined by the
1366 @code{beatLength} property . This accomplishes the same effect as
1367 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1368 but it take less typing:
1371 @lilypond[relative=1,verbatim,noindent]
1373 \property Voice.subdivideBeams = ##t
1375 \property Score.beatLength = #(ly:make-moment 1 8)
1378 @cindex subdivideBeams
1380 Kneed beams are inserted automatically, when a large gap is detected
1381 between the note heads. This behavior can be tuned through the object
1382 property @code{auto-knee-gap}.
1384 Normally, line breaks are forbidden when beams cross bar lines. This
1385 behavior can be changed by setting @code{allowBeamBreak}.
1387 @cindex @code{allowBeamBreak}
1388 @cindex beams and line breaks
1390 @cindex beams, kneed
1392 @cindex auto-knee-gap
1398 @cindex Frenched staves
1400 Automatically kneed beams cannot be used together with hidden staves.
1405 * Setting automatic beam behavior ::
1409 @no de Beam typography
1410 @sub section Beam typography
1412 One of the strong points of LilyPond is how beams are formatted. Beams
1413 are quantized, meaning that the left and right endpoints beams start
1414 exactly on staff lines. Without quantization, small wedges of white
1415 space appear between the beam and staff line, and this looks untidy.
1417 Beams are also slope-damped: melodies that go up or down should also
1418 have beams that go up or down, but the slope of the beams should be
1419 less than the slope of the notes themselves.
1421 Some beams should be horizontal. These are so-called concave beams.
1423 [TODO: some pictures.]
1427 @node Setting automatic beam behavior
1428 @subsection Setting automatic beam behavior
1430 @cindex @code{autoBeamSettings}
1431 @cindex @code{(end * * * *)}
1432 @cindex @code{(begin * * * *)}
1433 @cindex automatic beams, tuning
1434 @cindex tuning automatic beaming
1436 @c [TODO: use \applycontext]
1438 In normal time signatures, automatic beams can start on any note but can
1439 only end in a few positions within the measure: beams can end on a beat,
1440 or at durations specified by the properties in
1441 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1442 are defined in @file{scm/auto-beam.scm}.
1444 The value of @code{autoBeamSettings} is changed using
1445 @code{\override} and restored with @code{\revert}:
1447 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1448 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1450 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1451 whether the rule applies to begin or end-points. The quantity
1452 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1453 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1454 signature (wildcards, `@code{* *}' may be entered to designate all time
1457 For example, if automatic beams should end on every quarter note, use
1460 \property Voice.autoBeamSettings \override
1461 #'(end * * * *) = #(ly:make-moment 1 4)
1463 Since the duration of a quarter note is 1/4 of a whole note, it is
1464 entered as @code{(ly:make-moment 1 4)}.
1466 The same syntax can be used to specify beam starting points. In this
1467 example, automatic beams can only end on a dotted quarter note:
1469 \property Voice.autoBeamSettings \override
1470 #'(end * * * *) = #(ly:make-moment 3 8)
1472 In 4/4 time signature, this means that automatic beams could end only on
1473 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1474 3/8 has passed within the measure).
1476 Rules can also be restricted to specific time signatures. A rule that
1477 should only be applied in @var{N}/@var{M} time signature is formed by
1478 replacing the second asterisks by @var{N} and @var{M}. For example, a
1479 rule for 6/8 time exclusively looks like
1481 \property Voice.autoBeamSettings \override
1482 #'(begin * * 6 8) = ...
1485 If a rule should be to applied only to certain types of beams, use the
1486 first pair of asterisks. Beams are classified according to the
1487 shortest note they contain. For a beam ending rule that only applies
1488 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1491 If a score ends while an automatic beam has not been ended and is still
1492 accepting notes, this last beam will not be typeset at all.
1494 @cindex automatic beam generation
1496 @cindex @code{Voice.autoBeaming}
1499 For melodies that have lyrics, you may want to switch off
1500 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1505 @cindex @code{\autoBeamOff}
1506 @code{\autoBeamOff},
1507 @cindex @code{\autoBeamOn}
1513 The rules for ending a beam depend on the shortest note in a beam.
1514 So, while it is possible to have different ending rules for eight
1515 beams and sixteenth beams, a beam that contains both eight and
1516 sixteenth notes will use the rules for the sixteenth beam.
1518 In the example below, the autobeamer makes eight beams and sixteenth
1519 end at 3 eights; the third beam can only be corrected by specifying
1522 @lilypond[singleline,fragment,relative,noverbatim,quote]
1523 \property Voice.autoBeamSettings
1524 \override #'(end * * * *) = #(ly:make-moment 3 8)
1525 % rather show case where it goes wrong
1526 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1527 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1529 It is not possible to specify beaming parameters that act differently in
1530 different parts of a measure. This means that it is not possible to use
1531 automatic beaming in irregular meters such as @code{5/8}.
1534 @section Accidentals
1537 This section describes how to change the way that accidentals are
1538 inserted automatically before the running notes.
1542 * Using the predefined accidental variables::
1543 * Customized accidental rules::
1546 @node Using the predefined accidental variables
1547 @subsection Using the predefined accidental variables
1549 The constructs for describing the accidental typesetting rules are
1550 quite hairy, so non-experts should stick to the variables
1551 defined in @file{ly/property-init.ly}.
1552 @cindex @file{property-init.ly}
1554 The variables set properties in the ``@code{Current}'' context (see
1555 @ref{Context properties}). This means that the variables should
1556 normally be added right after the creation of the context in which the
1557 accidental typesetting described by the variable is to take
1558 effect. For example, if you want to use piano-accidentals in a piano
1559 staff then issue @code{\pianoAccidentals} first thing after the
1560 creation of the piano staff:
1563 \notes \relative c'' <<
1564 \new Staff @{ cis4 d e2 @}
1565 \context GrandStaff <<
1567 \new Staff @{ cis4 d e2 @}
1568 \new Staff @{ es2 c @}
1570 \new Staff @{ es2 c @}
1574 @lilypond[singleline]
1576 \notes \relative c'' <<
1577 \new Staff { cis4 d e2 }
1578 \context GrandStaff <<
1580 \new Staff { cis4 d e2 }
1581 \new Staff { es2 c }
1583 \new Staff { es2 c }
1588 minimumVerticalExtent = #'(-4.0 . 4.0)
1596 @item \defaultAccidentals
1597 @cindex @code{\defaultAccidentals}
1598 This is the default typesetting behaviour. It should correspond
1599 to 18th century common practice: Accidentals are
1600 remembered to the end of the measure in which they occur and
1601 only on their own octave.
1603 @item \voiceAccidentals
1604 @cindex @code{\voiceAccidentals}
1606 The normal behaviour is to
1607 remember the accidentals on Staff-level. This variable, however,
1608 typesets accidentals individually for each voice. Apart from that the
1609 rule is similar to @code{\defaultAccidentals}.
1611 This leads to some weird and often unwanted results
1612 because accidentals from one voice do not get cancelled in other
1614 @lilypond[singleline,relative,fragment,verbatim,quote]
1622 Hence you should only use @code{\voiceAccidentals} if the voices
1623 are to be read solely by individual musicians. If the staff is to be
1624 used by one musician (e.g. a conductor) then you use
1625 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1628 @item \modernAccidentals
1629 @cindex @code{\modernAccidentals}
1630 This rule corresponds to the common practice in the 20th
1632 The rule is more complex than @code{\defaultAccidentals}.
1633 You get all the same accidentals, but temporary
1634 accidentals also get cancelled in other octaves. Furthermore,
1635 in the same octave, they also get cancelled in the following measure:
1636 @lilypond[singleline,fragment,verbatim]
1638 cis' c'' cis'2 | c'' c'
1641 @item \modernCautionaries
1642 @cindex @code{\modernCautionaries}
1643 This rule is similar to @code{\modernAccidentals}, but the
1644 ``extra'' accidentals (the ones not typeset by
1645 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1646 They are printed in reduced size or with parentheses:
1647 @lilypond[singleline,fragment,verbatim]
1649 cis' c'' cis'2 | c'' c'
1652 @cindex @code{\modernVoiceAccidentals}
1653 @item \modernVoiceAccidentals
1654 is used for multivoice accidentals to be read both by musicians
1655 playing one voice and musicians playing all voices. Accidentals are
1656 typeset for each voice, but they @emph{are} cancelled across voices in
1657 the same @internalsref{Staff}.
1659 @cindex @code{\modernVoiceCautionaries}
1660 @item \modernVoiceCautionaries
1661 is the same as @code{\modernVoiceAccidentals}, but with the extra
1662 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1663 as cautionaries. Even though all accidentals typeset by
1664 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1665 some of them are typeset as cautionaries.
1667 @item \pianoAccidentals
1668 @cindex @code{\pianoAccidentals}
1669 20th century practice for piano notation. Very similar to
1670 @code{\modernAccidentals} but accidentals also get cancelled
1671 across the staves in the same @internalsref{GrandStaff} or
1672 @internalsref{PianoStaff}.
1674 @item \pianoCautionaries
1675 @cindex @code{\pianoCautionaries}
1676 As @code{\pianoAccidentals} but with the extra accidentals
1677 typeset as cautionaries.
1680 @cindex @code{\noResetKey}
1681 Same as @code{\defaultAccidentals} but with accidentals lasting
1682 ``forever'' and not only until the next measure:
1683 @lilypond[singleline,fragment,verbatim,relative]
1688 @item \forgetAccidentals
1689 @cindex @code{\forgetAccidentals}
1690 This is sort of the opposite of @code{\noResetKey}: Accidentals
1691 are not remembered at all---and hence all accidentals are
1692 typeset relative to the key signature, regardless of what was
1693 before in the music:
1694 @lilypond[singleline,fragment,verbatim,relative]
1696 \key d\major c4 c cis cis d d dis dis
1700 @node Customized accidental rules
1701 @subsection Customized accidental rules
1703 This section must be considered gurus-only, and hence it must be
1704 sufficient with a short description of the system and a reference to
1705 the internal documentation.
1707 The algorithm tries several different rules, and uses the rule
1708 that gives the highest number of accidentals. Each rule consists of
1711 In which context is the rule applied. For example, if
1712 @var{context} is @internalsref{Score} then all staves share
1713 accidentals, and if @var{context} is @internalsref{Staff} then all
1714 voices in the same staff share accidentals, but staves do not.
1716 Whether the accidental changes all octaves or only the current
1719 Over how many barlines the accidental lasts.
1720 If @var{lazyness} is @code{-1} then the accidental is forget
1721 immediately, and if @var{lazyness} is @code{#t} then the accidental
1724 @c [TODO: should use +infinity for this case?]
1730 @cindex @code{\defaultAccidentals}
1731 @code{\defaultAccidentals},
1732 @cindex @code{\voiceAccidentals}
1733 @code{\voiceAccidentals},
1734 @cindex @code{\modernAccidentals}
1735 @code{\modernAccidentals},
1736 @cindex @code{\modernCautionaries}
1737 @code{\modernCautionaries},
1738 @cindex @code{\modernVoiceAccidentals}
1739 @code{\modernVoiceAccidentals},
1740 @cindex @code{\modernVoiceCautionaries}
1741 @code{\modernVoiceCautionaries},
1742 @cindex @code{\pianoAccidentals}
1743 @code{\pianoAccidentals},
1744 @cindex @code{\pianoCautionaries}
1745 @code{\pianoCautionaries},
1746 @cindex @code{\noResetKey}
1748 @cindex @code{\forgetAccidentals}
1749 @code{\forgetAccidentals}.
1753 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1754 @internalsref{AccidentalPlacement}.
1759 Currently the simultaneous notes are considered to be entered in
1760 sequential mode. This means that in a chord the accidentals are
1761 typeset as if the notes in the chord happened once at a time - in the
1762 order in which they appear in the input file.
1764 This is only a problem when there are simultaneous notes whose
1765 accidentals depend on each other. The problem only occurs when using
1766 non-default accidentals. In the default scheme, accidentals only
1767 depend on other accidentals with the same pitch on the same staff, so
1768 no conflicts possible.
1770 This example shows two examples of the same music giving different
1771 accidentals depending on the order in which the notes occur in the
1774 @lilypond[singleline,fragment,verbatim]
1775 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1776 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1777 | <cis' c''> r | <c'' cis'> r |
1780 This problem can be solved by manually inserting @code{!} and @code{?}
1781 for the problematic notes.
1783 @node Expressive marks
1784 @section Expressive marks
1792 * Analysis brackets::
1799 A slur indicates that notes are to be played bound or @emph{legato}.
1803 They are entered using parentheses:
1804 @lilypond[fragment,verbatim,center]
1805 f'( g')( a') a'8[ b'(] a'4 g'2 f'4)
1810 @c TODO: should explain that ^( and _( set directions
1811 @c should set attachments with ^ and _ ?
1813 Slurs avoid crossing stems, and are generally attached to note heads.
1814 However, in some situations with beams, slurs may be attached to stem
1815 ends. If you want to override this layout you can do this through the
1816 object property @code{attachment} of @internalsref{Slur} in
1817 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1818 the attachment type of the left and right end points:
1820 @lilypond[fragment,relative,verbatim]
1822 \property Voice.Stem \set #'length = #5.5
1824 \property Voice.Slur \set #'attachment = #'(stem . stem)
1828 If a slur would strike through a stem or beam, the slur will be moved
1829 away upward or downward. If this happens, attaching the slur to the
1830 stems might look better:
1832 @lilypond[fragment,relative,verbatim]
1835 \property Voice.Slur \set #'attachment = #'(stem . stem)
1842 @cindex @code{\slurUp}
1844 @cindex @code{\slurDown}
1846 @cindex @code{\slurBoth}
1848 @cindex @code{\slurDotted}
1850 @cindex @code{\slurSolid}
1855 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1860 Producing nice slurs is a difficult problem, and LilyPond currently
1861 uses a simple, empiric method to produce slurs. In some cases, its
1865 @cindex Adjusting slurs
1867 @node Phrasing slurs
1868 @subsection Phrasing slurs
1870 @cindex phrasing slurs
1871 @cindex phrasing marks
1873 A phrasing slur (or phrasing mark) connects chords and is used to
1874 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1877 @lilypond[fragment,verbatim,center,relative]
1878 \time 6/4 c'\( d( e) f( e) d\)
1881 Typographically, the phrasing slur behaves almost exactly like a
1882 normal slur. However, they are treated as different objects. A
1883 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1884 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1885 @code{\phrasingSlurBoth}.
1887 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1888 will only affect normal slurs and not phrasing slurs.
1892 @cindex @code{\phrasingSlurUp}
1893 @code{\phrasingSlurUp},
1894 @cindex @code{\phrasingSlurDown}
1895 @code{\phrasingSlurDown},
1896 @cindex @code{\phrasingSlurBoth}
1897 @code{\phrasingSlurBoth},
1901 See also @internalsref{PhrasingSlur}, and
1902 @internalsref{PhrasingSlurEvent}.
1906 Phrasing slurs have the same limitations in their formatting as normal
1907 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1910 @subsection Breath marks
1912 Breath marks are entered using @code{\breathe}:
1915 @lilypond[fragment,relative,verbatim]
1919 The glyph of the breath mark can be tweaked by overriding the
1920 @code{text} property of the @code{BreathingSign} layout object with
1921 any markup text. For example,
1922 @lilypond[fragment,verbatim,relative]
1924 \property Voice.BreathingSign \override #'text
1925 = #(make-musicglyph-markup "scripts-rvarcomma")
1932 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1933 @inputfileref{input/regression,breathing-sign.ly}.
1936 @node Metronome marks
1937 @subsection Metronome marks
1940 @cindex beats per minute
1941 @cindex metronome marking
1943 Metronome settings can be entered as follows:
1945 \tempo @var{duration} = @var{perminute}
1948 In the MIDI output, they are interpreted as a tempo change, and in the
1949 paper output, a metronome marking is printed:
1950 @cindex @code{\tempo}
1951 @lilypond[fragment,verbatim]
1957 @internalsref{MetronomeChangeEvent}.
1962 @subsection Text spanners
1963 @cindex Text spanners
1965 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1966 are written as texts, and extended over many measures with dotted
1967 lines. You can create such texts using text spanners: attach
1968 @code{\startTextSpan} and @code{\stopTextSpan} to the
1969 start and ending note of the spanner.
1971 The string to be printed, as well as the style, is set through object
1974 @lilypond[fragment,relative,verbatim]
1976 \property Voice.TextSpanner \set #'direction = #-1
1977 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1978 c2\startTextSpan b c\stopTextSpan a }
1984 @internalsref{TextSpanEvent},
1985 @internalsref{TextSpanner}, and
1986 @inputfileref{input/regression,text-spanner.ly}.
1989 @node Analysis brackets
1990 @subsection Analysis brackets
1992 @cindex phrasing brackets
1993 @cindex musicological analysis
1994 @cindex note grouping bracket
1996 Brackets are used in musical analysis to indicate structure in musical
1997 pieces. LilyPond supports a simple form of nested horizontal brackets.
1998 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1999 @internalsref{Staff} context. A bracket is started with
2000 @code{\startGroup} and closed with @code{\stopGroup}:
2002 @lilypond[singleline,verbatim]
2003 \score { \notes \relative c'' {
2004 c4\startGroup\startGroup
2007 c4\stopGroup\stopGroup
2009 \paper { \translator {
2010 \StaffContext \consists "Horizontal_bracket_engraver"
2016 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
2017 @inputfileref{input/regression,note-group-bracket.ly}.
2021 @section Articulations
2022 @cindex Articulations
2024 @cindex articulations
2028 A variety of symbols can appear above and below notes to indicate
2029 different characteristics of the performance. They are added to a note
2030 by adding a dash and the character signifying the
2031 articulation. They are demonstrated here:
2033 @lilypondfile[notexidoc]{script-abbreviations.ly}
2035 The meanings of these shorthands can be changed: see
2036 @file{ly/script-init.ly} for examples.
2039 The script is automatically placed, but if you need to force
2040 directions, you can use @code{_} to force them down, or @code{^} to
2042 @lilypond[fragment, verbatim]
2046 Other symbols can be added using the syntax
2047 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2048 can be forced up or down using @code{^} and @code{_},
2051 @lilypond[verbatim,fragment,relative 2]
2052 c\fermata c^\fermata c_\fermata
2059 @cindex staccatissimo
2068 @cindex organ pedal marks
2077 @cindex prallmordent
2081 @cindex thumb marking
2086 @lilypondfile[notexidoc]{script-chart.ly}
2091 @cindex @code{\scriptUp}
2093 @cindex @code{\scriptDown}
2095 @cindex @code{\scriptBoth}
2100 @internalsref{ScriptEvent}, and @internalsref{Script}.
2104 All of these note ornaments appear in the printed output but have no
2105 effect on the MIDI rendering of the music.
2108 @node Fingering instructions
2109 @section Fingering instructions
2113 Fingering instructions can be entered using
2115 @var{note}-@var{digit}
2117 For finger changes, use markup texts:
2119 @lilypond[verbatim, singleline, fragment]
2120 c'4-1 c'4-2 c'4-3 c'4-4
2121 c'^\markup { \fontsize #-3 \number "2-3" }
2124 @cindex finger change
2129 You can use the thumb-script to indicate that a note should be
2130 played with your thumb (used in cello music):
2132 @lilypond[verbatim, singleline, fragment]
2133 <a' a''-3>8(_\thumb[ <b' b''-3>)_\thumb
2134 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb]
2137 Fingerings for chords can also be added to individual notes
2138 of the chord by adding them after the pitches:
2139 @lilypond[verbatim,singleline,fragment,relative=1]
2140 < c-1 e-2 g-3 b-5 > 4
2143 Setting @code{fingeringOrientations} will put fingerings next
2146 @lilypond[verbatim,singleline,fragment,relative=1]
2147 \property Voice.fingeringOrientations = #'(left down)
2148 <c-1 es-2 g-4 bes-5 > 4
2149 \property Voice.fingeringOrientations = #'(up right down)
2150 <c-1 es-2 g-4 bes-5 > 4
2155 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2166 @subsection Text scripts
2167 @cindex Text scripts
2169 It is possible to place arbitrary strings of text or markup text (see
2170 @ref{Text markup}) above or below notes by using a string:
2171 @code{c^"text"}. By default, these indications do not influence the
2172 note spacing, but by using the command @code{\fatText}, the widths
2173 will be taken into account:
2175 @lilypond[fragment,singleline,verbatim] \relative c' {
2176 c4^"longtext" \fatText c4_"longlongtext" c4 }
2179 It is possible to use @TeX{} commands in the strings, but this should
2180 be avoided because the exact dimensions of the string can then no
2186 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2192 @subsection Grace notes
2195 @c should have blurb about accaciatura / appogiatura
2197 @cindex @code{\grace}
2201 Grace notes are ornaments that are written out. The most common ones
2202 are acciaccatura, which should be played as very short. It is denoted
2203 by a slurred small note with a slashed stem. The appoggiatura is a
2204 grace note that takes a fixed fraction of the main note, is and
2205 denoted as a slurred note in small print without a slash.
2206 They are entered with the commands @code{\acciaccatura} and
2207 @code{\appoggiatura}, as demonstrated in the following example:
2210 @cindex appoggiatura
2211 @cindex acciaccatura
2213 @lilypond[relative=2,verbatim,fragment]
2214 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2215 \acciaccatura { g16 f } e4
2218 Both are special forms of the @code{\grace} command. By prefixing this
2219 keyword to a music expression, a new one is formed, which will be
2220 printed in a smaller font and takes up no logical time in a measure.
2221 @lilypond[relative=2,verbatim,fragment]
2222 c4 \grace c16 c4 \grace {
2225 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2226 @code{\grace} command does not start a slur.
2228 Internally, timing for grace notes is done using a second, `grace'
2229 time. Every point in time consists of two rational numbers: one
2230 denotes the logical time, one denotes the grace timing. The above
2231 example is shown here with timing tuples:
2233 @lilypond[singleline]
2236 c4 \grace c16 c4 \grace {
2239 \new Lyrics \lyrics {
2242 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2243 \markup { (\fraction 1 4 , 0 ) } 4
2245 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2246 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2248 \markup { ( \fraction 2 4 , 0 ) }
2253 The placement of grace notes is synchronized between different staves.
2254 In the following example, there are two sixteenth graces notes for
2255 every eighth grace note:
2257 @lilypond[relative=2,verbatim,fragment]
2258 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2259 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2264 If you want to end a note with a grace note, then the standard trick
2265 is to put the grace notes before a phantom ``space note'', e.g.
2266 @lilypond[fragment,verbatim, relative=2]
2269 { s2 \grace { c16[ d] } } >>
2275 By adjusting the duration of the skip note (here it is a half-note),
2276 the space between the main-note and the grace is adjusted.
2279 A @code{\grace} section will introduce special typesetting settings,
2280 for example, to produce smaller type, and set directions. Hence, when
2281 introducing layout tweaks, they should be inside the grace section,
2283 @lilypond[fragment,verbatim,relative 2]
2286 \property Voice.Stem \override #'direction = #-1
2288 \property Voice.Stem \revert #'direction
2295 The overrides should also be reverted inside the grace section.
2297 If the layout of grace sections must be changed throughout the music,
2298 then this can be accomplished through the function
2299 @code{add-grace-property}. The following example
2300 undefines the Stem direction grace section, so stems do not always
2305 #(add-grace-property "Voice" Stem direction '())
2311 Another option is to change the variables @code{startGraceMusic},
2312 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2313 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2314 @code{stopAppoggiaturaMstuic}. More information is in the file
2315 @file{ly/grace-init.ly}
2320 @internalsref{GraceMusic}.
2324 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2326 A score that starts with an @code{\grace} section needs an explicit
2327 @code{\context Voice} declaration, otherwise the main note and grace
2328 note end up on different staves.
2330 Grace note synchronization can also lead to surprises. Staff notation,
2331 such as key signatures, barlines, etc. are also synchronized. Take
2332 care when you mix staves with grace notes and staves without, for example,
2334 @lilypond[relative=2,verbatim,fragment]
2335 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2336 \new Staff { c4 \bar "|:" d4 } >>
2339 Grace sections should only be used within sequential music
2340 expressions. Nesting or juxtaposing grace sections is not supported,
2341 and might produce crashes or other errors.
2343 Overriding settings cannot be done in separate styles for appoggiatura
2348 @subsection Glissando
2351 @cindex @code{\glissando}
2353 A glissando is a smooth change in pitch. It is denoted by a line or a
2354 wavy line between two notes.
2358 A glissando line can be requested by attaching a @code{\glissando} to
2361 @lilypond[fragment,relative,verbatim]
2367 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2372 Additional texts (such as @emph{gliss.}) is not supported.
2376 @subsection Dynamics
2389 @cindex @code{\ffff}
2399 Absolute dynamic marks are specified using an variable after a
2400 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2401 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2402 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2403 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2405 @lilypond[verbatim,singleline,fragment,relative]
2406 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2412 @cindex @code{\decr}
2413 @cindex @code{\rced}
2420 A crescendo mark is started with @code{\<} and terminated with
2421 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2422 with @code{\!}. Because these marks are bound to notes, if you must
2423 use spacer notes if multiple marks during one note are needed:
2425 @lilypond[fragment,verbatim,center,quote]
2426 c''\< c''\! d''\decr e''\rced
2427 << f''1 { s4 s4\< s4\! \> s4\! } >>
2429 This may give rise to very short hairpins. Use @code{minimum-length}
2430 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2434 \property Staff.Hairpin \override #'minimum-length = #5
2437 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2438 is an example how to do it:
2440 @lilypond[fragment,relative=2,verbatim]
2441 c4 \cresc c4 c c c \endcresc c4
2447 You can also supply your own texts:
2448 @lilypond[fragment,relative,verbatim]
2450 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2451 \property Voice.crescendoSpanner = #'dashed-line
2461 @cindex @code{\dynamicUp}
2463 @cindex @code{\dynamicDown}
2464 @code{\dynamicDown},
2465 @cindex @code{\dynamicBoth}
2466 @code{\dynamicBoth}.
2468 @cindex direction, of dynamics
2472 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2473 @internalsref{AbsoluteDynamicEvent}.
2475 Dynamics are objects of @internalsref{DynamicText} and
2476 @internalsref{Hairpin}. Vertical positioning of these symbols is
2477 handled by the @internalsref{DynamicLineSpanner} object.
2479 If you want to adjust padding or vertical direction of the dynamics, you
2480 must set properties for the @internalsref{DynamicLineSpanner} object.
2488 @cindex @code{\repeat}
2491 Repetition is a central concept in music, and multiple notations exist
2492 for repetitions. In LilyPond, most of these notations can be captured
2493 in a uniform syntax. One of the advantages is, all these repetitions
2494 can be rendered in MIDI accurately.
2496 The following types of repetition are supported:
2500 Repeated music is fully written (played) out. Useful for MIDI
2501 output, and entering repetitive music.
2504 This is the normal notation: Repeats are not written out, but
2505 alternative endings (voltas) are printed, left to right.
2509 Alternative endings are written stacked. This has limited use but may be
2510 used to typeset two lines of lyrics in songs with repeats, see
2511 @inputfileref{input,star-spangled-banner.ly}.
2518 Make beat or measure repeats. These look like percent signs.
2524 * Repeats and MIDI::
2525 * Manual repeat commands::
2527 * Tremolo subdivisions::
2532 @subsection Repeat syntax
2536 LilyPond has one syntactic construct for specifying different types of
2537 repeats. The syntax is
2540 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2543 If you have alternative endings, you may add
2544 @cindex @code{\alternative}
2546 \alternative @code{@{} @var{alternative1}
2548 @var{alternative3} @dots{} @code{@}}
2550 where each @var{alternative} is a music expression. If you do not
2551 give enough alternatives for all of the repeats, then the first
2552 alternative is assumed to be played more than once.
2554 Normal notation repeats are used like this:
2555 @lilypond[fragment,verbatim]
2557 \repeat volta 2 { c'4 d' e' f' }
2558 \repeat volta 2 { f' e' d' c' }
2561 With alternative endings:
2562 @lilypond[fragment,verbatim]
2564 \repeat volta 2 {c'4 d' e' f'}
2565 \alternative { {d'2 d'} {f' f} }
2569 @lilypond[fragment,verbatim]
2573 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2574 \alternative { { g4 g g } { a | a a a a | b2. } }
2581 If you do a nested repeat like
2590 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2591 belongs. This ambiguity is resolved by always having the
2592 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2593 it is advisable to use braces in such situations.
2596 @node Repeats and MIDI
2597 @subsection Repeats and MIDI
2599 @cindex expanding repeats
2601 For instructions on how to unfold repeats for MIDI output, see the
2602 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2607 Timing information is not remembered at the start of an alternative,
2608 so after a repeat timing information must be reset by hand, for
2609 example by setting @code{Score.measurePosition} or entering
2610 @code{\partial}. Similarly, slurs or ties are also not repeated.
2613 @node Manual repeat commands
2614 @subsection Manual repeat commands
2616 @cindex @code{repeatCommands}
2618 The property @code{repeatCommands} can be used to control the layout of
2619 repeats. Its value is a Scheme list of repeat commands, where each repeat
2623 @item the symbol @code{start-repeat},
2624 which prints a @code{|:} bar line,
2625 @item the symbol @code{end-repeat},
2626 which prints a @code{:|} bar line,
2627 @item the list @code{(volta @var{text})},
2628 which prints a volta bracket saying @var{text}: The text can be specified as
2629 a text string or as a markup text, see @ref{Text markup}. Do not
2630 forget to change the font, as the default number font does not contain
2631 alphabetic characters. Or,
2632 @item the list @code{(volta #f)}, which
2633 stops a running volta bracket:
2636 @lilypond[verbatim, fragment]
2638 \property Score.repeatCommands = #'((volta "93") end-repeat)
2640 \property Score.repeatCommands = #'((volta #f))
2647 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2648 @internalsref{VoltaRepeatedMusic},
2649 @internalsref{UnfoldedRepeatedMusic}, and
2650 @internalsref{FoldedRepeatedMusic}.
2652 @node Tremolo repeats
2653 @subsection Tremolo repeats
2654 @cindex tremolo beams
2656 To place tremolo marks between notes, use @code{\repeat} with tremolo
2658 @lilypond[verbatim,center,singleline]
2660 \context Voice \notes\relative c' {
2661 \repeat "tremolo" 8 { c16 d16 }
2662 \repeat "tremolo" 4 { c16 d16 }
2663 \repeat "tremolo" 2 { c16 d16 }
2664 \repeat "tremolo" 4 c16
2671 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2672 are @internalsref{StemTremolo}s. The music expression is
2673 @internalsref{TremoloEvent}.
2678 The single stem tremolo must be entered without @code{@{} and
2681 @node Tremolo subdivisions
2682 @subsection Tremolo subdivisions
2683 @cindex tremolo marks
2684 @cindex @code{tremoloFlags}
2686 Tremolo marks can be printed on a single note by adding
2687 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2688 A @var{length} value of 8 gives one line across the note stem. If the
2689 length is omitted, then then the last value (stored in
2690 @code{Voice.tremoloFlags}) is used:
2692 @lilypond[verbatim,fragment,center]
2693 c'2:8 c':32 | c': c': |
2696 @c [TODO : stok is te kort bij 32en]
2700 Tremolos in this style do not carry over into the MIDI output.
2703 @node Measure repeats
2704 @subsection Measure repeats
2706 @cindex percent repeats
2707 @cindex measure repeats
2709 In the @code{percent} style, a note pattern can be repeated. It is
2710 printed once, and then the pattern is replaced with a special sign.
2711 Patterns of a one and two measures are replaced by percent-like signs,
2712 patterns that divide the measure length are replaced by slashes:
2714 @lilypond[verbatim,singleline]
2715 \context Voice { \repeat "percent" 4 { c'4 }
2716 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2722 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2723 @internalsref{PercentRepeatedMusic}, and
2724 @internalsref{DoublePercentRepeat}.
2728 @node Rhythmic music
2729 @section Rhythmic music
2731 Sometimes you might want to show only the rhythm of a melody. This
2732 can be done with the rhythmic staff. All pitches of notes on such a
2733 staff are squashed, and the staff itself has a single line:
2735 @lilypond[fragment,relative,verbatim]
2736 \context RhythmicStaff {
2738 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2743 * Percussion staves::
2744 * Percussion MIDI output::
2747 @node Percussion staves
2748 @subsection Percussion staves
2752 A percussion part for more than one instrument typically uses a
2753 multiline staff where each position in the staff refers to one piece
2758 Percussion staves are typeset with help of a set of Scheme
2759 functions. The system is based on the general MIDI drum-pitches.
2760 Include @file{drumpitch-init.ly} to use drum pitches. This file
2761 defines the pitches from the Scheme variable @code{drum-pitch-names},
2762 the definition of which can be read in @file{scm/drums.scm}. Each
2763 piece of percussion has a full name and an abbreviated name, and either
2764 the full name or the abbreviation may be used in input files.
2766 To typeset the music on a staff apply the function @code{drums->paper}
2767 to the percussion music. This function takes a list of percussion
2768 instrument names, notehead scripts and staff positions (that is:
2769 pitches relative to the C-clef) and transforms the input
2770 music by moving the pitch, changing the notehead and (optionally)
2773 @lilypond[singleline,verbatim,quote]
2774 \include "drumpitch-init.ly"
2775 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2776 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2778 \apply #(drums->paper 'drums) \context Staff <<
2780 \new Voice { \voiceOne \up }
2781 \new Voice { \voiceTwo \down }
2786 In the above example the music was transformed using the list @code{'drums}.
2787 The following lists are defined in @file{scm/drums.scm}:
2790 to typeset a typical drum kit on a five-line staff:
2793 \include "drumpitch-init.ly"
2794 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2795 bd sn ss tomh tommh tomml toml tomfh tomfl }
2796 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2797 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2800 \apply #(drums->paper 'drums) \context Staff <<
2804 \context Lyrics \nam
2807 linewidth = 100.0\mm
2810 \remove Bar_engraver
2811 \remove Time_signature_engraver
2812 minimumVerticalExtent = #'(-4.0 . 5.0)
2816 \remove Stem_engraver
2822 The drum scheme supports six different toms. When there fewer toms, simply
2823 select the toms that produce the desired result, i.e. to get toms on
2824 the three middle lines you use @code{tommh}, @code{tomml} and
2827 Because general MIDI does not contain rimshots the sidestick is used
2828 for this purpose instead.
2830 to typeset timbales on a two line staff:
2832 @lilypond[singleline]
2833 \include "drumpitch-init.ly"
2834 nam = \lyrics { timh ssh timl ssl cb }
2835 mus = \notes { timh ssh timl ssl cb s16 }
2838 \apply #(drums->paper 'timbales) \context Staff <<
2842 \context Lyrics \nam
2847 \remove Bar_engraver
2848 \remove Time_signature_engraver
2849 StaffSymbol \override #'line-count = #2
2850 StaffSymbol \override #'staff-space = #2
2851 minimumVerticalExtent = #'(-3.0 . 4.0)
2855 \remove Stem_engraver
2862 to typeset congas on a two line staff:
2864 @lilypond[singleline]
2865 \include "drumpitch-init.ly"
2866 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2867 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2870 \apply #(drums->paper 'congas) \context Staff <<
2874 \context Lyrics \nam
2879 \remove Bar_engraver
2880 \remove Time_signature_engraver
2881 StaffSymbol \override #'line-count = #2
2882 StaffSymbol \override #'staff-space = #2
2883 minimumVerticalExtent = #'(-3.0 . 4.0)
2887 \remove Stem_engraver
2893 to typeset bongos on a two line staff:
2895 @lilypond[singleline]
2896 \include "drumpitch-init.ly"
2897 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2898 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2901 \apply #(drums->paper 'bongos) \context Staff <<
2905 \context Lyrics \nam
2910 \remove Bar_engraver
2911 \remove Time_signature_engraver
2912 StaffSymbol \override #'line-count = #2
2913 StaffSymbol \override #'staff-space = #2
2914 minimumVerticalExtent = #'(-3.0 . 4.0)
2918 \remove Stem_engraver
2924 to typeset all kinds of simple percussion on one line staves:
2925 @lilypond[singleline]
2926 \include "drumpitch-init.ly"
2927 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2928 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2931 \apply #(drums->paper 'percussion) \context Staff <<
2935 \context Lyrics \nam
2940 \remove Bar_engraver
2941 \remove Time_signature_engraver
2942 StaffSymbol \override #'line-count = #1
2943 minimumVerticalExtent = #'(-2.0 . 3.0)
2947 \remove Stem_engraver
2954 If you do not like any of the predefined lists you can define your own
2955 list at the top of your file:
2957 @lilypond[singleline, verbatim]
2958 #(set-drum-kit 'mydrums `(
2959 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2960 (snare default #f ,(ly:make-pitch 0 1 0))
2961 (hihat cross #f ,(ly:make-pitch 0 5 0))
2962 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2963 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2965 \include "drumpitch-init.ly"
2966 up = \notes { hh8 hh hh hh hhp4 hhp }
2967 down = \notes { bd4 sn bd toml8 toml }
2969 \apply #(drums->paper 'mydrums) \context Staff <<
2971 \new Voice { \voiceOne \up }
2972 \new Voice { \voiceTwo \down }
2977 To use a modified existing list, one can prepend modifications to the
2981 #(set-drum-kit 'mydrums (append `(
2982 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2983 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2984 ) (get-drum-kit 'drums)))
2987 You can easily combine percussion notation with pitched notation.
2988 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2989 names, so you will have to reinclude @file{nederlands.ly} after the
2990 drum-pattern-definitions to enter normal notes:
2992 @lilypond[singleline,verbatim]
2993 \include "drumpitch-init.ly"
2994 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2995 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2996 \include "nederlands.ly"
2997 bass = \notes \transpose c c,, { a4. e8 r e g e }
3000 \apply #(drums->paper 'drums) \new Staff <<
3002 \new Voice { \voiceOne \up }
3003 \new Voice { \voiceTwo \down }
3005 \new Staff { \clef "F_8" \bass }
3010 @node Percussion MIDI output
3011 @subsection Percussion MIDI output
3013 In order to produce correct MIDI output you need to produce two score
3014 blocks---one for the paper and one for the MIDI output. To use the
3015 percussion channel you set the property @code{instrument} to
3016 @code{'drums}. Because the drum-pitches themselves are similar to the
3017 general MIDI pitches all you have to do is to insert the voices with
3018 none of the scheme functions to get the correct MIDI output:
3022 \apply #(drums->paper 'mydrums) \context Staff <<
3031 \property Staff.instrument = #'drums
3040 This scheme is a temporary implementation.
3044 @section Piano music
3046 Piano staves are two normal staves coupled with a brace. The staves
3047 are largely independent, but sometimes voices can cross between the
3048 two staves. The same notation is also used for harps and other key
3049 instruments. The @internalsref{PianoStaff} is especially built to
3050 handle this cross-staffing behavior. In this section we discuss the
3051 @internalsref{PianoStaff} and some other pianistic peculiarities.
3055 * Automatic staff changes::
3056 * Manual staff switches::
3059 * Staff switch lines::
3064 There is no support for putting chords across staves. You can get
3065 this result by increasing the length of the stem in the lower stave so
3066 it reaches the stem in the upper stave, or vice versa. An example is
3067 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3069 Dynamics are not centered, but kludges do exist. See
3070 @inputfileref{input/template,piano-dynamics.ly}.
3072 @cindex cross staff stem
3073 @cindex stem, cross staff
3076 @c fixme: should have hyperlinks as well.
3082 @node Automatic staff changes
3083 @subsection Automatic staff changes
3084 @cindex Automatic staff changes
3086 Voices can switch automatically between the top and the bottom
3087 staff. The syntax for this is
3089 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3091 The two staffs of the piano staff must be named @code{up} and
3094 The autochanger switches on basis of pitch (central C is the turning
3095 point), and it looks ahead skipping over rests to switch in
3096 advance. Here is a practical example:
3098 @lilypond[verbatim,singleline,quote]
3099 \score { \notes \context PianoStaff <<
3100 \context Staff = "up" {
3101 \autochange Staff \context Voice = VA << \relative c' {
3102 g4 a b c d r4 a g } >> }
3103 \context Staff = "down" {
3110 In this example, spacer rests are used to prevent the bottom staff from
3111 terminating too soon.
3116 @internalsref{AutoChangeMusic}.
3120 The staff switches often do not end up in optimal places. For high
3121 quality output staff switches should be specified manually.
3125 @node Manual staff switches
3126 @subsection Manual staff switches
3128 @cindex manual staff switches
3129 @cindex staff switch, manual
3131 Voices can be switched between staves manually, using the following command:
3133 \translator Staff = @var{staffname} @var{music}
3137 The string @var{staffname} is the name of the staff. It switches the
3138 current voice from its current staff to the Staff called
3139 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3147 Pianos have pedals that alter the way sound are produced. Generally, a
3148 piano has three pedals, sustain, una corda, and sostenuto.
3152 Piano pedal instruction can be expressed by attaching
3153 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3154 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3157 @lilypond[fragment,verbatim]
3158 c'4\sustainDown c'4\sustainUp
3161 What is printed can be modified by setting @code{pedal@var{X}Strings},
3162 where @var{X} is one of the pedal types: @code{Sustain},
3163 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3164 documentation of @internalsref{SustainPedal} for more information.
3166 Pedals can also be indicated by a sequence of brackets, by setting the
3167 @code{pedalSustainStyle} property to @code{bracket} objects:
3169 @lilypond[fragment,verbatim]
3170 \property Staff.pedalSustainStyle = #'bracket
3171 c''4\sustainDown d''4 e''4
3172 a'4\sustainUp\sustainDown
3173 f'4 g'4 a'4\sustainUp
3176 A third style of pedal notation is a mixture of text and brackets,
3177 obtained by setting @code{pedal-type} to @code{mixed}:
3179 @lilypond[fragment,verbatim]
3180 \property Staff.pedalSustainStyle = #'mixed
3181 c''4\sustainDown d''4 e''4
3182 c'4\sustainUp\sustainDown
3183 f'4 g'4 a'4\sustainUp
3186 The default `*Ped' style for sustain and damper pedals corresponds to
3187 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3188 for a sostenuto pedal:
3190 @lilypond[fragment,verbatim]
3191 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3194 For fine-tuning of the appearance of a pedal bracket, the properties
3195 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3196 @code{PianoPedalBracket} objects (, see the detailed documentation of
3197 @internalsref{PianoPedalBracket},) can be modified. For example, the bracket
3198 may be extended to the end of the note head:
3200 @lilypond[fragment,verbatim]
3201 \property Staff.PianoPedalBracket \override
3202 #'shorten-pair = #'(0 . -1.0)
3203 c''4\sostenutoDown d''4 e''4 c'4
3204 f'4 g'4 a'4\sostenutoUp
3208 @subsection Arpeggio
3211 @cindex broken arpeggio
3212 @cindex @code{\arpeggio}
3214 You can specify an arpeggio sign on a chord by attaching an
3215 @code{\arpeggio} to a chord:
3218 @lilypond[fragment,relative,verbatim]
3222 When an arpeggio crosses staves, you attach an arpeggio to the chords
3223 in both staves, and set
3224 @internalsref{PianoStaff}.@code{connectArpeggios}:
3226 @lilypond[fragment,relative,verbatim]
3227 \context PianoStaff <<
3228 \property PianoStaff.connectArpeggios = ##t
3229 \new Staff { <c' e g c>\arpeggio }
3230 \new Staff { \clef bass <c,, e g>\arpeggio }
3234 The direction of the arpeggio is sometimes denoted by adding an
3235 arrowhead to the wiggly line. This can be typeset by setting
3236 @code{arpeggio-direction}:
3238 @lilypond[fragment,relative,verbatim]
3240 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3242 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3247 A square bracket on the left indicates that the player should not
3248 arpeggiate the chord. To draw these brackets, set the
3249 @code{molecule-callback} property of @code{Arpeggio} or
3250 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3251 @code{\arpeggio} statements within the chords as before:
3253 @lilypond[fragment,relative,verbatim]
3254 \property PianoStaff.Arpeggio \override
3255 #'molecule-callback = \arpeggioBracket
3261 @cindex @code{\arpeggioBracket}
3262 @code{\arpeggioBracket},
3263 @cindex @code{\arpeggio}
3268 @internalsref{ArpeggioEvent} expression lead to
3269 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3270 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3274 It is not possible to mix connected arpeggios and unconnected
3275 arpeggios in one @internalsref{PianoStaff} at the same time.
3277 @node Staff switch lines
3278 @subsection Staff switch lines
3281 @cindex follow voice
3282 @cindex staff switching
3285 @cindex @code{followVoice}
3287 Whenever a voice switches to another staff a line connecting the notes
3288 can be printed automatically. This is enabled if the property
3289 @code{PianoStaff.followVoice} is set to true:
3291 @lilypond[fragment,relative,verbatim]
3292 \context PianoStaff <<
3293 \property PianoStaff.followVoice = ##t
3294 \context Staff \context Voice {
3296 \translator Staff=two
3299 \context Staff=two { \clef bass \skip 1*2 }
3303 The associated object is @internalsref{VoiceFollower}.
3307 @cindex @code{\showStaffSwitch}
3308 @code{\showStaffSwitch},
3309 @cindex @code{\hideStaffSwitch}
3310 @code{\hideStaffSwitch}.
3314 @section Vocal music
3316 This section discusses how to enter and print lyrics.
3320 * The Lyrics context::
3325 @node Entering lyrics
3326 @subsection Entering lyrics
3330 @cindex @code{\lyrics}
3333 Lyrics are entered in a special input mode. This mode is is introduced
3334 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3335 punctuation and accents without any hassle. Syllables are entered like
3336 notes, but with pitches replaced by text. For example,
3338 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3341 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3342 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3343 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3344 any 8-bit character with ASCII code over 127, or a two-character
3345 combination of a backslash followed by one of @code{`}, @code{'},
3346 @code{"}, or @code{^}.
3348 Subsequent characters of a word can be any character that is not a digit
3349 and not white space. One important consequence of this is that a word
3350 can end with @code{@}}. The following example is usually a bug. The
3351 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3353 \lyrics @{ twinkle@}
3356 @cindex @code{\property}, in @code{\lyrics}
3357 Similarly, a period following a alphabetic sequence, is included in the
3358 resulting string. As a consequence, spaces must be inserted around
3359 @code{\property} commands:
3361 \property Lyrics . LyricText \set #'font-shape = #'italic
3365 @cindex spaces, in lyrics
3366 @cindex quotes, in lyrics
3368 Any @code{_} character which appears in an unquoted word is converted
3369 to a space. This provides a mechanism for introducing spaces into words
3370 without using quotes. Quoted words can also be used in Lyrics mode to
3371 specify words that cannot be written with the above rules:
3374 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3378 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3383 These will be attached to the end of the first syllable.
3385 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3386 as a separate word between syllables. The hyphen will have variable
3387 length depending on the space between the syllables and it will be
3388 centered between the syllables.
3393 When a lyric is sung over many notes (this is called a melisma), this is
3394 indicated with a horizontal line centered between a syllable and the
3395 next one. Such a line is called an extender line, and it is entered as
3400 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3401 @internalsref{ExtenderEvent}.
3405 The definition of lyrics mode is too complex.
3407 @node The Lyrics context
3408 @subsection The Lyrics context
3410 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3412 \context Lyrics \lyrics @dots{}
3415 @cindex automatic syllable durations
3416 @cindex @code{\addlyrics}
3417 @cindex lyrics and melodies
3419 This will place the lyrics according to the durations that were
3420 entered. The lyrics can also be aligned under a given melody
3421 automatically. In this case, it is no longer necessary to enter the
3422 correct duration for each syllable. This is achieved by combining the
3423 melody and the lyrics with the @code{\addlyrics} expression:
3427 \context Lyrics @dots{}
3430 @cindex staff order, with @code{\addlyrics}
3432 Normally, this will put the lyrics below the staff. For different or
3433 more complex orderings, the best way is to setup the hierarchy of
3434 staves and lyrics first, e.g.
3436 \context ChoirStaff \notes <<
3437 \new Lyrics @{ s1 @}
3439 \new Lyrics @{ s1 @}
3443 and then combine the appropriate melodies and lyric lines:
3446 \new Staff @emph{the music}
3447 \new Lyrics @emph{the lyrics}
3450 putting both together, you would get
3452 \context ChoirStaff \notes <<
3460 @cindex choral score
3462 A complete example of a SATB score setup is in the file
3463 @inputfileref{input/template,satb.ly}.
3467 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3468 @inputfileref{input/template,satb.ly}.
3472 @code{\addlyrics} is not automatic enough: melismata are not detected
3473 automatically, and melismata are not stopped when they hit a rest. A
3474 melisma on the last note in a melody is not printed.
3478 @subsection More stanzas
3481 @cindex phrasing, in lyrics
3483 When multiple stanzas are printed underneath each other, the vertical
3484 groups of syllables should be aligned around punctuation. This can be
3485 done automatically when corresponding lyric lines and melodies are
3488 To this end, give the @internalsref{Voice} context an identity:
3490 \context Voice = duet @{
3495 Then set the @internalsref{LyricsVoice} contexts to names starting with
3496 that identity followed by a dash. In the preceding example, the
3497 @internalsref{Voice} identity is @code{duet}, so the identities of the
3498 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3500 \context LyricsVoice = "duet-1" @{
3501 Hi, my name is bert. @}
3502 \context LyricsVoice = "duet-2" @{
3503 Ooooo, ch\'e -- ri, je t'aime. @}
3505 The convention for naming @internalsref{LyricsVoice} and
3506 @internalsref{Voice} must also be used to get melismata correct in
3507 conjunction with rests.
3509 The complete example is shown here:
3510 @lilypond[singleline,verbatim]
3513 \notes \relative c'' \context Voice = duet { \time 3/4
3515 \lyrics \context Lyrics <<
3516 \context LyricsVoice = "duet-1" {
3517 \property LyricsVoice . stanza = "Bert"
3518 Hi, my name is bert. }
3519 \context LyricsVoice = "duet-2" {
3520 \property LyricsVoice . stanza = "Ernie"
3521 Ooooo, ch\'e -- ri, je t'aime. }
3526 Stanza numbers, or the names of the singers can be added by setting
3527 @code{LyricsVoice.Stanza} (for the first system) and
3528 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3529 surrounded with spaces in @code{\lyrics} mode:
3532 \property LyricsVoice . stanza = "Bert"
3534 \property LyricsVoice . stanza = "Ernie"
3537 To make empty spaces in lyrics, use @code{\skip}.
3545 Input for lyrics introduces a syntactical ambiguity:
3552 is interpreted as assigning a string identifier @code{\foo} such that
3553 it contains @code{"bar"}. However, it could also be interpreted as
3554 making or a music identifier @code{\foo} containing the syllable
3555 `bar'. The force the latter interpretation, use
3565 The term @emph{ambitus} denotes a range of pitches for a given voice in
3566 a part of music. It also may denote the pitch range that a musical
3567 instrument is capable of playing. Most musical instruments have their
3568 ambitus standardized (or at least there is agreement upon the minimal
3569 ambitus of a particular type of instrument), such that a composer or
3570 arranger of a piece of music can easily meet the ambitus constraints of
3571 the targeted instrument. However, the ambitus of the human voice
3572 depends on individual physiological state, including education and
3573 training of the voice. Therefore, a singer potentially has to check for
3574 each piece of music if the ambitus of that piece meets his individual
3575 capabilities. This is why the ambitus of a piece may be of particular
3576 value to vocal performers.
3578 The ambitus is typically notated on a per-voice basis at the very
3579 beginning of a piece, e.g. nearby the initial clef or time signature of
3580 each staff. The range is graphically specified by two noteheads, that
3581 represent the minimum and maximum pitch. Some publishers use a textual
3582 notation: they put the range in words in front of the corresponding
3583 staff. LilyPond only supports the graphical ambitus notation.
3585 To apply, add the @internalsref{Ambitus_engraver} to the
3586 @internalsref{Voice} context, i.e.
3592 \consists Ambitus_engraver
3599 @lilypond[singleline]
3600 upper = \notes \relative c {
3603 as'' c e2 bes f cis d4 e f2 g
3605 lower = \notes \relative c {
3608 e'4 b g a c es fis a cis b a g f e d2
3611 \context ChoirStaff {
3613 \new Staff { \upper }
3614 \new Staff { \lower }
3620 \consists Ambitus_engraver
3626 If you have multiple voices in a single staff, and you want a single
3627 ambitus per staff rather than per each voice, then add the
3628 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3629 rather than to the @internalsref{Voice} context.
3631 If you have a score with multiple staves and you want the ambitus to
3632 appear only in some of the staves, then you have to declare a new
3633 context type derived from the @internalsref{Voice} context or
3634 @internalsref{Staff} context. The derived context must consist of the
3635 @internalsref{Ambitus_engraver} and it must be accepted by a proper
3636 parent context, in the below example the @internalsref{Staff} context
3637 or @internalsref{Score} context, respectively. The original context
3638 and the derived context can then be used in parallel in the same
3641 @lilypond[singleline]
3642 voiceA = \notes \transpose c c'' {
3645 voiceB = \notes \transpose c c' {
3646 e4 f g2 g8 a g f e4 c
3649 \context ChoirStaff <<
3651 \new VoiceWithAmbitus { \stemUp \voiceA }
3652 \new VoiceWithAmbitus { \stemDown \voiceB }
3654 \new StaffWithAmbitus <<
3655 \new Voice { \stemUp \voiceA }
3656 \new Voice { \stemDown \voiceB }
3659 \new Voice { \stemUp \voiceA }
3660 \new Voice { \stemDown \voiceB }
3667 \name "VoiceWithAmbitus"
3669 \consists Ambitus_engraver
3673 \name "StaffWithAmbitus"
3675 \consists Ambitus_engraver
3679 \accepts "VoiceWithAmbitus"
3683 \accepts "StaffWithAmbitus"
3692 @internalsref{Ambitus}, and @inputfileref{input/regression,ambitus.ly}.
3696 There is no collision handling in the case of multiple per-voice
3697 ambitus. To avoid collision, multiple ambitus in a single staff
3698 should be printed horizontally one after the other rather than on top
3699 of each other in the same horizontal position.
3704 Tablature notation is used for notating music for plucked string
3705 instruments. It notates pitches not by using note heads, but by
3706 indicating on which string and fret a note must be played. LilyPond
3707 offers limited support for tablature.
3710 * Tablatures basic::
3711 * Non-guitar tablatures::
3714 @node Tablatures basic
3715 @subsection Tablatures basic
3716 @cindex Tablatures basic
3718 The string number associated to a note is given as a backslash
3719 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3720 string. By default, string 1 is the highest one, and the tuning
3721 defaults to the standard guitar tuning (with 6 strings). The notes
3722 are printed as tablature, by using @internalsref{TabStaff} and
3723 @internalsref{TabVoice} contexts:
3725 @lilypond[fragment,verbatim]
3726 \notes \context TabStaff {
3732 When no string is specified, the first string that does not give a
3733 fret number less than @code{minimumFret} is selected. The default
3734 value for @code{minimumFret} is 0:
3738 e8 fis gis a b cis' dis' e'
3739 \property TabStaff.minimumFret = #8
3740 e8 fis gis a b cis' dis' e'
3745 e8 fis gis a b cis' dis' e'
3746 \property TabStaff.minimumFret = #8
3747 e8 fis gis a b cis' dis' e'
3750 \context StaffGroup <<
3751 \context Staff { \clef "G_8" \frag }
3752 \context TabStaff { \frag }
3759 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3760 @internalsref{StringNumberEvent}.
3764 Chords are not handled in a special way, and hence the automatic
3765 string selector may easily select the same string to two notes in a
3769 @node Non-guitar tablatures
3770 @subsection Non-guitar tablatures
3771 @cindex Non-guitar tablatures
3773 You can change the number of strings, by setting the number of lines
3774 in the @internalsref{TabStaff} (the @code{line-count} property of
3775 @internalsref{TabStaff} can only be changed using
3776 @code{\outputproperty}, for more information, see @ref{Tuning
3779 You can change the tuning of the strings. A string tuning is given as
3780 a Scheme list with one integer number for each string, the number
3781 being the pitch (measured in semitones relative to central C) of an
3782 open string. The numbers specified for @code{stringTuning} are the
3783 numbers of semitones to subtract or add, starting the specified pitch
3784 by default middle C, in string order. Thus, the notes are e, a, d, and
3787 @lilypond[fragment,verbatim]
3788 \context TabStaff <<
3790 \outputproperty #(make-type-checker 'staff-symbol-interface)
3792 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3795 a,4 c' a e' e c' a e'
3800 It is possible to change the Scheme function to format the tablature
3801 note text. The default is @code{fret-number-tablature-format}, which
3802 uses the fret number. For instruments that do not use this notation,
3803 you can create a special tablature formatting function. This function
3804 takes three argument: string number, string tuning and note pitch.
3808 Most of the guitar special effects such as bend have not been
3814 @section Chord names
3817 LilyPond has support for both printing chord names. Chords may be
3818 entered in musical chord notation, i.e. @code{< .. >}, but they can
3819 also be entered by name. Internally, the chords are represented as a
3820 set of pitches, so they can be transposed:
3823 @lilypond[verbatim,singleline]
3824 twoWays = \notes \transpose c c' {
3834 << \context ChordNames \twoWays
3835 \context Voice \twoWays >> }
3838 This example also shows that the chord printing routines do not try to
3839 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3845 * Printing chord names::
3850 @subsection Chords mode
3853 Chord mode is a mode where you can input sets of pitches using common
3854 names. It is introduced by the keyword @code{\chords}.
3855 In chords mode, a chord is entered by the root, which is entered
3856 like a common pitch:
3857 @lilypond[fragment,verbatim,quote, relative=1]
3858 \chords { es4. d8 c2 }
3863 Other chords may be entered by suffixing a colon, and introducing a
3864 modifier, and optionally, a number:
3866 @lilypond[fragment,verbatim,quote]
3867 \chords { e1:m e1:7 e1:m7 }
3869 The first number following the root is taken to be the `type' of the
3870 chord, thirds are added to the root until it reaches the specified
3872 @lilypond[fragment,verbatim]
3873 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3876 @cindex root of chord
3877 @cindex additions, in chords
3878 @cindex removals, in chords
3880 More complex chords may also be constructed adding separate steps
3881 to a chord. Additions are added after the number following
3882 the colon, and are separated by dots:
3884 @lilypond[verbatim,fragment,quote]
3885 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3887 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3889 @lilypond[verbatim,fragment,quote]
3890 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3892 Removals are specified similarly, and are introduced by a caret. They
3893 must come after the additions:
3894 @lilypond[verbatim,fragment]
3895 \chords { c^3 c:7^5 c:9^3.5 }
3898 Modifiers can be used to change pitches. The following modifiers are
3902 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3904 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3907 is the augmented chord. This modifier raises the 5th step.
3909 is the major 7th chord. This modifier raises the 7th step if present.
3911 is the suspended 4th or 2nd. This modifier removes the 3rd
3912 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3915 Modifiers can be mixed with additions:
3916 @lilypond[verbatim,fragment]
3917 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3920 @cindex modifiers, in chords.
3927 Since an unaltered 11 does not sound good when combined with an
3928 unaltered 13, the 11 is removed in this case (, unless it is added
3930 @lilypond[fragment,verbatim]
3931 \chords { c:13 c:13.11 c:m13 }
3936 An inversion (putting one pitch of the chord on the bottom), as well
3937 as bass notes, can be specified by appending
3938 @code{/}@var{pitch} to the chord:
3939 @lilypond[fragment,verbatim,center]
3940 \chords { c1 c/g c/f }
3944 A bass note can be added instead of transposed out of the chord,
3945 by using @code{/+}@var{pitch}.
3947 @lilypond[fragment,verbatim,center]
3948 \chords { c1 c/+g c/+f }
3951 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3952 of the commands continue to work, for example, @code{r} and
3953 @code{\skip} can be used to insert rests and spaces, and
3954 @code{\property} may be used to change various settings.
3960 Each step can only be present in a chord once. The following
3961 simply produces the augmented chord, since @code{5+} is interpreted
3964 @lilypond[verbatim,fragment]
3965 \chords { c:5.5-.5+ }
3969 @node Printing chord names
3970 @subsection Printing chord names
3972 @cindex printing chord names
3976 For displaying printed chord names, use the @internalsref{ChordNames} context.
3977 The chords may be entered either using the notation
3978 described above, or directly using @code{<} and @code{>}:
3980 @lilypond[verbatim,singleline]
3982 \chords {a1 b c} <d' f' a'> <e' g' b'>
3986 \context ChordNames \scheme
3987 \context Staff \scheme
3992 You can make the chord changes stand out by setting
3993 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3994 display chord names when there is a change in the chords scheme and at
3995 the start of a new line:
3997 @lilypond[verbatim, linewidth=9cm]
3999 c1:m c:m \break c:m c:m d
4003 \context ChordNames {
4004 \property ChordNames.chordChanges = ##t
4006 \context Staff \transpose c c' \scheme
4011 The default chord name layout is a system for Jazz music, proposed by
4012 Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
4013 following properties:
4016 @cindex chordNameExceptions
4017 @item chordNameExceptions
4018 This is a list that contains the chords that have special formatting.
4020 @inputfileref{input/regression,chord-name-exceptions.ly}.
4021 @cindex exceptions, chord names.
4024 @cindex majorSevenSymbol
4025 @item majorSevenSymbol
4026 This property contains the markup object used for the 7th step, when
4027 it is major. Predefined options are @code{whiteTriangleMarkup} and
4028 @code{blackTriangleMarkup}. See
4029 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4031 @cindex chordNameSeparator
4032 @item chordNameSeparator
4033 Different parts of a chord name are normally separated by a
4034 slash. By setting @code{chordNameSeparator}, you can specify other
4036 @lilypond[fragment,verbatim]
4037 \context ChordNames \chords {
4039 \property ChordNames.chordNameSeparator
4040 = \markup { \typewriter "|" }
4044 @cindex chordRootNamer
4045 @item chordRootNamer
4046 The root of a chord is usually printed as a letter with an optional
4047 alteration. The transformation from pitch to letter is done by this
4048 function. Special note names (for example, the German ``H'' for a
4049 B-chord) can be produced by storing a new function in this property.
4051 @cindex chordNoteNamer
4052 @item chordNoteNamer
4053 The default is to print single pitch, e.g. the bass note, using the
4054 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4055 to a specialized function to change this behavior. For example, the
4056 base can be printed in lower case.
4061 There are also two other chord name schemes implemented: an alternate
4062 Jazz chord notation, and a systematic scheme called Banter chords. The
4063 alternate jazz notation is also shown on the chart in @ref{Chord name
4064 chart}. Turning on these styles is described in the input file
4065 @inputfileref{input/test/,chord-names-jazz.ly}.
4069 @cindex chords, jazz
4074 @cindex @code{\germanChords}
4075 @code{\germanChords},
4076 @cindex @code{\semiGermanChords}
4077 @code{\semiGermanChords}.
4084 @inputfileref{input/regression,chord-name-major7.ly},
4085 @inputfileref{input/regression,chord-name-exceptions.ly},
4086 @inputfileref{input/test,chord-names-jazz.ly},
4087 @inputfileref{input/test,chord-names-german.ly},
4088 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4093 Chord names are determined solely from the list of pitches. Chord
4094 inversions are not identified, and neither are added bass notes. This
4095 may result in strange chord names when chords are entered with the
4096 @code{< .. >} syntax.
4101 @node Orchestral music
4102 @section Orchestral music
4104 @cindex Writing parts
4106 Orchestral music involves some special notation, both in the full
4107 score and the individual parts. This section explains how to tackle
4108 some common problems in orchestral music.
4113 * Multiple staff contexts::
4116 * Instrument names::
4118 * Multi measure rests::
4119 * Automatic part combining::
4121 * Different editions from one source::
4122 * Sound output for transposing instruments::
4125 @node Multiple staff contexts
4126 @subsection Multiple staff contexts
4128 Polyphonic scores consist of many staves. These staves can be
4129 constructed in three different ways:
4131 @item The group is started with a brace at the left. This is done with the
4132 @internalsref{GrandStaff} context.
4133 @item The group is started with a bracket. This is done with the
4134 @internalsref{StaffGroup} context
4135 @item The group is started with a vertical line. This is the default
4139 @cindex Staff, multiple
4140 @cindex bracket, vertical
4141 @cindex brace, vertical
4148 @node Rehearsal marks
4149 @subsection Rehearsal marks
4150 @cindex Rehearsal marks
4152 @cindex @code{\mark}
4154 To print a rehearsal mark, use the @code{\mark} command:
4155 @lilypond[fragment,verbatim]
4165 The mark is incremented automatically if you use @code{\mark
4166 \default}. The value to use is stored in the property
4167 @code{rehearsalMark} is used and automatically incremented.
4169 The @code{\mark} command can also be used to put signs like coda,
4170 segno and fermatas on a barline. Use @code{\markup} to
4171 to access the appropriate symbol:
4173 @lilypond[fragment,verbatim,relative=1]
4174 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4178 In this case, during line breaks,
4179 marks must also be printed at the end of the line, and not at the
4180 beginning. Use the following to force that behavior:
4182 \property Score.RehearsalMark \override
4183 #'break-visibility = #begin-of-line-invisible
4186 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4192 @cindex barlines, putting symbols on
4196 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4197 @inputfileref{input/test,boxed-molecule.ly}.
4201 @subsection Bar numbers
4205 @cindex measure numbers
4206 @cindex currentBarNumber
4208 Bar numbers are printed by default at the start of the line. The
4209 number itself is stored in the
4210 @code{currentBarNumber} property,
4211 which is normally updated automatically for every measure.
4213 Bar numbers can be typeset at regular intervals instead of at the
4214 beginning of each line. This is illustrated in the following example,
4215 whose source is available as
4216 @inputfileref{input/test,bar-number-regular-interval.ly}:
4218 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4223 @internalsref{BarNumber},
4224 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4225 @inputfileref{input/test,bar-number-regular-interval.ly}.
4229 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4230 there is one at the top. To solve this, the
4231 @code{padding} property of @internalsref{BarNumber} can be
4232 used to position the number correctly.
4234 @node Instrument names
4235 @subsection Instrument names
4237 In an orchestral score, instrument names are printed left side of the
4240 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4241 and @internalsref{Staff}.@code{instr}. This will print a string before
4242 the start of the staff. For the first start, @code{instrument} is
4243 used, for the next ones @code{instr} is used:
4245 @lilypond[verbatim,singleline]
4246 \property Staff.instrument = "ploink " { c''4 }
4249 You can also use markup texts to construct more complicated instrument
4252 @lilypond[fragment,verbatim,singleline]
4254 \property Staff.instrument = \markup {
4255 \column < "Clarinetti"
4257 \smaller \musicglyph #"accidentals--1"
4268 @internalsref{InstrumentName}.
4272 When you put a name on a grand staff or piano staff the width of the
4273 brace is not taken into account. You must add extra spaces to the end of
4274 the name to avoid a collision.
4277 @subsection Transpose
4279 @cindex transposition of pitches
4280 @cindex @code{\transpose}
4282 A music expression can be transposed with @code{\transpose}. The syntax
4285 \transpose @var{from} @var{to} @var{musicexpr}
4288 This means that @var{musicexpr} is transposed by the interval
4289 between @var{from} and @var{to}.
4291 @code{\transpose} distinguishes between enharmonic pitches: both
4292 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4293 half a tone. The first version will print sharps and the second
4294 version will print flats:
4296 @lilypond[singleline, verbatim]
4297 mus =\notes { \key d \major cis d fis g }
4298 \score { \notes \context Staff {
4301 \transpose c g' \mus
4302 \transpose c f' \mus
4308 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4312 If you want to use both @code{\transpose} and @code{\relative}, then
4313 you must put @code{\transpose} outside of @code{\relative}, since
4314 @code{\relative} will have no effect music that appears inside a
4320 @node Multi measure rests
4321 @subsection Multi measure rests
4322 @cindex multi measure rests
4323 @cindex Rests, multi measure
4327 Multi measure rests are entered using `@code{R}'. It is specifically
4328 meant for full bar rests and for entering parts: the rest can expand to
4329 fill a score with rests, or it can be printed as a single multimeasure
4330 rest. This expansion is controlled by the property
4331 @code{Score.skipBars}. If this is set to true, Lily will not expand
4332 empty measures, and the appropriate number is added automatically:
4334 @lilypond[fragment,verbatim]
4335 \time 4/4 r1 | R1 | R1*2
4336 \property Score.skipBars = ##t R1*17 R1*4
4339 The @code{1} in @code{R1} is similar to the duration notation used for
4340 notes. Hence, for time signatures other than 4/4, you must enter other
4341 durations. This can be done with augmentation dots or fractions:
4343 @lilypond[fragment,verbatim]
4344 \property Score.skipBars = ##t
4352 An @code{R} spanning a single measure is printed as either a whole rest
4353 or a breve, centered in the measure regardless of the time signature.
4355 @cindex text on multi-measure rest
4356 @cindex script on multi-measure rest
4357 @cindex fermata on multi-measure rest
4359 Texts can be added to multi-measure rests by using the
4360 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4361 replaced. If you need both texts and the number, you must add the
4362 number by hand. A variable (@code{\fermataMarkup}) is provided for
4366 @lilypond[verbatim,fragment]
4368 R2._\markup { "Ad lib" }
4373 @cindex whole rests for a full measure
4377 @internalsref{MultiMeasureRestEvent},
4378 @internalsref{MultiMeasureTextEvent},
4379 @internalsref{MultiMeasureRestMusicGroup}, and
4380 @internalsref{MultiMeasureRest}.
4382 The layout object @internalsref{MultiMeasureRestNumber} is for the
4383 default number, and @internalsref{MultiMeasureRestText} for user
4388 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4389 over multi-measure rests.
4391 @cindex condensing rests
4393 There is no way to automatically condense multiple rests into a single
4394 multimeasure rest. Multi measure rests do not take part in rest
4397 Be careful when entering multimeasure rests followed by whole notes,
4401 will enter two notes lasting four measures each. When @code{skipBars}
4402 is set, then the result will look OK, but the bar numbering will be
4405 @node Automatic part combining
4406 @subsection Automatic part combining
4407 @cindex automatic part combining
4408 @cindex part combiner
4411 Automatic part combining is used to merge two parts of music onto a
4412 staff. It is aimed at typesetting orchestral scores. When the two
4413 parts are identical for a period of time, only one is shown. In
4414 places where the two parts differ, they are typeset as separate
4415 voices, and stem directions are set automatically. Also, solo and
4416 @emph{a due} parts are identified and can be marked.
4420 The syntax for part combining is
4423 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4425 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4426 combined into one context of type @var{context}. The music expressions
4427 must be interpreted by contexts whose names should start with @code{one}
4430 The following example demonstrates the basic functionality of the part
4431 combiner: putting parts on one staff, and setting stem directions and
4434 @lilypond[verbatim,singleline,fragment]
4436 \context Voice=one \partcombine Voice
4437 \context Thread=one \relative c'' {
4440 \context Thread=two \relative c'' {
4446 The first @code{g} appears only once, although it was
4447 specified twice (once in each part). Stem, slur and tie directions are
4448 set automatically, depending whether there is a solo or unisono. The
4449 first part (with context called @code{one}) always gets up stems, and
4450 `solo', while the second (called @code{two}) always gets down stems and
4453 If you just want the merging parts, and not the textual markings, you
4454 may set the property @var{soloADue} to false:
4456 @lilypond[verbatim,singleline,fragment]
4458 \property Staff.soloADue = ##f
4459 \context Voice=one \partcombine Voice
4460 \context Thread=one \relative c'' {
4463 \context Thread=two \relative c'' {
4471 @internalsref{PartCombineMusic},
4472 @internalsref{Thread_devnull_engraver}, and
4473 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4477 The syntax for naming contexts in inconsistent with the syntax for
4480 In @code{soloADue} mode, when the two voices play the same notes on and
4481 off, the part combiner may typeset @code{a2} more than once in a
4484 @lilypond[fragment,singleline]
4486 \context Voice=one \partcombine Voice
4487 \context Thread=one \relative c'' {
4490 \context Thread=two \relative c'' {
4496 The part combiner is rather buggy, and it will be replaced by a better
4497 mechanism in the near future.
4499 @cindex @code{Thread_devnull_engraver}
4500 @cindex @code{Voice_engraver}
4501 @cindex @code{A2_engraver}
4504 @subsection Hiding staves
4506 @cindex Frenched scores
4507 @cindex Hiding staves
4509 In orchestral scores, staff lines that only have rests are usually
4510 removed. This saves some space. This style is called `French Score'.
4511 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4512 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4513 switched on by default. When these line of these contexts turn out
4514 empty after the line-breaking process, they are removed.
4516 For normal staves, a specialized @internalsref{Staff} context is
4517 available, which does the same: staves containing nothing (or only
4518 multi measure rests) are removed. The context definition is stored in
4519 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4520 in this example disappears in the second line:
4525 \notes \relative c' <<
4526 \new Staff { e4 f g a \break c1 }
4527 \new Staff { c4 d e f \break R1 }
4531 \translator { \RemoveEmptyStaffContext }
4536 In orchestral scores, the first page usually shows all staffs in
4537 full. To prevent empty staffs from being discarded from the first
4538 page, set @code{remove-first} to false in
4539 @internalsref{RemoveEmptyVerticalGroup}.
4541 @node Different editions from one source
4542 @subsection Different editions from one source
4544 The @code{\tag} command marks music expressions with a name. These
4545 tagged expressions can be filtered out later. With this mechanism it
4546 is possible to make different versions of the same music source.
4548 In the following example, we see two versions of a piece of music, one
4549 for the full score, and one with cue notes for the instrumental part:
4557 \property Voice.fontSize = #-1
4565 The same can be applied to articulations, texts, etc.: they are
4568 -\tag #@var{your-tag}
4570 to an articulation, for example,
4575 This defines a note with a conditional fingering indication.
4577 By applying the @code{remove-tag} function, tagged expressions can be
4578 filtered. For example,
4582 \apply #(remove-tag 'score) @var{the music}
4583 \apply #(remove-tag 'part) @var{the music}
4588 @lilypondfile[notexidoc]{tag-filter.ly}
4590 The argument of the @code{\tag} command should be a symbol, or a list
4591 of symbols, for example,
4593 \tag #'(original-part transposed-part) @dots{}
4598 @inputfileref{input/regression,tag-filter.ly}
4601 @node Sound output for transposing instruments
4602 @subsection Sound output for transposing instruments
4604 When you want to make a MIDI file from a score containing transposed
4605 and untransposed instruments, you have to instruct LilyPond the pitch
4606 offset (in semitones) for the transposed instruments. This is done
4607 using the @code{transposing} property. It does not affect printed
4610 @cindex @code{transposing}
4613 \property Staff.instrument = #"Cl. in B-flat"
4614 \property Staff.transposing = #-2
4618 @node Ancient notation
4619 @section Ancient notation
4621 @cindex Vaticana, Editio
4622 @cindex Medicaea, Editio
4627 @c [TODO: write more comprehensive introduction on ancient notation]
4629 Support for ancient notation is still under heavy development.
4630 Regardless of all of the current limitations (see the bugs section
4631 below for details), it includes features for mensural
4632 notation and Gregorian Chant notation. There is also limited support
4633 for figured bass notation.
4635 Many graphical objects provide a @code{style} property, see
4636 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4637 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4638 signatures}. By manipulating such a grob property, the typographical
4639 appearance of the affected graphical objects can be accomodated for a
4640 specific notation flavour without need for introducing any new
4644 Other aspects of ancient notation can not that easily be expressed as
4645 in terms of just changing a style property of a graphical object.
4646 Therefore, some notational concepts are introduced specifically for
4647 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4648 @ref{Ligatures}, and @ref{Figured bass}.
4652 * Ancient note heads::
4653 * Ancient accidentals::
4657 * Ancient time signatures::
4662 * Vaticana style contexts::
4665 If this all is way too much of documentation for you, and you just
4666 want to dive into typesetting without worrying too much about the
4667 details on how to customize a context, then you may have a look at the
4668 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4669 set up predefined style-specific voice and staff contexts, and
4670 directly go ahead with the note entry.
4674 Ligatures need special spacing that has not yet been implemented. As
4675 a result, there is too much space between ligatures most of the time,
4676 and line breaking often is unsatisfactory. Also, lyrics do not
4677 correctly align with ligatures.
4679 Accidentals must not be printed within a ligature, but instead need to
4680 be collected and printed in front of it.
4682 Augmentum dots within ligatures are not handled correctly.
4685 @node Ancient note heads
4686 @subsection Ancient note heads
4692 For ancient notation, a note head style other than the @code{default}
4693 style may be chosen. This is accomplished by setting the @code{style}
4694 property of the NoteHead object to the desired value (@code{baroque},
4695 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4696 differs from the @code{default} style only in using a square shape for
4697 @code{\breve} note heads. The @code{neo_mensural} style differs from
4698 the @code{baroque} style in that it uses rhomboidal heads for whole
4699 notes and all smaller durations. Stems are centered on the note
4700 heads. This style is in particular useful when transcribing mensural
4701 music, e.g. for the incipit. The @code{mensural} style finally
4702 produces note heads that mimick the look of note heads in historic
4703 printings of the 16th century.
4705 The following example demonstrates the @code{neo_mensural} style:
4707 @lilypond[fragment,singleline,verbatim]
4708 \property Voice.NoteHead \set #'style = #'neo_mensural
4709 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4712 When typesetting a piece in Gregorian Chant notation, a Gregorian
4713 ligature engraver will automatically select the proper note heads,
4714 such there is no need to explicitly set the note head style. Still,
4715 the note head style can be set e.g. to @code{vaticana_punctum} to
4716 produce punctum neumes. Similarly, a mensural ligature engraver is
4717 used to automatically assemble mensural ligatures. See
4718 @ref{Ligatures} for how ligature engravers work.
4722 @inputfileref{input/regression,note-head-style.ly} gives an overview
4723 over all available note head styles.
4725 @ref{Percussion staves} use note head styles of their own that are
4726 frequently used in contemporary music notation.
4728 @node Ancient accidentals
4729 @subsection Ancient accidentals
4735 Use the @code{style} property of grob @internalsref{Accidental} to
4736 select ancient accidentals. Supported styles are
4737 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4739 @lilypond[singleline,26pt]
4747 { " " \musicglyph #"accidentals-vaticana-1"
4748 " " \musicglyph #"accidentals-vaticana0" }
4752 { " " \musicglyph #"accidentals-medicaea-1" }
4756 { " " \musicglyph #"accidentals-hufnagel-1" }
4760 { " " \musicglyph #"accidentals-mensural-1"
4761 " " \musicglyph #"accidentals-mensural1" }
4770 \remove "Bar_number_engraver"
4774 \remove "Clef_engraver"
4775 \remove "Key_engraver"
4776 \remove "Time_signature_engraver"
4777 \remove "Staff_symbol_engraver"
4778 minimumVerticalExtent = ##f
4784 As shown, not all accidentals are supported by each style. When
4785 trying to access an unsupported accidental, LilyPond will switch to a
4786 different style, as demonstrated in
4787 @inputfileref{input/test,ancient-accidentals.ly}.
4789 Similarly to local accidentals, the style of the key signature can be
4790 controlled by the @code{style} property of the
4791 @internalsref{KeySignature} grob.
4795 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4796 a general introduction into the use of accidentals. @ref{Key
4797 signature} gives a general introduction into the use of key
4802 @subsection Ancient rests
4808 Use the @code{style} property of grob @internalsref{Rest} to select
4809 ancient accidentals. Supported styles are @code{classical},
4810 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4811 from the @code{default} style only in that the quarter rest looks like
4812 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4813 well for e.g. the incipit of a transcribed mensural piece of music.
4814 The @code{mensural} style finally mimicks the appearance of rests as
4815 in historic prints of the 16th century.
4817 The following example demonstrates the @code{neo_mensural} style:
4819 @lilypond[fragment,singleline,verbatim]
4820 \property Voice.Rest \set #'style = #'neo_mensural
4821 r\longa r\breve r1 r2 r4 r8 r16
4824 There are no 32th and 64th rests specifically for the mensural or
4825 neo-mensural style. Instead, the rests from the default style will be
4826 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4829 There are no rests in Gregorian Chant notation; instead, it uses
4834 @ref{Rests} gives a general introduction into the use of rests.
4838 @subsection Ancient clefs
4844 LilyPond supports a variety of clefs, many of them ancient.
4846 The following table shows all ancient clefs that are supported via the
4847 @code{\clef} command. Some of the clefs use the same glyph, but
4848 differ only with respect to the line they are printed on. In such
4849 cases, a trailing number in the name is used to enumerate these clefs.
4850 Still, you can manually force a clef glyph to be typeset on an
4851 arbitrary line, as described in @ref{Clef}. The note printed to the
4852 right side of each clef in the example column denotes the @code{c'}
4853 with respect to that clef.
4855 @multitable @columnfractions .3 .3 .3 .1
4859 @b{Description} @tab
4860 @b{Supported Clefs} @tab
4864 @code{clefs-neo_mensural_c} @tab
4865 modern style mensural C clef @tab
4866 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4867 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4868 @lilypond[relative 0, notime]
4869 \property Staff.TimeSignature \set #'transparent = ##t
4870 \clef "neo_mensural_c2" c
4874 @code{clefs-petrucci_c1}
4875 @code{clefs-petrucci_c2}
4876 @code{clefs-petrucci_c3}
4877 @code{clefs-petrucci_c4}
4878 @code{clefs-petrucci_c5}
4881 petrucci style mensural C clefs, for use on different stafflines
4882 (the examples shows the 2nd staffline C clef).
4892 @lilypond[relative 0, notime]
4893 \property Staff.TimeSignature \set #'transparent = ##t
4894 \clef "petrucci_c2" c
4898 @code{clefs-petrucci_f} @tab
4899 petrucci style mensural F clef @tab
4900 @code{petrucci_f} @tab
4901 @lilypond[relative 0, notime]
4902 \property Staff.TimeSignature \set #'transparent = ##t
4903 \clef "petrucci_f" c
4907 @code{clefs-petrucci_g} @tab
4908 petrucci style mensural G clef @tab
4909 @code{petrucci_g} @tab
4910 @lilypond[relative 0, notime]
4911 \property Staff.TimeSignature \set #'transparent = ##t
4912 \clef "petrucci_g" c
4916 @code{clefs-mensural_c} @tab
4917 historic style mensural C clef @tab
4918 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4919 @code{mensural_c4} @tab
4920 @lilypond[relative 0, notime]
4921 \property Staff.TimeSignature \set #'transparent = ##t
4922 \clef "mensural_c2" c
4926 @code{clefs-mensural_f} @tab
4927 historic style mensural F clef @tab
4928 @code{mensural_f} @tab
4929 @lilypond[relative 0, notime]
4930 \property Staff.TimeSignature \set #'transparent = ##t
4931 \clef "mensural_f" c
4935 @code{clefs-mensural_g} @tab
4936 historic style mensural G clef @tab
4937 @code{mensural_g} @tab
4938 @lilypond[relative 0, notime]
4939 \property Staff.TimeSignature \set #'transparent = ##t
4940 \clef "mensural_g" c
4944 @code{clefs-vaticana_do} @tab
4945 Editio Vaticana style do clef @tab
4946 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4947 @lilypond[relative 0, notime]
4949 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4950 \property Staff.TimeSignature \set #'transparent = ##t
4951 \clef "vaticana_do2" c
4955 @code{clefs-vaticana_fa} @tab
4956 Editio Vaticana style fa clef @tab
4957 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4958 @lilypond[relative 0, notime]
4960 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4961 \property Staff.TimeSignature \set #'transparent = ##t
4962 \clef "vaticana_fa2" c
4966 @code{clefs-medicaea_do} @tab
4967 Editio Medicaea style do clef @tab
4968 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4969 @lilypond[relative 0, notime]
4971 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4972 \property Staff.TimeSignature \set #'transparent = ##t
4973 \clef "medicaea_do2" c
4977 @code{clefs-medicaea_fa} @tab
4978 Editio Medicaea style fa clef @tab
4979 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4980 @lilypond[relative 0, notime]
4982 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4983 \property Staff.TimeSignature \set #'transparent = ##t
4984 \clef "medicaea_fa2" c
4988 @code{clefs-hufnagel_do} @tab
4989 historic style hufnagel do clef @tab
4990 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4991 @lilypond[relative 0, notime]
4993 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4994 \property Staff.TimeSignature \set #'transparent = ##t
4995 \clef "hufnagel_do2" c
4999 @code{clefs-hufnagel_fa} @tab
5000 historic style hufnagel fa clef @tab
5001 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5002 @lilypond[relative 0, notime]
5004 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
5005 \property Staff.TimeSignature \set #'transparent = ##t
5006 \clef "hufnagel_fa2" c
5010 @code{clefs-hufnagel_do_fa} @tab
5011 historic style hufnagel combined do/fa clef @tab
5012 @code{hufnagel_do_fa} @tab
5013 @lilypond[relative 0, notime]
5014 \property Staff.TimeSignature \set #'transparent = ##t
5015 \clef "hufnagel_do_fa" c
5020 @c --- This should go somewhere else: ---
5021 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5024 @c @code{percussion}
5026 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5028 @c @item modern style tab clef (glyph: @code{clefs-tab})
5033 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5035 @emph{Modern style} means ``as is typeset in contemporary editions of
5036 transcribed mensural music''.
5038 @emph{Petrucci style} means ``inspired by printings published by the
5039 famous engraver Petrucci (1466-1539)''.
5041 @emph{Historic style} means ``as was typeset or written in historic
5042 editions (other than those of Petrucci)''.
5044 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5046 Petrucci used C clefs with differently balanced left-side vertical
5047 beams, depending on which staffline it is printed.
5051 For modern clefs, see @ref{Clef}. For the percussion clef, see
5052 @ref{Percussion staves}. For the @code{TAB} clef, see
5057 @subsection Ancient flags
5063 Use the @code{flag-style} property of grob @internalsref{Stem} to
5064 select ancient flags. Besides the @code{default} flag style,
5065 only @code{mensural} style is supported:
5067 @lilypond[fragment,singleline,verbatim]
5068 \property Voice.Stem \set #'flag-style = #'mensural
5069 \property Voice.Stem \set #'thickness = #1.0
5070 \property Voice.NoteHead \set #'style = #'mensural
5072 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
5073 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5076 Note that the innermost flare of each mensural flag always is
5077 vertically aligned with a staff line. If you do not like this
5078 behaviour, you can set the @code{adjust-if-on-staffline} property of
5079 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5080 of the end of each flare is different between notes on staff lines and
5081 notes between staff lines:
5083 @lilypond[fragment,singleline]
5084 \property Voice.Stem \set #'flag-style = #'mensural
5085 \property Voice.Stem \set #'thickness = #1.0
5086 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5087 \property Voice.NoteHead \set #'style = #'mensural
5089 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
5090 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5093 There is no particular flag style for neo-mensural notation. Hence,
5094 when typesetting e.g. the incipit of a transcibed piece of mensural
5095 music, the default flag style should be used. There are no flags in
5096 Gregorian Chant notation.
5099 @node Ancient time signatures
5100 @subsection Ancient time signatures
5102 @cindex time signatures
5106 There is limited support for mensural time signatures. The
5107 glyphs are hard-wired to particular time fractions. In other words,
5108 to get a particular mensural signature glyph with the @code{\time n/m}
5109 command, @code{n} and @code{m} have to be chosen according to the
5115 \property Score.timing = ##f
5116 \property Score.barAlways = ##t
5117 s_\markup { "$\\backslash$time 4/4" }
5118 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
5120 s_\markup { "$\\backslash$time 2/2" }
5121 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
5123 s_\markup { "$\\backslash$time 6/4" }
5124 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
5126 s_\markup { "$\\backslash$time 6/8" }
5127 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
5129 s_\markup { "$\\backslash$time 3/2" }
5130 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
5132 s_\markup { "$\\backslash$time 3/4" }
5133 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
5135 s_\markup { "$\\backslash$time 9/4" }
5136 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
5138 s_\markup { "$\\backslash$time 9/8" }
5139 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
5141 s_\markup { "$\\backslash$time 4/8" }
5142 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
5144 s_\markup { "$\\backslash$time 2/4" }
5145 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
5153 \remove Staff_symbol_engraver
5154 \remove Clef_engraver
5155 \remove Time_signature_engraver
5161 Use the @code{style} property of grob @internalsref{TimeSignature} to
5162 select ancient time signatures. Supported styles are
5163 @code{neo_mensural} and @code{mensural}. The above table uses the
5164 @code{neo_mensural} style. This style is appropriate e.g. for the
5165 incipit of transcriptions of mensural pieces. The @code{mensural}
5166 style mimicks the look of historical printings of the 16th century.
5168 @inputfileref{input/test,time.ly} gives an overview over all available
5169 ancient and modern styles.
5173 @ref{Time signature} gives a general introduction into the use of time
5178 Mensural signature glyphs are mapped to time fractions in a
5179 hard-wired way. This mapping is sensible, but still arbitrary: given
5180 a mensural time signature, the time fraction represents a modern meter
5181 that usually will be a good choice when transcribing a mensural piece
5182 of music. For a particular piece of mensural music, however, the
5183 mapping may be unsatisfactory. In particular, the mapping assumes a
5184 fixed transcription of durations (e.g. brevis = half note in 2/2,
5185 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5186 are not at all accessible through the @code{\time} command.
5188 Mensural time signatures are supported typographically, but not yet
5189 musically. The internal representation of durations is
5190 based on a purely binary system; a ternary division such as 1 brevis =
5191 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5192 prolatione maiori) is not correctly handled: event times in ternary
5193 modes will be badly computed, resulting e.g. in horizontally
5194 misaligned note heads, and bar checks are likely to erroneously fail.
5196 The syntax and semantics of the @code{\time} command for mensural
5197 music is subject to change.
5200 @subsection Custodes
5205 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5206 symbol that appears at the end of a staff. It anticipates the pitch
5207 of the first note(s) of the following line and thus helps the player
5208 or singer to manage line breaks during performance, thus enhancing
5209 readability of a score.
5211 Custodes were frequently used in music notation until the 17th
5212 century. Nowadays, they have survived only in a few particular forms
5213 of musical notation such as contemporary editions of Gregorian chant
5214 like the @emph{editio vaticana}. There are different custos glyphs
5215 used in different flavours of notational style.
5219 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5220 @internalsref{Staff} context when declaring the @code{\paper} block,
5221 as shown in the following example:
5227 \consists Custos_engraver
5228 Custos \override #'style = #'mensural
5233 The result looks like this:
5239 \property Staff.Custos \set #'style = #'mensural
5246 \consists Custos_engraver
5253 The custos glyph is selected by the @code{style} property. The styles
5254 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5255 @code{mensural}. They are demonstrated in the following fragment:
5265 { " " \musicglyph #"custodes-vaticana-u0" }
5269 { " " \musicglyph #"custodes-medicaea-u0" }
5273 { " " \musicglyph #"custodes-hufnagel-u0" }
5277 { " " \musicglyph #"custodes-mensural-u0" }
5286 \remove "Bar_number_engraver"
5290 \remove "Clef_engraver"
5291 \remove "Key_engraver"
5292 \remove "Time_signature_engraver"
5293 \remove "Staff_symbol_engraver"
5294 minimumVerticalExtent = ##f
5300 If the boolean property @code{adjust-if-on-staffline} is set to
5301 @code{#t} (which it is by default), lily typesets slightly different
5302 variants of the custos glyph, depending on whether the custos, is
5303 typeset on or between stafflines. The glyph will
5304 optically fit well into the staff, with the appendage on the right of
5305 the custos always ending at the same vertical position between two
5306 stafflines regardless of the pitch. If you set
5307 @code{adjust-if-on-staffline} to @code{#f}, then
5308 a compromise between both forms is used.
5310 Just like stems can be attached to noteheads in two directions
5311 @emph{up} and @emph{down}, each custos glyph is available with its
5312 appendage pointing either up or down. If the pitch of a custos is
5313 above a selectable position, the appendage will point downwards; if
5314 the pitch is below this position, the appendage will point upwards.
5315 Use property @code{neutral-position} to select this position. By
5316 default, it is set to @code{0}, such that the neutral position is the
5317 center of the staff. Use property @code{neutral-direction} to control
5318 what happens if a custos is typeset on the neutral position itself.
5319 By default, this property is set to @code{-1}, such that the appendage
5320 will point downwards. If set to @code{1}, the appendage will point
5321 upwards. Other values such as @code{0} are reserved for future
5322 extensions and should not be used.
5326 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5330 @subsection Divisiones
5336 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5337 `division') is a staff context symbol that is used to structure
5338 Gregorian music into phrases and sections. The musical meaning of
5339 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5340 can be characterized as short, medium and long pause, somewhat like
5341 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5342 a chant, but is also frequently used within a single
5343 antiphonal/responsorial chant to mark the end of each section.
5347 To use divisiones, include the file @code{gregorian-init.ly}. It
5348 contains definitions that you can apply by just inserting
5349 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5350 and @code{\finalis} at proper places in the input. Some editions use
5351 @emph{virgula} or @emph{caesura} instead of divisio minima.
5352 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5355 @lilypondfile[notexidoc]{divisiones.ly}
5359 @cindex @code{\virgula}
5361 @cindex @code{\caesura}
5363 @cindex @code{\divisioMinima}
5364 @code{\divisioMinima},
5365 @cindex @code{\divisioMaior}
5366 @code{\divisioMaior},
5367 @cindex @code{\divisioMaxima}
5368 @code{\divisioMaxima},
5369 @cindex @code{\finalis}
5374 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5375 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5378 @subsection Ligatures
5382 @c TODO: Should double check if I recalled things correctly when I wrote
5383 @c down the following paragraph by heart.
5385 In musical terminology, a ligature is a coherent graphical symbol that
5386 represents at least two distinct notes. Ligatures originally appeared
5387 in the manuscripts of Gregorian chant notation roughly since the 9th
5388 century as an allusion to the accent symbols of greek lyric poetry to
5389 denote ascending or descending sequences of notes. Both, the shape
5390 and the exact meaning of ligatures changed tremendously during the
5391 following centuries: In early notation, ligatures were used for
5392 monophonic tunes (Gregorian chant) and very soon denoted also the way
5393 of performance in the sense of articulation. With upcoming
5394 multiphony, the need for a metric system arised, since multiple voices
5395 of a piece have to be synchronized some way. New notation systems
5396 were invented that used the manifold shapes of ligatures to now denote
5397 rhythmical patterns (e.g. black mensural notation, mannered notation,
5398 ars nova). With the invention of the metric system of the white
5399 mensural notation, the need for ligatures to denote such patterns
5400 disappeared. Nevertheless, ligatures were still in use in the
5401 mensural system for a couple of decades until they finally disappeared
5402 during the late 16th / early 17th century. Still, ligatures have
5403 survived in contemporary editions of Gregorian chant such as the
5404 Editio Vaticana from 1905/08.
5408 Syntactically, ligatures are simply enclosed by @code{\[} and
5409 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5410 additional input syntax specific for this particular type of ligature.
5411 By default, the @internalsref{LigatureBracket} engraver just puts a
5412 square bracket above the ligature:
5414 @lilypond[singleline,verbatim]
5416 \notes \transpose c c' {
5424 To select a specific style of ligatures, a proper ligature engraver
5425 has to be added to the @internalsref{Voice} context, as explained in
5426 the following subsections. Only white mensural ligatures
5427 are supported with certain limitations. Support for Editio Vaticana
5428 will be added in the future.
5431 * White mensural ligatures::
5432 * Gregorian square neumes ligatures::
5435 @node White mensural ligatures
5436 @subsubsection White mensural ligatures
5438 @cindex Mensural ligatures
5439 @cindex White mensural ligatures
5441 There is limited support for white mensural ligatures. The
5442 implementation is still experimental; it may output strange
5443 warnings or even crash in some cases or produce weird results on more
5448 To engrave white mensural ligatures, in the paper block the
5449 @internalsref{Mensural_ligature_engraver} has to be put into the
5450 @internalsref{Voice} context, and remove the
5451 @internalsref{Ligature_bracket_engraver}:
5457 \remove Ligature_bracket_engraver
5458 \consists Mensural_ligature_engraver
5463 There is no additional input language to describe the shape of a
5464 white mensural ligature. The shape is rather determined solely from
5465 the pitch and duration of the enclosed notes. While this approach may
5466 take a new user a while to get accustomed, it has the great advantage
5467 that the full musical information of the ligature is known internally.
5468 This is not only required for correct MIDI output, but also allows for
5469 automatic transcription of the ligatures.
5474 \property Score.timing = ##f
5475 \property Score.defaultBarType = "empty"
5476 \property Voice.NoteHead \set #'style = #'neo_mensural
5477 \property Staff.TimeSignature \set #'style = #'neo_mensural
5479 \[ g\longa c\breve a\breve f\breve d'\longa \]
5481 \[ e1 f1 a\breve g\longa \]
5483 @lilypond[singleline]
5485 \notes \transpose c c' {
5486 \property Score.timing = ##f
5487 \property Score.defaultBarType = "empty"
5488 \property Voice.NoteHead \set #'style = #'neo_mensural
5489 \property Staff.TimeSignature \set #'style = #'neo_mensural
5491 \[ g\longa c\breve a\breve f\breve d'\longa \]
5493 \[ e1 f1 a\breve g\longa \]
5498 \remove Ligature_bracket_engraver
5499 \consists Mensural_ligature_engraver
5505 Without replacing @internalsref{Ligature_bracket_engraver} with
5506 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5509 @lilypond[singleline]
5511 \notes \transpose c c' {
5512 \property Score.timing = ##f
5513 \property Score.defaultBarType = "empty"
5514 \property Voice.NoteHead \set #'style = #'neo_mensural
5515 \property Staff.TimeSignature \set #'style = #'neo_mensural
5517 \[ g\longa c\breve a\breve f\breve d'\longa \]
5519 \[ e1 f1 a\breve g\longa \]
5525 @node Gregorian square neumes ligatures
5526 @subsubsection Gregorian square neumes ligatures
5528 @cindex Square neumes ligatures
5529 @cindex Gregorian square neumes ligatures
5531 Gregorian square neumes notation (following the style of the Editio
5532 Vaticana) is under heavy development, but not yet really usable for
5533 production purposes. Core ligatures can already be typeset, but
5534 essential issues for serious typesetting are still under development,
5535 such as (among others) horizontal alignment of multiple ligatures,
5536 lyrics alignment and proper accidentals handling. Still, this section
5537 gives a sneak preview of what Gregorian chant may look like once it
5540 The following table contains the extended neumes table of the 2nd
5541 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5542 1983 by the monks of Solesmes.
5544 @multitable @columnfractions .4 .2 .2 .2
5547 @b{Neuma aut@*Neumarum Elementa} @tab
5548 @b{Figurae@*Rectae} @tab
5549 @b{Figurae@*Liquescentes Auctae} @tab
5550 @b{Figurae@*Liquescentes Deminutae}
5552 @c TODO: \paper block is identical in all of the below examples.
5553 @c Therefore, it should somehow be included rather than duplicated all
5556 @c why not make identifiers in ly/engraver-init.ly? --hwn
5558 @c Because it's just used to typeset plain notes without
5559 @c a staff for demonstration purposes rather than something
5560 @c special of Gregorian chant notation. --jr
5565 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5566 \include "gregorian-init.ly"
5568 \notes \transpose c c' {
5571 \noBreak s^\markup {"a"} \noBreak
5573 % Punctum Inclinatum
5575 \noBreak s^\markup {"b"}
5581 \remove "Bar_number_engraver"
5585 \remove "Clef_engraver"
5586 \remove "Key_engraver"
5587 StaffSymbol \set #'transparent = ##t
5588 \remove "Time_signature_engraver"
5589 \remove "Bar_engraver"
5590 minimumVerticalExtent = ##f
5594 \remove Ligature_bracket_engraver
5595 \consists Vaticana_ligature_engraver
5596 NoteHead \set #'style = #'vaticana_punctum
5597 Stem \set #'transparent = ##t
5603 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5604 \include "gregorian-init.ly"
5606 \notes \transpose c c' {
5607 % Punctum Auctum Ascendens
5608 \[ \auctum \ascendens b \]
5609 \noBreak s^\markup {"c"} \noBreak
5611 % Punctum Auctum Descendens
5612 \[ \auctum \descendens b \]
5613 \noBreak s^\markup {"d"} \noBreak
5615 % Punctum Inclinatum Auctum
5616 \[ \inclinatum \auctum b \]
5617 \noBreak s^\markup {"e"}
5623 \remove "Bar_number_engraver"
5627 \remove "Clef_engraver"
5628 \remove "Key_engraver"
5629 StaffSymbol \set #'transparent = ##t
5630 \remove "Time_signature_engraver"
5631 \remove "Bar_engraver"
5632 minimumVerticalExtent = ##f
5636 \remove Ligature_bracket_engraver
5637 \consists Vaticana_ligature_engraver
5638 NoteHead \set #'style = #'vaticana_punctum
5639 Stem \set #'transparent = ##t
5645 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5646 \include "gregorian-init.ly"
5648 \notes \transpose c c' {
5649 % Punctum Inclinatum Parvum
5650 \[ \inclinatum \deminutum b \]
5651 \noBreak s^\markup {"f"}
5657 \remove "Bar_number_engraver"
5661 \remove "Clef_engraver"
5662 \remove "Key_engraver"
5663 StaffSymbol \set #'transparent = ##t
5664 \remove "Time_signature_engraver"
5665 \remove "Bar_engraver"
5666 minimumVerticalExtent = ##f
5670 \remove Ligature_bracket_engraver
5671 \consists Vaticana_ligature_engraver
5672 NoteHead \set #'style = #'vaticana_punctum
5673 Stem \set #'transparent = ##t
5682 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5683 \include "gregorian-init.ly"
5685 \notes \transpose c c' {
5688 \noBreak s^\markup {"g"}
5694 \remove "Bar_number_engraver"
5698 \remove "Clef_engraver"
5699 \remove "Key_engraver"
5700 StaffSymbol \set #'transparent = ##t
5701 \remove "Time_signature_engraver"
5702 \remove "Bar_engraver"
5703 minimumVerticalExtent = ##f
5707 \remove Ligature_bracket_engraver
5708 \consists Vaticana_ligature_engraver
5709 NoteHead \set #'style = #'vaticana_punctum
5710 Stem \set #'transparent = ##t
5719 @code{3. Apostropha vel Stropha}
5721 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5722 \include "gregorian-init.ly"
5724 \notes \transpose c c' {
5727 \noBreak s^\markup {"h"}
5733 \remove "Bar_number_engraver"
5737 \remove "Clef_engraver"
5738 \remove "Key_engraver"
5739 StaffSymbol \set #'transparent = ##t
5740 \remove "Time_signature_engraver"
5741 \remove "Bar_engraver"
5742 minimumVerticalExtent = ##f
5746 \remove Ligature_bracket_engraver
5747 \consists Vaticana_ligature_engraver
5748 NoteHead \set #'style = #'vaticana_punctum
5749 Stem \set #'transparent = ##t
5755 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5756 \include "gregorian-init.ly"
5758 \notes \transpose c c' {
5760 \[ \stropha \auctum b \]
5761 \noBreak s^\markup {"i"}
5767 \remove "Bar_number_engraver"
5771 \remove "Clef_engraver"
5772 \remove "Key_engraver"
5773 StaffSymbol \set #'transparent = ##t
5774 \remove "Time_signature_engraver"
5775 \remove "Bar_engraver"
5776 minimumVerticalExtent = ##f
5780 \remove Ligature_bracket_engraver
5781 \consists Vaticana_ligature_engraver
5782 NoteHead \set #'style = #'vaticana_punctum
5783 Stem \set #'transparent = ##t
5793 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5794 \include "gregorian-init.ly"
5796 \notes \transpose c c' {
5799 \noBreak s^\markup {"j"}
5805 \remove "Bar_number_engraver"
5809 \remove "Clef_engraver"
5810 \remove "Key_engraver"
5811 StaffSymbol \set #'transparent = ##t
5812 \remove "Time_signature_engraver"
5813 \remove "Bar_engraver"
5814 minimumVerticalExtent = ##f
5818 \remove Ligature_bracket_engraver
5819 \consists Vaticana_ligature_engraver
5820 NoteHead \set #'style = #'vaticana_punctum
5821 Stem \set #'transparent = ##t
5830 @code{5. Clivis vel Flexa}
5832 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5833 \include "gregorian-init.ly"
5835 \notes \transpose c c' {
5844 \remove "Bar_number_engraver"
5848 \remove "Clef_engraver"
5849 \remove "Key_engraver"
5850 StaffSymbol \set #'transparent = ##t
5851 \remove "Time_signature_engraver"
5852 \remove "Bar_engraver"
5853 minimumVerticalExtent = ##f
5857 \remove Ligature_bracket_engraver
5858 \consists Vaticana_ligature_engraver
5859 NoteHead \set #'style = #'vaticana_punctum
5860 Stem \set #'transparent = ##t
5866 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5867 \include "gregorian-init.ly"
5869 \notes \transpose c c' {
5870 % Clivis Aucta Descendens
5871 \[ b \flexa \auctum \descendens g \]
5872 \noBreak s^\markup {"l"} \noBreak
5874 % Clivis Aucta Ascendens
5875 \[ b \flexa \auctum \ascendens g \]
5876 \noBreak s^\markup {"m"}
5882 \remove "Bar_number_engraver"
5886 \remove "Clef_engraver"
5887 \remove "Key_engraver"
5888 StaffSymbol \set #'transparent = ##t
5889 \remove "Time_signature_engraver"
5890 \remove "Bar_engraver"
5891 minimumVerticalExtent = ##f
5895 \remove Ligature_bracket_engraver
5896 \consists Vaticana_ligature_engraver
5897 NoteHead \set #'style = #'vaticana_punctum
5898 Stem \set #'transparent = ##t
5904 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5905 \include "gregorian-init.ly"
5907 \notes \transpose c c' {
5909 \[ b \flexa \deminutum g \]
5916 \remove "Bar_number_engraver"
5920 \remove "Clef_engraver"
5921 \remove "Key_engraver"
5922 StaffSymbol \set #'transparent = ##t
5923 \remove "Time_signature_engraver"
5924 \remove "Bar_engraver"
5925 minimumVerticalExtent = ##f
5929 \remove Ligature_bracket_engraver
5930 \consists Vaticana_ligature_engraver
5931 NoteHead \set #'style = #'vaticana_punctum
5932 Stem \set #'transparent = ##t
5939 @code{6. Podatus vel Pes}
5941 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5942 \include "gregorian-init.ly"
5944 \notes \transpose c c' {
5953 \remove "Bar_number_engraver"
5957 \remove "Clef_engraver"
5958 \remove "Key_engraver"
5959 StaffSymbol \set #'transparent = ##t
5960 \remove "Time_signature_engraver"
5961 \remove "Bar_engraver"
5962 minimumVerticalExtent = ##f
5966 \remove Ligature_bracket_engraver
5967 \consists Vaticana_ligature_engraver
5968 NoteHead \set #'style = #'vaticana_punctum
5969 Stem \set #'transparent = ##t
5975 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5976 \include "gregorian-init.ly"
5978 \notes \transpose c c' {
5979 % Pes Auctus Descendens
5980 \[ g \pes \auctum \descendens b \]
5981 \noBreak s^\markup {"p"} \noBreak
5983 % Pes Auctus Ascendens
5984 \[ g \pes \auctum \ascendens b \]
5985 \noBreak s^\markup {"q"}
5991 \remove "Bar_number_engraver"
5995 \remove "Clef_engraver"
5996 \remove "Key_engraver"
5997 StaffSymbol \set #'transparent = ##t
5998 \remove "Time_signature_engraver"
5999 \remove "Bar_engraver"
6000 minimumVerticalExtent = ##f
6004 \remove Ligature_bracket_engraver
6005 \consists Vaticana_ligature_engraver
6006 NoteHead \set #'style = #'vaticana_punctum
6007 Stem \set #'transparent = ##t
6013 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6014 \include "gregorian-init.ly"
6016 \notes \transpose c c' {
6018 \[ g \pes \deminutum b \]
6025 \remove "Bar_number_engraver"
6029 \remove "Clef_engraver"
6030 \remove "Key_engraver"
6031 StaffSymbol \set #'transparent = ##t
6032 \remove "Time_signature_engraver"
6033 \remove "Bar_engraver"
6034 minimumVerticalExtent = ##f
6038 \remove Ligature_bracket_engraver
6039 \consists Vaticana_ligature_engraver
6040 NoteHead \set #'style = #'vaticana_punctum
6041 Stem \set #'transparent = ##t
6048 @code{7. Pes Quassus}
6050 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6051 \include "gregorian-init.ly"
6053 \notes \transpose c c' {
6055 \[ \oriscus g \pes \virga b \]
6062 \remove "Bar_number_engraver"
6066 \remove "Clef_engraver"
6067 \remove "Key_engraver"
6068 StaffSymbol \set #'transparent = ##t
6069 \remove "Time_signature_engraver"
6070 \remove "Bar_engraver"
6071 minimumVerticalExtent = ##f
6075 \remove Ligature_bracket_engraver
6076 \consists Vaticana_ligature_engraver
6077 NoteHead \set #'style = #'vaticana_punctum
6078 Stem \set #'transparent = ##t
6084 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6085 \include "gregorian-init.ly"
6087 \notes \transpose c c' {
6088 % Pes Quassus Auctus Descendens
6089 \[ \oriscus g \pes \auctum \descendens b \]
6096 \remove "Bar_number_engraver"
6100 \remove "Clef_engraver"
6101 \remove "Key_engraver"
6102 StaffSymbol \set #'transparent = ##t
6103 \remove "Time_signature_engraver"
6104 \remove "Bar_engraver"
6105 minimumVerticalExtent = ##f
6109 \remove Ligature_bracket_engraver
6110 \consists Vaticana_ligature_engraver
6111 NoteHead \set #'style = #'vaticana_punctum
6112 Stem \set #'transparent = ##t
6120 @code{8. Quilisma Pes}
6122 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6123 \include "gregorian-init.ly"
6125 \notes \transpose c c' {
6127 \[ \quilisma g \pes b \]
6134 \remove "Bar_number_engraver"
6138 \remove "Clef_engraver"
6139 \remove "Key_engraver"
6140 StaffSymbol \set #'transparent = ##t
6141 \remove "Time_signature_engraver"
6142 \remove "Bar_engraver"
6143 minimumVerticalExtent = ##f
6147 \remove Ligature_bracket_engraver
6148 \consists Vaticana_ligature_engraver
6149 NoteHead \set #'style = #'vaticana_punctum
6150 Stem \set #'transparent = ##t
6156 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6157 \include "gregorian-init.ly"
6159 \notes \transpose c c' {
6160 % Quilisma Pes Auctus Descendens
6161 \[ \quilisma g \pes \auctum \descendens b \]
6168 \remove "Bar_number_engraver"
6172 \remove "Clef_engraver"
6173 \remove "Key_engraver"
6174 StaffSymbol \set #'transparent = ##t
6175 \remove "Time_signature_engraver"
6176 \remove "Bar_engraver"
6177 minimumVerticalExtent = ##f
6181 \remove Ligature_bracket_engraver
6182 \consists Vaticana_ligature_engraver
6183 NoteHead \set #'style = #'vaticana_punctum
6184 Stem \set #'transparent = ##t
6192 @code{9. Podatus Initio Debilis}
6194 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6195 \include "gregorian-init.ly"
6197 \notes \transpose c c' {
6198 % Pes Initio Debilis
6199 \[ \deminutum g \pes b \]
6206 \remove "Bar_number_engraver"
6210 \remove "Clef_engraver"
6211 \remove "Key_engraver"
6212 StaffSymbol \set #'transparent = ##t
6213 \remove "Time_signature_engraver"
6214 \remove "Bar_engraver"
6215 minimumVerticalExtent = ##f
6219 \remove Ligature_bracket_engraver
6220 \consists Vaticana_ligature_engraver
6221 NoteHead \set #'style = #'vaticana_punctum
6222 Stem \set #'transparent = ##t
6228 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6229 \include "gregorian-init.ly"
6231 \notes \transpose c c' {
6232 % Pes Auctus Descendens Initio Debilis
6233 \[ \deminutum g \pes \auctum \descendens b \]
6240 \remove "Bar_number_engraver"
6244 \remove "Clef_engraver"
6245 \remove "Key_engraver"
6246 StaffSymbol \set #'transparent = ##t
6247 \remove "Time_signature_engraver"
6248 \remove "Bar_engraver"
6249 minimumVerticalExtent = ##f
6253 \remove Ligature_bracket_engraver
6254 \consists Vaticana_ligature_engraver
6255 NoteHead \set #'style = #'vaticana_punctum
6256 Stem \set #'transparent = ##t
6266 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6267 \include "gregorian-init.ly"
6269 \notes \transpose c c' {
6271 \[ a \pes b \flexa g \]
6278 \remove "Bar_number_engraver"
6282 \remove "Clef_engraver"
6283 \remove "Key_engraver"
6284 StaffSymbol \set #'transparent = ##t
6285 \remove "Time_signature_engraver"
6286 \remove "Bar_engraver"
6287 minimumVerticalExtent = ##f
6291 \remove Ligature_bracket_engraver
6292 \consists Vaticana_ligature_engraver
6293 NoteHead \set #'style = #'vaticana_punctum
6294 Stem \set #'transparent = ##t
6300 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6301 \include "gregorian-init.ly"
6303 \notes \transpose c c' {
6304 % Torculus Auctus Descendens
6305 \[ a \pes b \flexa \auctum \descendens g \]
6312 \remove "Bar_number_engraver"
6316 \remove "Clef_engraver"
6317 \remove "Key_engraver"
6318 StaffSymbol \set #'transparent = ##t
6319 \remove "Time_signature_engraver"
6320 \remove "Bar_engraver"
6321 minimumVerticalExtent = ##f
6325 \remove Ligature_bracket_engraver
6326 \consists Vaticana_ligature_engraver
6327 NoteHead \set #'style = #'vaticana_punctum
6328 Stem \set #'transparent = ##t
6334 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6335 \include "gregorian-init.ly"
6337 \notes \transpose c c' {
6338 % Torculus Deminutus
6339 \[ a \pes b \flexa \deminutum g \]
6346 \remove "Bar_number_engraver"
6350 \remove "Clef_engraver"
6351 \remove "Key_engraver"
6352 StaffSymbol \set #'transparent = ##t
6353 \remove "Time_signature_engraver"
6354 \remove "Bar_engraver"
6355 minimumVerticalExtent = ##f
6359 \remove Ligature_bracket_engraver
6360 \consists Vaticana_ligature_engraver
6361 NoteHead \set #'style = #'vaticana_punctum
6362 Stem \set #'transparent = ##t
6369 @code{11. Torculus Initio Debilis}
6371 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6372 \include "gregorian-init.ly"
6374 \notes \transpose c c' {
6375 % Torculus Initio Debilis
6376 \[ \deminutum a \pes b \flexa g \]
6383 \remove "Bar_number_engraver"
6387 \remove "Clef_engraver"
6388 \remove "Key_engraver"
6389 StaffSymbol \set #'transparent = ##t
6390 \remove "Time_signature_engraver"
6391 \remove "Bar_engraver"
6392 minimumVerticalExtent = ##f
6396 \remove Ligature_bracket_engraver
6397 \consists Vaticana_ligature_engraver
6398 NoteHead \set #'style = #'vaticana_punctum
6399 Stem \set #'transparent = ##t
6405 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6406 \include "gregorian-init.ly"
6408 \notes \transpose c c' {
6409 % Torculus Auctus Descendens Initio Debilis
6410 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6417 \remove "Bar_number_engraver"
6421 \remove "Clef_engraver"
6422 \remove "Key_engraver"
6423 StaffSymbol \set #'transparent = ##t
6424 \remove "Time_signature_engraver"
6425 \remove "Bar_engraver"
6426 minimumVerticalExtent = ##f
6430 \remove Ligature_bracket_engraver
6431 \consists Vaticana_ligature_engraver
6432 NoteHead \set #'style = #'vaticana_punctum
6433 Stem \set #'transparent = ##t
6439 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6440 \include "gregorian-init.ly"
6442 \notes \transpose c c' {
6443 % Torculus Deminutus Initio Debilis
6444 \[ \deminutum a \pes b \flexa \deminutum g \]
6451 \remove "Bar_number_engraver"
6455 \remove "Clef_engraver"
6456 \remove "Key_engraver"
6457 StaffSymbol \set #'transparent = ##t
6458 \remove "Time_signature_engraver"
6459 \remove "Bar_engraver"
6460 minimumVerticalExtent = ##f
6464 \remove Ligature_bracket_engraver
6465 \consists Vaticana_ligature_engraver
6466 NoteHead \set #'style = #'vaticana_punctum
6467 Stem \set #'transparent = ##t
6474 @code{12. Porrectus}
6476 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6477 \include "gregorian-init.ly"
6479 \notes \transpose c c' {
6481 \[ a \flexa g \pes b \]
6488 \remove "Bar_number_engraver"
6492 \remove "Clef_engraver"
6493 \remove "Key_engraver"
6494 StaffSymbol \set #'transparent = ##t
6495 \remove "Time_signature_engraver"
6496 \remove "Bar_engraver"
6497 minimumVerticalExtent = ##f
6501 \remove Ligature_bracket_engraver
6502 \consists Vaticana_ligature_engraver
6503 NoteHead \set #'style = #'vaticana_punctum
6504 Stem \set #'transparent = ##t
6510 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6511 \include "gregorian-init.ly"
6513 \notes \transpose c c' {
6514 % Porrectus Auctus Descendens
6515 \[ a \flexa g \pes \auctum \descendens b \]
6522 \remove "Bar_number_engraver"
6526 \remove "Clef_engraver"
6527 \remove "Key_engraver"
6528 StaffSymbol \set #'transparent = ##t
6529 \remove "Time_signature_engraver"
6530 \remove "Bar_engraver"
6531 minimumVerticalExtent = ##f
6535 \remove Ligature_bracket_engraver
6536 \consists Vaticana_ligature_engraver
6537 NoteHead \set #'style = #'vaticana_punctum
6538 Stem \set #'transparent = ##t
6544 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6545 \include "gregorian-init.ly"
6547 \notes \transpose c c' {
6548 % Porrectus Deminutus
6549 \[ a \flexa g \pes \deminutum b \]
6556 \remove "Bar_number_engraver"
6560 \remove "Clef_engraver"
6561 \remove "Key_engraver"
6562 StaffSymbol \set #'transparent = ##t
6563 \remove "Time_signature_engraver"
6564 \remove "Bar_engraver"
6565 minimumVerticalExtent = ##f
6569 \remove Ligature_bracket_engraver
6570 \consists Vaticana_ligature_engraver
6571 NoteHead \set #'style = #'vaticana_punctum
6572 Stem \set #'transparent = ##t
6581 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6582 \include "gregorian-init.ly"
6584 \notes \transpose c c' {
6586 \[ \virga b \inclinatum a \inclinatum g \]
6593 \remove "Bar_number_engraver"
6597 \remove "Clef_engraver"
6598 \remove "Key_engraver"
6599 StaffSymbol \set #'transparent = ##t
6600 \remove "Time_signature_engraver"
6601 \remove "Bar_engraver"
6602 minimumVerticalExtent = ##f
6606 \remove Ligature_bracket_engraver
6607 \consists Vaticana_ligature_engraver
6608 NoteHead \set #'style = #'vaticana_punctum
6609 Stem \set #'transparent = ##t
6615 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6616 \include "gregorian-init.ly"
6618 \notes \transpose c c' {
6620 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6627 \remove "Bar_number_engraver"
6631 \remove "Clef_engraver"
6632 \remove "Key_engraver"
6633 StaffSymbol \set #'transparent = ##t
6634 \remove "Time_signature_engraver"
6635 \remove "Bar_engraver"
6636 minimumVerticalExtent = ##f
6640 \remove Ligature_bracket_engraver
6641 \consists Vaticana_ligature_engraver
6642 NoteHead \set #'style = #'vaticana_punctum
6643 Stem \set #'transparent = ##t
6649 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6650 \include "gregorian-init.ly"
6652 \notes \transpose c c' {
6653 % Climacus Deminutus
6654 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6661 \remove "Bar_number_engraver"
6665 \remove "Clef_engraver"
6666 \remove "Key_engraver"
6667 StaffSymbol \set #'transparent = ##t
6668 \remove "Time_signature_engraver"
6669 \remove "Bar_engraver"
6670 minimumVerticalExtent = ##f
6674 \remove Ligature_bracket_engraver
6675 \consists Vaticana_ligature_engraver
6676 NoteHead \set #'style = #'vaticana_punctum
6677 Stem \set #'transparent = ##t
6684 @code{14. Scandicus}
6686 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6687 \include "gregorian-init.ly"
6689 \notes \transpose c c' {
6691 \[ g \pes a \virga b \]
6698 \remove "Bar_number_engraver"
6702 \remove "Clef_engraver"
6703 \remove "Key_engraver"
6704 StaffSymbol \set #'transparent = ##t
6705 \remove "Time_signature_engraver"
6706 \remove "Bar_engraver"
6707 minimumVerticalExtent = ##f
6711 \remove Ligature_bracket_engraver
6712 \consists Vaticana_ligature_engraver
6713 NoteHead \set #'style = #'vaticana_punctum
6714 Stem \set #'transparent = ##t
6720 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6721 \include "gregorian-init.ly"
6723 \notes \transpose c c' {
6724 % Scandicus Auctus Descendens
6725 \[ g \pes a \pes \auctum \descendens b \]
6732 \remove "Bar_number_engraver"
6736 \remove "Clef_engraver"
6737 \remove "Key_engraver"
6738 StaffSymbol \set #'transparent = ##t
6739 \remove "Time_signature_engraver"
6740 \remove "Bar_engraver"
6741 minimumVerticalExtent = ##f
6745 \remove Ligature_bracket_engraver
6746 \consists Vaticana_ligature_engraver
6747 NoteHead \set #'style = #'vaticana_punctum
6748 Stem \set #'transparent = ##t
6754 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6755 \include "gregorian-init.ly"
6757 \notes \transpose c c' {
6758 % Scandicus Deminutus
6759 \[ g \pes a \pes \deminutum b \]
6766 \remove "Bar_number_engraver"
6770 \remove "Clef_engraver"
6771 \remove "Key_engraver"
6772 StaffSymbol \set #'transparent = ##t
6773 \remove "Time_signature_engraver"
6774 \remove "Bar_engraver"
6775 minimumVerticalExtent = ##f
6779 \remove Ligature_bracket_engraver
6780 \consists Vaticana_ligature_engraver
6781 NoteHead \set #'style = #'vaticana_punctum
6782 Stem \set #'transparent = ##t
6791 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6792 \include "gregorian-init.ly"
6794 \notes \transpose c c' {
6796 \[ g \oriscus a \pes \virga b \]
6803 \remove "Bar_number_engraver"
6807 \remove "Clef_engraver"
6808 \remove "Key_engraver"
6809 StaffSymbol \set #'transparent = ##t
6810 \remove "Time_signature_engraver"
6811 \remove "Bar_engraver"
6812 minimumVerticalExtent = ##f
6816 \remove Ligature_bracket_engraver
6817 \consists Vaticana_ligature_engraver
6818 NoteHead \set #'style = #'vaticana_punctum
6819 Stem \set #'transparent = ##t
6825 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6826 \include "gregorian-init.ly"
6828 \notes \transpose c c' {
6829 % Salicus Auctus Descendens
6830 \[ g \oriscus a \pes \auctum \descendens b \]
6837 \remove "Bar_number_engraver"
6841 \remove "Clef_engraver"
6842 \remove "Key_engraver"
6843 StaffSymbol \set #'transparent = ##t
6844 \remove "Time_signature_engraver"
6845 \remove "Bar_engraver"
6846 minimumVerticalExtent = ##f
6850 \remove Ligature_bracket_engraver
6851 \consists Vaticana_ligature_engraver
6852 NoteHead \set #'style = #'vaticana_punctum
6853 Stem \set #'transparent = ##t
6863 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6864 \include "gregorian-init.ly"
6866 \notes \transpose c c' {
6868 \[ \stropha b \stropha b \stropha a \]
6875 \remove "Bar_number_engraver"
6879 \remove "Clef_engraver"
6880 \remove "Key_engraver"
6881 StaffSymbol \set #'transparent = ##t
6882 \remove "Time_signature_engraver"
6883 \remove "Bar_engraver"
6884 minimumVerticalExtent = ##f
6888 \remove Ligature_bracket_engraver
6889 \consists Vaticana_ligature_engraver
6890 NoteHead \set #'style = #'vaticana_punctum
6891 Stem \set #'transparent = ##t
6903 Unlike most other neumes notation systems, the input language for
6904 neumes does not necessarily reflect directly the typographical
6905 appearance, but is designed to solely focuse on musical meaning. For
6906 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6907 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6908 a Porrectus with a curved flexa shape and only a single Punctum head.
6909 There is no command to explicitly typeset the curved flexa shape; the
6910 decision of when to typeset a curved flexa shape is purely taken from
6911 the musical input. The idea of this approach is to separate the
6912 musical aspects of the input from the notation style of the output.
6913 This way, the same input can be reused to typeset the same music in a
6914 different style of Gregorian chant notation such as Hufnagel (also
6915 known as German gothic neumes) or Medicaea (kind of a very simple
6916 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6917 engraver and Medicaea ligature engraver will have been implemented, it
6918 will be as simple as replacing the ligature engraver in the
6919 @internalsref{Voice} context to get the desired notation style from
6922 The following table shows the code fragments that produce the
6923 ligatures in the above neumes table. The letter in the first column
6924 in each line of the below table indicates to which ligature in the
6925 above table it refers. The second column gives the name of the
6926 ligature. The third column shows the code fragment that produces this
6927 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6929 @multitable @columnfractions .1 .4 .5
6943 Punctum Inclinatum @tab
6944 @code{\[ \inclinatum b \]}
6948 Punctum Auctum Ascendens @tab
6949 @code{\[ \auctum \ascendens b \]}
6953 Punctum Auctum Descendens @tab
6954 @code{\[ \auctum \descendens b \]}
6958 Punctum Inclinatum Auctum @tab
6959 @code{\[ \inclinatum \auctum b \]}
6963 Punctum Inclinatum Parvum @tab
6964 @code{\[ \inclinatum \deminutum b \]}
6969 @code{\[ \virga b \]}
6974 @code{\[ \stropha b \]}
6979 @code{\[ \stropha \auctum b \]}
6984 @code{\[ \oriscus b \]}
6988 Clivis vel Flexa @tab
6989 @code{\[ b \flexa g \]}
6993 Clivis Aucta Descendens @tab
6994 @code{\[ b \flexa \auctum \descendens g \]}
6998 Clivis Aucta Ascendens @tab
6999 @code{\[ b \flexa \auctum \ascendens g \]}
7004 @code{\[ b \flexa \deminutum g \]}
7008 Podatus vel Pes @tab
7009 @code{\[ g \pes b \]}
7013 Pes Auctus Descendens @tab
7014 @code{\[ g \pes \auctum \descendens b \]}
7018 Pes Auctus Ascendens @tab
7019 @code{\[ g \pes \auctum \ascendens b \]}
7024 @code{\[ g \pes \deminutum b \]}
7029 @code{\[ \oriscus g \pes \virga b \]}
7033 Pes Quassus Auctus Descendens @tab
7034 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7039 @code{\[ \quilisma g \pes b \]}
7043 Quilisma Pes Auctus Descendens @tab
7044 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7048 Pes Initio Debilis @tab
7049 @code{\[ \deminutum g \pes b \]}
7053 Pes Auctus Descendens Initio Debilis @tab
7054 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7059 @code{\[ a \pes b \flexa g \]}
7063 Torculus Auctus Descendens @tab
7064 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7068 Torculus Deminutus @tab
7069 @code{\[ a \pes b \flexa \deminutum g \]}
7073 Torculus Initio Debilis @tab
7074 @code{\[ \deminutum a \pes b \flexa g \]}
7078 Torculus Auctus Descendens Initio Debilis @tab
7079 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7083 Torculus Deminutus Initio Debilis @tab
7084 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7089 @code{\[ a \flexa g \pes b \]}
7093 Porrectus Auctus Descendens @tab
7094 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7098 Porrectus Deminutus @tab
7099 @code{\[ a \flexa g \pes \deminutum b \]}
7104 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7108 Climacus Auctus @tab
7109 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7113 Climacus Deminutus @tab
7114 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7119 @code{\[ g \pes a \virga b \]}
7123 Scandicus Auctus Descendens @tab
7124 @code{\[ g \pes a \pes \auctum \descendens b \]}
7128 Scandicus Deminutus @tab
7129 @code{\[ g \pes a \pes \deminutum b \]}
7134 @code{\[ g \oriscus a \pes \virga b \]}
7138 Salicus Auctus Descendens @tab
7139 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7144 @code{\[ \stropha b \stropha b \stropha a \]}
7150 The following head prefixes are supported:
7152 @cindex @code{\virga}
7154 @cindex @code{\stropha}
7156 @cindex @code{\inclinatum}
7158 @cindex @code{\auctum}
7160 @cindex @code{\descendens}
7162 @cindex @code{\ascendens}
7164 @cindex @code{\oriscus}
7166 @cindex @code{\quilisma}
7168 @cindex @code{\deminutum}
7171 Head prefixes can be accumulated, though restrictions apply. For
7172 example, either @code{\descendens} or @code{\ascendens} can be applied
7173 to a head, but not both to the same head.
7176 @cindex @code{\flexa}
7177 Two adjacent heads can be tied together with the @code{\pes} and
7178 @code{\flexa} infix commands for a rising and falling line of melody,
7183 Trigonus: apply equal spacing, regardless of pitch.
7186 @subsection Figured bass
7188 @cindex Basso continuo
7190 @c TODO: musicological blurb about FB
7194 LilyPond has limited support for figured bass:
7196 @lilypond[verbatim,fragment]
7198 \context Voice \notes { \clef bass dis4 c d ais}
7199 \context FiguredBass
7201 < 6 >4 < 7 >8 < 6+ [_!] >
7207 The support for figured bass consists of two parts: there is an input
7208 mode, introduced by @code{\figures}, where you can enter bass figures
7209 as numbers, and there is a context called @internalsref{FiguredBass} that
7210 takes care of making @internalsref{BassFigure} objects.
7212 In figures input mode, a group of bass figures is delimited by
7213 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7218 \context FiguredBass
7222 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7229 \context FiguredBass
7230 \figures { <4- 6+ 7!> }
7233 Spaces or dashes may be inserted by using @code{_}. Brackets are
7234 introduced with @code{[} and @code{]}:
7240 \context FiguredBass
7241 \figures { < [4 6] 8 [_! 12]> }
7244 Although the support for figured bass may superficially resemble chord
7245 support, it works much simpler. The @code{\figures} mode simply
7246 stores the numbers , and @internalsref{FiguredBass} context prints
7247 them as entered. There is no conversion to pitches, and no
7248 realizations of the bass are played in the MIDI file.
7250 Internally, the code produces markup texts. You can use any of the
7251 markup text properties to override formatting. For example, the
7252 vertical spacing of the figures may be set with @code{baseline-skip}.
7256 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7257 and @internalsref{FiguredBass} context.
7261 Slash notation for alterations is not supported.
7264 @node Vaticana style contexts
7265 @subsection Vaticana style contexts
7267 @cindex VaticanaVoiceContext
7268 @cindex VaticanaStaffContext
7270 The predefined @code{VaticanaVoiceContext} and
7271 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7272 Gregorian Chant in the style of the Editio Vaticana. These contexts
7273 initialize all relevant context properties and grob properties to
7274 proper values. With these contexts, you can immediately go ahead
7275 entering the chant, as the following short excerpt demonstrates:
7277 @lilypond[raggedright,verbatim,noindent]
7278 \include "gregorian-init.ly"
7281 \context VaticanaVoice {
7282 \property Score.BarNumber \set #'transparent = ##t
7284 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7285 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7286 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7289 \context Lyrics \lyrics {
7290 San- ctus, San- ctus, San- ctus
7295 @node Contemporary notation
7296 @section Contemporary notation
7298 In the 20th century, composers have greatly expanded the musical
7299 vocabulary. With this expansion, many innovations in musical notation
7300 have been tried. For a comprehensive overview, refer to @cite{Stone
7301 1980} (see @ref{Literature}). In general, the use of new, innovative
7302 notation makes a piece harder to understand and perform and its use
7303 should therefore be avoided if possible. For this reason, support for
7304 contemporary notation in LilyPond is limited.
7313 @subsection Clusters
7317 In musical terminology, a @emph{cluster} denotes a range of
7318 simultaneously sounding pitches that may change over time. The set of
7319 available pitches to apply usually depends on the accoustic source.
7320 Thus, in piano music, a cluster typically consists of a continous range
7321 of the semitones as provided by the piano's fixed set of a chromatic
7322 scale. In choral music, each singer of the choir typically may sing an
7323 arbitrary pitch within the cluster's range that is not bound to any
7324 diatonic, chromatic or other scale. In electronic music, a cluster
7325 (theoretically) may even cover a continuous range of pitches, thus
7326 resulting in coloured noise, such as pink noise.
7328 Clusters can be denoted in the context of ordinary staff notation by
7329 engraving simple geometrical shapes that replace ordinary notation of
7330 notes. Ordinary notes as musical events specify starting time and
7331 duration of pitches; however, the duration of a note is expressed by the
7332 shape of the note head rather than by the horizontal graphical extent of
7333 the note symbol. In contrast, the shape of a cluster geometrically
7334 describes the development of a range of pitches (vertical extent) over
7335 time (horizontal extent). Still, the geometrical shape of a cluster
7336 covers the area in wich any single pitch contained in the cluster would
7337 be notated as an ordinary note. From this point of view, it is
7338 reasonable to specify a cluster as the envelope of a set of notes.
7342 A cluster is engraved as the envelope of a set of
7343 cluster-notes. Cluster notes are created by applying the function
7344 @code{notes-to-clusters} to a sequence of chords, e.g.
7346 @lilypond[relative 1,verbatim]
7347 \apply #notes-to-clusters { <c e > <b f'> }
7350 The following example (from
7351 @inputfileref{input/regression,cluster.ly}) shows what the result
7354 @lilypondfile[notexidoc]{cluster.ly}
7356 By default, @internalsref{Cluster_spanner_engraver} is in the
7357 @internalsref{Voice} context. This allows putting ordinary notes and
7358 clusters together in the same staff, even simultaneously. In such a
7359 case no attempt is made to automatically avoid collisions between
7360 ordinary notes and clusters.
7364 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7365 @inputfileref{input/regression,cluster.ly},
7366 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7370 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7371 accurately. Use @code{<g a>8 <e a>8} instead.
7376 @subsection Fermatas
7382 Contemporary music notation frequently uses special fermata symbols to
7383 indicate fermatas of differing lengths.
7387 The following are supported
7389 @lilypond[singleline]
7391 << \addlyrics \notes {
7411 \context Lyrics \lyrics {
7412 "shortfermata" "fermata" "longfermata" "verylongfermata"
7417 See @ref{Articulations} for general instructions how to apply scripts
7418 such as fermatas to a @code{\notes@{@}} block.
7421 @section Tuning output
7423 There are situations where default layout decisions are not
7424 sufficient. In this section we discuss ways to override these
7427 Formatting is internally done by manipulating so called objects
7428 (graphic objects). Each object carries with it a set of properties
7429 (object or layout properties) specific to that object. For example, a
7430 stem object has properties that specify its direction, length and
7433 The most direct way of tuning the output is by altering the values of
7434 these properties. There are two ways of doing that: first, you can
7435 temporarily change the definition of one type of object, thus
7436 affecting a whole set of objects. Second, you can select one specific
7437 object, and set a layout property in that object.
7439 Do not confuse layout properties with translation
7440 properties. Translation properties always use a mixed caps style
7441 naming, and are manipulated using @code{\property}:
7443 \property Context.propertyName = @var{value}
7445 Layout properties are use Scheme style variable naming, i.e. lower
7446 case words separated with dashes. They are symbols, and should always
7447 be quoted using @code{#'}. For example, this could be an imaginary
7448 layout property name:
7450 #'layout-property-name
7455 * Constructing a tweak::
7464 @node Tuning objects
7465 @subsection Tuning objects
7467 @cindex object description
7469 The definition of an object is a list of default object
7470 properties. For example, the definition of the Stem object (available
7471 in @file{scm/define-grobs.scm}), includes the following definitions
7472 for @internalsref{Stem}:
7476 (beamed-lengths . (0.0 2.5 2.0 1.5))
7477 (Y-extent-callback . ,Stem::height)
7482 Adding variables on top of this existing definition overrides the
7483 system default, and alters the resulting appearance of the layout
7489 Changing a variable for only one object is commonly achieved with
7493 \once \property @var{context}.@var{objectname}
7494 \override @var{symbol} = @var{value}
7496 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7497 and @var{objectname} is a string and @var{value} is a Scheme expression.
7498 This command applies a setting only during one moment in the score.
7500 In the following example, only one @internalsref{Stem} object is
7501 changed from its original setting:
7503 @lilypond[verbatim, fragment, relative=1]
7505 \once \property Voice.Stem \set #'thickness = #4
7509 @cindex @code{\once}
7511 For changing more objects, the same command, without @code{\once} can
7514 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7516 This command adds @code{@var{symbol} = @var{value}} to the definition
7517 of @var{objectname} in the context @var{context}, and this definition
7518 stays in place until it is removed.
7520 An existing definition may be removed by the following command:
7523 \property @var{context}.@var{objectname} \revert @var{symbol}
7526 All @code{\override} and @code{\revert} commands should be balanced.
7527 The @code{\set} shorthand performs a revert followed by an override,
7528 and is often more convenient to use
7531 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7535 @lilypond[verbatim,quote]
7536 c'4 \property Voice.Stem \override #'thickness = #4.0
7538 c'4 \property Voice.Stem \revert #'thickness
7542 The following example gives exactly the same result as the previous
7543 one (assuming the system default for stem thickness is 1.3):
7545 @lilypond[verbatim,quote]
7546 c'4 \property Voice.Stem \set #'thickness = #4.0
7548 c'4 \property Voice.Stem \set #'thickness = #1.3
7552 Reverting a setting which was not set in the first place has no
7553 effect. However, if the setting was set as a system default, this may
7554 remove the default value, and this may give surprising results,
7555 including crashes. In other words, @code{\override} and
7556 @code{\revert} must be carefully balanced. The following are examples
7557 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7561 a clumsy but correct form:
7563 \override \revert \override \revert \override \revert
7567 shorter version of the same:
7569 \override \set \set \revert
7573 a short form, using only @code{\set}. This requires you to know the
7576 \set \set \set \set @var{to default value}
7580 if there is no default (i.e. by default, the object property is unset),
7583 \set \set \set \revert
7587 For the digirati, the object description is an Scheme association
7588 list. Since a Scheme list is a singly linked list, we can treat it as
7589 a stack, and @code{\override} and @code{\revert} are push and pop
7590 operations. The association list is stored in a normal context
7593 \property Voice.NoteHead = #'()
7595 will effectively erase @internalsref{NoteHead}s from the current
7596 @internalsref{Voice}. However, this mechanism is not guaranteed to
7597 work, and may cause crashes or other anomalous behavior.
7601 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7602 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7603 @internalsref{All-layout-objects}.
7608 The backend is not very strict in type-checking object properties.
7609 Cyclic references in @var{value} cause hangs and/or crashes.
7610 Similarly, reverting properties that are system defaults may also lead
7613 @node Constructing a tweak
7614 @subsection Constructing a tweak
7617 @cindex internal documentation
7618 @cindex finding graphical objects
7619 @cindex graphical object descriptions
7621 @cindex @code{\override}
7623 @cindex internal documentation
7627 Three pieces of information are required to use @code{\override} and
7628 @code{\set}: the name of the layout object, the context and the name
7629 of the property. We demonstrate how to glean this information from
7630 the notation manual and the generated documentation.
7632 The generated documentation is a set of HTML pages which should be
7633 included if you installed a binary distribution, typically in
7634 @file{/usr/share/doc/lilypond}. They are also available on the web:
7635 go to the @uref{http://lilypond.org,LilyPond website}, click
7636 ``Documentation'', and then ``Program reference'' on the side bar. It
7637 is advisable to bookmark either the local HTML files if possible. They
7638 will load faster than the ones on the web. If you use the version
7639 from the web, you must check whether the documentation matches the
7640 program version: the documentation is generated from the definitions
7641 that the program uses, and therefore it is strongly tied to the
7645 @c [TODO: revise for new site.]
7647 Suppose we want to move the fingering indication in the fragment below:
7649 @lilypond[relative=2,verbatim]
7655 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7656 instructions}), you will notice that there is written:
7661 @internalsref{FingerEvent} and @internalsref{Fingering}.
7665 In other words, the fingerings once entered, are internally stored as
7666 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7667 layout object is created for every @code{FingerEvent}.
7669 The Fingering object has a number of different functions, and each of
7670 those is captured in an interface, when we look up
7671 @internalsref{Fingering} in the generated documentation.
7675 The @code{Fingering} object has a fixed size
7676 (@internalsref{item-interface}), the symbol is a piece of text
7677 (@internalsref{text-interface}), whose font can be set
7678 (@internalsref{font-interface}). It is centered horizontally
7679 (@internalsref{self-alignment-interface}), it is placed next to other
7680 objects (@internalsref{side-position-interface}) vertically, and its
7681 placement is coordinated with other scripts
7682 (@internalsref{text-script-interface}). It also has the standard
7683 @internalsref{grob-interface} (grob stands for Graphical object)
7685 @cindex graphical object
7686 @cindex layout object
7687 @cindex object, layout
7688 with all the variables that come with
7689 it. Finally, it denotes a fingering instruction, so it has
7690 @internalsref{finger-interface}.
7692 For the vertical placement, we have to look under
7693 @code{side-position-interface}:
7695 @code{side-position-interface}
7697 Position a victim object (this one) next to other objects (the
7698 support). In this case, the direction signifies where to put the
7699 victim object relative to the support (left or right, up or down?)
7704 below this description, the variable @code{padding} is described as
7708 (dimension, in staff space)
7710 add this much extra space between objects that are next to each
7711 other. Default value: @code{0.6}
7715 By increasing the value of @code{padding}, we can move away the
7716 fingering. The following command inserts 3 staff spaces of white
7717 between the note and the fingering:
7719 \once \property Voice.Fingering \set #'padding = #3
7722 Inserting this command before the Fingering object is created,
7723 i.e. before @code{c2}, yields the following result:
7725 @lilypond[relative=2,fragment,verbatim]
7726 \once \property Voice.Fingering
7733 The context name @code{Voice} in the example above can be determined
7734 as follows. In the documentation for @internalsref{Fingering}, it says
7736 Fingering grobs are created by: @internalsref{Fingering_engraver}
7739 Clicking @code{Fingering_engraver} shows the documentation of
7740 the module responsible for interpreting the fingering instructions and
7741 translating them to a @code{Fingering} object. Such a module is called
7742 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7745 Fingering_engraver is part of contexts: Voice
7747 so tuning the settings for Fingering should be done with
7749 \property Voice.Fingering \set @dots{}
7752 Of course, the tweak may also done in a larger context than
7753 @code{Voice}, for example, @internalsref{Staff} or
7754 @internalsref{Score}.
7756 The internals document also contains alphabetical lists of
7757 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7758 @internalsref{Music-expressions}, so you can also find which objects to
7759 tweak by browsing the internals document.
7763 @subsection Applyoutput
7765 The most versatile way of tuning an object is @code{\applyoutput}. Its
7768 \applyoutput @var{proc}
7772 where @var{proc} is a Scheme function, taking four arguments.
7774 When interpreted, the function @var{proc} is called for every layout object found
7775 in the context, with the following arguments:
7777 @item the layout object itself,
7778 @item the context where the layout object was created, and
7779 @item the context where @code{\applyoutput} is processed.
7782 In addition, the cause of the layout object, i.e. the music
7783 expression or object that was responsible for creating it, is in the
7784 object property @code{cause}. For example, for a note head, this is a
7785 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7786 this is a @internalsref{NoteHead} object.
7789 @node Outputproperty
7790 @subsection Outputproperty
7792 @cindex @code{\outputproperty}
7794 Another way of tuning objects is the more arcane @code{\outputproperty}
7795 feature. The syntax is as follows:
7797 \outputproperty @var{predicate} @var{symbol} = @var{value}
7799 Here @code{predicate} is a Scheme function taking an object argument, and
7800 returning a boolean. This statement is processed by the
7801 @code{Output_property_engraver}. It instructs the engraver to feed all
7802 objects that it sees to @var{predicate}. Whenever the predicate returns
7803 true, the object property @var{symbol} will be set to @var{value}.
7805 You will need to combine this statement with @code{\context} to select
7806 the appropriate context to apply this to.
7807 @inputfileref{input/regression,output-property.ly} shows an example of
7808 the use of @code{\outputproperty}.
7812 This command is slated for removal. Please use the
7813 @code{\applyoutput} command, see @ref{Applyoutput}.
7816 @node Font selection
7817 @subsection Font selection
7819 The most common thing to change about the appearance of fonts is their
7820 size. The font size of any context can be easily changed by setting
7821 the @code{fontSize} property for that context. Its value is an
7822 integer: negative numbers make the font smaller, positive numbers
7823 larger. An example is given below:
7825 @lilypond[fragment,relative=1,verbatim,quote]
7826 c4 c4 \property Voice.fontSize = #-1
7829 This command will set @code{font-relative-size} (see below), and does
7830 not change the size of variable symbols, such as beams or slurs.
7833 One of the uses of @code{fontSize} is to get smaller symbol for cue
7834 notes. An elaborate example of those is in
7835 @inputfileref{input/test,cue-notes.ly}.
7837 @cindex magnification
7839 The size of the font may be scaled with the object property
7840 @code{font-magnification}. For example, @code{2.0} blows up all
7841 letters by a factor 2 in both directions.
7850 The font used for printing a object can be selected by setting
7851 @code{font-name}, e.g.
7853 \property Staff.TimeSignature
7854 \set #'font-name = #"cmr17"
7858 Any font can be used, as long as it is available to @TeX{}. Possible
7859 fonts include foreign fonts or fonts that do not belong to the
7860 Computer Modern font family.
7862 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7863 can also be adjusted with a more fine-grained mechanism. By setting
7864 the object properties described below, you can select a different font;
7865 all three mechanisms work for every object that supports
7866 @code{font-interface}:
7870 is a symbol indicating the general class of the typeface. Supported are
7871 @code{roman} (Computer Modern), @code{braces} (for piano staff
7872 braces), @code{music} (the standard music font, including ancient
7873 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7876 is a symbol indicating the shape of the font, there are typically several
7877 font shapes available for each font family. Choices are @code{italic},
7878 @code{caps} and @code{upright}.
7881 is a symbol indicating the series of the font. There are typically several
7882 font series for each font family and shape. Choices are @code{medium}
7885 @item font-relative-size
7886 is a number indicating the size relative the standard size. For example,
7887 with 20pt staff height, relative size -1 corresponds to 16pt staff
7888 height, and relative size +1 corresponds to 23 pt staff height.
7890 There are small differences in design between fonts designed for
7891 different sizes, hence @code{font-relative-size} is preferred over
7892 @code{font-magnification} for changing font sizes.
7895 @item font-design-size
7896 is a number indicating the design size of the font.
7898 This is a feature of the Computer Modern Font: each point size has a
7899 slightly different design. Smaller design sizes are relatively wider,
7900 which enhances readability.
7903 For any of these properties, the value @code{*} (i.e. the symbol
7904 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7905 to override default setting, which are always present. For example:
7907 \property Lyrics . LyricText \override #'font-series = #'bold
7908 \property Lyrics . LyricText \override #'font-family = #'typewriter
7909 \property Lyrics . LyricText \override #'font-shape = #'*
7912 @cindex @code{font-style}
7916 The following commands set @code{fontSize} for the current voice.
7918 @cindex @code{\tiny}
7920 @cindex @code{\small}
7922 @cindex @code{\normalsize}
7927 Relative size is not linked to any real size.
7929 There is no style sheet provided for other fonts besides the @TeX{}
7930 family, and the style sheet cannot be modified easily.
7932 @cindex font selection
7933 @cindex font magnification
7934 @cindex @code{font-interface}
7938 @subsection Text markup
7943 @cindex typeset text
7945 LilyPond has an internal mechanism to typeset texts. You can access it
7946 with the keyword @code{\markup}. Within markup mode, you can enter texts
7947 similar to lyrics: simply enter them, surrounded by spaces:
7950 @lilypond[verbatim,fragment,relative=1]
7951 c1^\markup { hello }
7952 c1_\markup { hi there }
7953 c1^\markup { hi \bold there, is \italic anyone home? }
7956 @cindex font switching
7958 The markup in the example demonstrates font switching commands. The
7959 command @code{\bold} and @code{\italic} only apply to the first
7960 following word; enclose a set of texts with braces to apply a command
7963 \markup @{ \bold @{ hi there @} @}
7967 For clarity, you can also do this for single arguments, e.g.
7969 \markup @{ is \italic @{ anyone @} home @}
7972 @cindex font size, texts
7974 The following size commands set absolute sizes:
7976 @cindex @code{\teeny}
7977 @cindex @code{\tiny}
7978 @cindex @code{\small}
7979 @cindex @code{\large}
7980 @cindex @code{\huge}
7990 You can also make letter larger or smaller relative to their neighbors,
7991 with the commands @code{\larger} and @code{\smaller}.
7995 @cindex font style, for texts
7996 @cindex @code{\bold}
7997 @cindex @code{\dynamic}
7998 @cindex @code{\number}
7999 @cindex @code{\italic}
8001 The following font change commands are defined:
8004 changes to the font used in dynamic signs. This font does not
8005 contain all characters of the alphabet, so when producing ``piu f'',
8006 the ``piu'' should be done in a different font.
8010 changes to the font used in time signatures. It only contains
8011 numbers and a few punctuation marks.
8013 changes @code{font-shape} to @code{italic}.
8015 changes @code{font-series} to @code{bold}.
8018 @cindex raising text
8019 @cindex lowering text
8021 @cindex translating text
8024 @cindex @code{\super}
8026 Raising and lowering texts can be done with @code{\super} and
8029 @lilypond[verbatim,fragment,relative=1]
8030 c1^\markup { E "=" mc \super "2" }
8033 @cindex @code{\raise}
8035 If you want to give an explicit amount for lowering or raising, use
8036 @code{\raise}. This command takes a Scheme valued first argument, and
8037 a markup object as second argument:
8039 @lilypond[verbatim,fragment,relative=1,quote]
8040 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8042 The argument to @code{\raise} is the vertical displacement amount,
8043 measured in (global) staff spaces. @code{\raise} and @code{\super}
8044 raise objects in relation to their surrounding markups. They cannot be
8045 used to move a single text up or down, when it is above or below a
8046 note, since the mechanism that positions it next to the note cancels
8047 any vertical shift. For vertical positioning, use the @code{padding}
8048 and/or @code{extra-offset} properties.
8050 Other commands taking single arguments include
8053 @item \bracket, \hbracket
8054 Bracket the argument markup with normal and horizontal brackets
8058 @cindex @code{\musicglyph}
8059 This is converted to a musical symbol, e.g. @code{\musicglyph
8060 #"accidentals-0"} will select the natural sign from the music font.
8061 See @ref{The Feta font} for a complete listing of the possible glyphs.
8063 This produces a single character, e.g. @code{\char #65} produces the
8066 @item \note @var{log} @var{dots} @var{dir}
8067 @cindex @code{\note}
8069 This produces a note with a stem pointing in @var{dir} direction, with
8070 duration log @var{log} and @var{dots} augmentation dots. The duration
8071 log is the negative 2-logarithm of the duration denominator. For
8072 example, a quarter note has log 2, an eighth note 3 and a breve has
8075 @item \hspace #@var{amount}
8076 @cindex @code{\hspace}
8077 This produces a invisible object taking horizontal space.
8079 \markup @{ A \hspace #2.0 B @}
8081 will put extra space between A and B, on top of the space that is
8082 normally inserted before elements on a line.
8084 @item \fontsize #@var{size}
8085 @cindex @code{\fontsize}
8086 This sets the relative font size, eg.
8088 A \fontsize #2 @{ B C @} D
8092 This will enlarge the B and the C by two steps.
8093 @item \translate #(cons @var{x} @var{y})
8095 This translates an object. Its first argument is a cons of numbers
8097 A \translate #(cons 2 -3) @{ B C @} D
8099 This moves `B C' 2 spaces to the right, and 3 down.
8101 @item \magnify #@var{mag}
8102 @cindex @code{\magnify}
8103 This sets the font magnification for the its argument. In the following
8104 example, the middle A will be 10% larger:
8106 A \magnify #1.1 @{ A @} A
8110 @item \override #(@var{key} . @var{value})
8111 @cindex @code{\override}
8112 This overrides a formatting property for its argument. The argument
8113 should be a key/value pair, e.g.
8115 m \override #'(font-family . math) m m
8119 In markup mode you can compose expressions, similar to mathematical
8120 expressions, XML documents and music expressions. The braces group
8121 notes into horizontal lines. Other types of lists also exist: you can
8122 stack expressions grouped with @code{<}, and @code{>} vertically with
8123 the command @code{\column}. Similarly, @code{\center} aligns texts by
8126 @lilypond[verbatim,fragment,relative=1]
8127 c1^\markup { \column < a bbbb c > }
8128 c1^\markup { \center < a bbbb c > }
8129 c1^\markup { \line < a b c > }
8132 The markup mechanism is extensible. Refer to
8133 @file{scm/new-markup.scm} for more information.
8139 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
8146 Text layout is ultimately done by @TeX{}, which does kerning of
8147 letters. LilyPond does not account for kerning, so texts will be
8148 spaced slightly too wide.
8150 Syntax errors for markup mode are confusing.
8152 Markup texts cannot be used in the titling of the @code{\header}
8153 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8160 @section Global layout
8162 The global layout determined by three factors: the page layout, the
8163 line breaks and the spacing. These all influence each other. The
8164 choice of spacing determines how densely each system of music is set,
8165 which influences where line breaks breaks are chosen, and thus
8166 ultimately how many pages a piece of music takes. In this section, the
8167 algorithm for spacing music is explained, and how spacing can be
8170 Globally spoken, this procedure happens in three steps: first,
8171 flexible distances (``springs'') are chosen, based on durations. All
8172 possible line breaking combination are tried, and the one with the
8173 best results---a layout that has uniform density and requires as
8174 little stretching or cramping as possible---is chosen. When the score
8175 is processed by @TeX{}, each page is filled with systems, and page breaks
8176 are chosen whenever the page gets full.
8181 * Vertical spacing::
8182 * Horizontal spacing::
8189 @node Vertical spacing
8190 @subsection Vertical spacing
8192 @cindex vertical spacing
8193 @cindex distance between staves
8194 @cindex staff distance
8195 @cindex between staves, distance
8196 @cindex staffs per page
8197 @cindex space between staves
8199 The height of each system is determined automatically by LilyPond, to
8200 keep systems from bumping into each other, some minimum distances are
8201 set. By changing these, you can put staves closer together, and thus
8202 put more systems onto one page.
8204 Normally staves are stacked vertically. To make
8205 staves maintain a distance, their vertical size is padded. This is
8206 done with the property @code{minimumVerticalExtent}. It takes a pair
8207 of numbers, so if you want to make it smaller from its, then you could
8210 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8212 This sets the vertical size of the current staff to 4 staff-space on
8213 either side of the center staff line. The argument of
8214 @code{minimumVerticalExtent} is interpreted as an interval, where the
8215 center line is the 0, so the first number is generally negative. The
8216 staff can be made larger at the bottom by setting it to @code{(-6
8219 The piano staves are handled a little differently: to make cross-staff
8220 beaming work correctly, it is necessary that the distance between staves
8221 is fixed beforehand. This is also done with a
8222 @internalsref{VerticalAlignment} object, created in
8223 @internalsref{PianoStaff}. In this object the distance between the
8224 staves is fixed by setting @code{forced-distance}. If you want to
8225 override this, use a @code{\translator} block as follows:
8229 VerticalAlignment \override #'forced-distance = #9
8232 This would bring the staves together at a distance of 9 staff spaces,
8233 measured from the center line of each staff.
8237 Vertical alignment of staves is handled by the
8238 @internalsref{VerticalAlignment} object.
8242 @node Horizontal spacing
8243 @subsection Horizontal Spacing
8245 The spacing engine translates differences in durations into
8246 stretchable distances (``springs'') of differing lengths. Longer
8247 durations get more space, shorter durations get less. The shortest
8248 durations get a fixed amount of space (which is controlled by
8249 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8250 /The longer the duration, the more space it gets: doubling a
8251 duration adds a fixed amount (this amount is controlled by
8252 @code{spacing-increment}) of space to the note.
8254 For example, the following piece contains lots of half, quarter and
8255 8th notes, the eighth note is followed by 1 note head width (NHW).
8256 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8257 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8261 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8262 width of a note head, and @code{shortest-duration-space} is set to
8263 2.0, meaning that the shortest note gets 2 NHW (2 times
8264 @code{shortest-duration-space}) of space. For normal notes, this space
8265 is always counted from the left edge of the symbol, so the shortest
8266 notes are generally followed by one NHW of space.
8268 If one would follow the above procedure exactly, then adding a single
8269 32th note to a score that uses 8th and 16th notes, would widen up the
8270 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8271 thus adding 2 noteheads of space to every note. To prevent this, the
8272 shortest duration for spacing is not the shortest note in the score,
8273 but the most commonly found shortest note. Notes that are even
8274 shorter this are followed by a space that is proportonial to their
8275 duration relative to the common shortest note. So if we were to add
8276 only a few 16th notes to the example above, they would be followed by
8279 @lilypond[fragment, verbatim, relative=2]
8280 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8283 The most common shortest duration is determined as follows: in every
8284 measure, the shortest duration is determined. The most common short
8285 duration, is taken as the basis for the spacing, with the stipulation
8286 that this shortest duration should always be equal to or shorter than
8287 1/8th note. The shortest duration is printed when you run lilypond
8288 with @code{--verbose}. These durations may also be customized. If you
8289 set the @code{common-shortest-duration} in
8290 @internalsref{SpacingSpanner}, then this sets the base duration for
8291 spacing. The maximum duration for this base (normally 1/8th), is set
8292 through @code{base-shortest-duration}.
8294 @cindex @code{common-shortest-duration}
8295 @cindex @code{base-shortest-duration}
8296 @cindex @code{stem-spacing-correction}
8297 @cindex @code{spacing}
8299 In the introduction it was explained that stem directions influence
8300 spacing. This is controlled with @code{stem-spacing-correction}
8301 property in @internalsref{NoteSpacing}, which are generated for every
8302 @internalsref{Voice} context. The @code{StaffSpacing} object
8303 (generated at @internalsref{Staff} context) contains the same property
8304 for controlling the stem/barline spacing. The following example
8305 shows these corrections, once with default settings, and once with
8306 exaggerated corrections:
8312 \property Staff.NoteSpacing \override #'stem-spacing-correction
8314 \property Staff.StaffSpacing \override #'stem-spacing-correction
8319 \paper { raggedright = ##t } }
8322 @cindex SpacingSpanner, overriding properties
8324 Properties of the @internalsref{SpacingSpanner} must be overridden
8325 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8326 created before any @code{\property} statements are interpreted.
8328 \paper @{ \translator @{
8330 SpacingSpanner \override #'spacing-increment = #3.0
8337 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8338 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8339 @internalsref{SeparatingGroupSpanner}.
8343 Spacing is determined on a score wide basis. If you have a score that
8344 changes its character (measured in durations) halfway during the
8345 score, the part containing the longer durations will be spaced too
8348 There is no convenient mechanism to manually override spacing.
8353 @subsection Font size
8354 @cindex font size, setting
8355 @cindex staff size, setting
8356 @cindex @code{paper} file
8358 The Feta font provides musical symbols at seven different sizes.
8359 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8360 26 point. The point size of a font is the height of the corresponding
8361 staff (excluding line thicknesses).
8363 Definitions for these sizes are the files @file{paperSZ.ly}, where
8364 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8365 of these files, the variables @code{paperEleven},
8366 @code{paperThirteen}, @code{paperSixteen},
8367 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8368 are defined respectively. The default @code{\paper} block is also
8369 set. These files should be imported at toplevel, i.e.
8371 \include "paper26.ly"
8375 The default font size settings for each staff heights are generated
8376 from the 20pt style sheet. For more details, see the file
8377 @file{scm/font.scm}.
8381 @subsection Line breaking
8384 @cindex breaking lines
8386 Line breaks are normally computed automatically. They are chosen such
8387 that lines look neither cramped nor loose, and that consecutive lines
8388 have similar density.
8390 Occasionally you might want to override the automatic breaks; you can
8391 do this by specifying @code{\break}. This will force a line break at
8392 this point. Line breaks can only occur at places where there are bar
8393 lines. If you want to have a line break where there is no bar line,
8394 you can force an invisible bar line by entering @code{\bar
8395 ""}. Similarly, @code{\noBreak} forbids a line break at a
8399 @cindex regular line breaks
8400 @cindex four bar music.
8402 For linebreaks at regular intervals use @code{\break} separated by
8403 skips and repeated with @code{\repeat}:
8405 << \repeat unfold 7 @{ s1 * 4 \break @}
8406 @emph{the real music}
8411 This makes the following 28 measures (assuming 4/4 time) be broken every
8416 @internalsref{BreakEvent}.
8420 @subsection Page layout
8423 @cindex breaking pages
8425 @cindex @code{indent}
8426 @cindex @code{linewidth}
8428 The most basic settings influencing the spacing are @code{indent} and
8429 @code{linewidth}. They are set in the @code{\paper} block. They
8430 control the indentation of the first line of music, and the lengths of
8433 If @code{raggedright} is set to true in the @code{\paper}
8434 block, then the lines are justified at their natural length. This
8435 useful for short fragments, and for checking how tight the natural
8439 @cindex vertical spacing
8441 The page layout process happens outside the LilyPond formatting
8442 engine: variables controlling page layout are passed to the output,
8443 and are further interpreted by @code{lilypond} wrapper program. It
8444 responds to the following variables in the @code{\paper} block. The
8445 variable @code{textheight} sets the total height of the music on each
8446 page. The spacing between systems is controlled with
8447 @code{interscoreline}, its default is 16pt. The distance between the
8448 score lines will stretch in order to fill the full page
8449 @code{interscorelinefill} is set to a positive number. In that case
8450 @code{interscoreline} specifies the minimum spacing.
8452 @cindex @code{textheight}
8453 @cindex @code{interscoreline}
8454 @cindex @code{interscorelinefill}
8456 If the variable @code{lastpagefill} is defined,
8457 @c fixme: this should only be done if lastpagefill == #t
8458 systems are evenly distributed vertically on the last page. This
8459 might produce ugly results in case there are not enough systems on the
8460 last page. The @command{lilypond-book} command ignores
8461 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8464 @cindex @code{lastpagefill}
8466 Page breaks are normally computed by @TeX{}, so they are not under
8467 direct control of LilyPond. However, you can insert a commands into
8468 the @file{.tex} output to instruct @TeX{} where to break pages. This
8469 is done by setting the @code{between-systems-strings} on the
8470 @internalsref{NonMusicalPaperColumn} where the system is broken.
8471 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8472 The predefined command @code{\newpage} also does this.
8476 @cindex @code{papersize}
8478 To change the paper size, you must first set the @code{papersize} paper
8479 variable variable as in the example below. Set it to
8480 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8481 specification, you must set the font as described above. If you want
8482 the default font, then use the 20 point font.
8485 \paper@{ papersize = "a4" @}
8486 \include "paper16.ly"
8489 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8490 will set the paper variables @code{hsize} and @code{vsize} (used by
8491 @code{lilypond-book} and @code{lilypond}).
8496 @cindex @code{\newpage}
8502 @ref{Invoking lilypond},
8503 @inputfileref{input/regression,between-systems.ly}, and
8504 @internalsref{NonMusicalPaperColumn}.
8508 LilyPond has no concept of page layout, which makes it difficult to
8509 reliably choose page breaks in longer pieces.
8518 Entered music can also be converted to MIDI output. The performance
8519 is good enough for proof-hearing the music for errors.
8521 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8522 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8523 marks translate to a fixed fraction of the available MIDI volume
8524 range, crescendi and decrescendi make the volume vary linearly between
8525 their two extremities. The fractions can be adjusted by
8526 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8527 For each type of MIDI instrument, a volume range can be defined. This
8528 gives a basic equalizer control, which can enhance the quality of
8529 the MIDI output remarkably. The equalizer can be controlled by
8530 setting @code{instrumentEqualizer}.
8534 Many musically interesting effects, such as swing, articulation,
8535 slurring, etc., are not translated to MIDI.
8540 * MIDI instrument names::
8545 @subsection MIDI block
8549 The MIDI block is analogous to the paper block, but it is somewhat
8550 simpler. The @code{\midi} block can contain:
8554 @item a @code{\tempo} definition, and
8555 @item context definitions.
8558 Assignments in the @code{\midi} block are not allowed.
8560 A number followed by a period is interpreted as a real number, so
8561 for setting the tempo for dotted notes, an extra space should be
8562 inserted, for example:
8565 \midi @{ \tempo 4 . = 120 @}
8569 @cindex context definition
8571 Context definitions follow precisely the same syntax as within the
8572 \paper block. Translation modules for sound are called performers.
8573 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8576 @node MIDI instrument names
8577 @subsection MIDI instrument names
8579 @cindex instrument names
8580 @cindex @code{Staff.midiInstrument}
8581 @cindex @code{Staff.instrument}
8583 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8584 property or, if that property is not set, the @code{Staff.instrument}
8585 property. The instrument name should be chosen from the list in
8586 @ref{MIDI instruments}.
8590 If the selected string does not exactly match, then LilyPond uses the
8591 default (Grand Piano). It is not possible to select an instrument by