3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
22 <!--- @@WEB-TITLE@@=Reference Manual --->
25 This document describes GNU LilyPond and its input format. The last
26 revision of this document was made for LilyPond 1.4.1. It supposes a
27 passing familiarity with how LilyPond input works. New users are
28 encouraged to study the tutorial first.
33 * Easier music entry::
53 @c FIXME: Note entry vs Music entry at top level menu is confusing.
59 The most basic forms of music are notes. Notes on their own don't
60 form valid input, but for the sake of brevity we omit @code{\score}
61 blocks and @code{\paper} declarations.
67 * Chromatic alterations::
72 * Automatic note splitting ::
74 * Easy Notation note heads ::
82 A note is printed by specifying its pitch, and then its duration.
83 @lilypond[fragment,verbatim]
92 @cindex Note specification
94 @cindex entering notes
96 The verbose syntax for pitch specification is
100 \pitch @var{scmpitch}
103 @var{scmpitch} is a pitch scheme object.
105 In Note and Chord mode, pitches may be designated by names. The default
106 names are the Dutch note names. The notes are specified by the letters
107 @code{a} through @code{g} (where the octave is formed by notes ranging
108 from @code{c} to @code{b}). The pitch @code{c} is an octave below
109 middle C and the letters span the octave above that C.
111 @cindex note names, Dutch
113 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
114 name and a flat is formed by adding @code{-es}. Double sharps and double
115 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
116 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
117 both forms are accepted.
119 LilyPond has predefined sets of note names for various other languages.
120 To use them, simply include the language specific init file. For
121 example: @code{\include "english.ly"}. The available language files and
122 the names they define are:
125 Note Names sharp flat
126 nederlands.ly c d e f g a bes b -is -es
127 english.ly c d e f g a bf b -s/-sharp -f/-flat
128 deutsch.ly c d e f g a b h -is -es
129 norsk.ly c d e f g a b h -iss/-is -ess/-es
130 svenska.ly c d e f g a b h -iss -ess
131 italiano.ly do re mi fa sol la sib si -d -b
132 catalan.ly do re mi fa sol la sib si -d/-s -b
133 espanol.ly do re mi fa sol la sib si -s -b
142 The optional octave specification takes the form of a series of
143 single quote (`@code{'}') characters or a series of comma
144 (`@code{,}') characters. Each @code{'} raises the pitch by one
145 octave; each @code{,} lowers the pitch by an octave.
147 @lilypond[fragment,verbatim,center]
148 c' c'' es' g' as' gisis' ais'
151 @node Chromatic alterations
152 @subsection Chromatic alterations
154 Normally, accidentals are printed automatically, but you may force
155 accidentals in the following ways: A reminder accidental
156 @cindex reminder accidental
158 can be forced by adding an exclamation mark @code{!} after the pitch. A
159 cautionary accidental,
160 @cindex cautionary accidental
161 @cindex parenthesized accidental
162 i.e., an accidental within parentheses can be obtained by adding the
163 question mark `@code{?}' after the pitch.
165 The automatic production of accidentals can be tuned in many
166 ways. Refer to @ref{Accidentals} for more information.
173 A rest is entered like a note, with note name `@code{r}':
175 @lilypond[singleline,verbatim]
179 Whole bar rests centered in the bar are specified using @code{R}, see
180 @ref{Multi measure rests}. See also @seeinternals{Rest}.
182 For polyphonic music, it can be convenient to specify the rest position
183 directly. You can do that by entering a note, with the keyword
184 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
186 @lilypond[singleline,verbatim]
196 @cindex Invisible rest
199 An invisible rest, or skip, can be entered like a note with note name
200 @code{s}, or with @code{\skip @var{duration}}:
202 @lilypond[singleline,verbatim]
206 The @code{s} syntax is only available in Note mode and Chord mode.
207 In other situations, you should use the @code{\skip} command, and it is
208 only available in Note mode and Chord mode.
210 @c FIXME: in lyrics mode, we have " " and _
212 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
213 @lilypond[singleline,verbatim]
215 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
216 \notes\relative c'' { a2 a4 a a2 a4 a }
220 The unabbreviated `@code{\skip} @var{duration}' also works outside of
223 @lilypond[singleline,verbatim]
226 { \time 4/8 \skip 2 \time 4/4 }
227 \notes\relative c'' { a2 a1 }
232 The skip command is merely a empty musical placeholder. It does not
233 produce any output, not even transparent output.
238 @subsection Durations
242 @cindex @code{\duration}
245 In Note, Chord, and Lyrics mode, durations may be designated by numbers
246 and dots: durations are entered as their reciprocal values. For notes
247 longer than a whole you must use identifiers.
251 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
253 r1 r2 r4 r8 r16 r32 r64 r64
259 \notes \relative c'' {
261 a1 a2 a4 a8 a16 a32 a64 a64
263 r1 r2 r4 r8 r16 r32 r64 r64
268 \remove "Clef_engraver"
269 \remove "Staff_symbol_engraver"
270 \remove "Time_signature_engraver"
271 \consists "Pitch_squash_engraver"
278 If the duration is omitted then it is set to the previous duration
279 entered. At the start of parsing a quarter note is assumed. The
280 duration can be followed by dots (`@code{.}') to obtain dotted note
284 @lilypond[fragment,verbatim,center]
290 You can alter the length of duration by a fraction @var{N/M} by
291 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
292 will not affect the appearance of the notes or rests produced.
294 Durations can also be produced through GUILE extension mechanism.
295 @lilypond[verbatim,fragment]
296 c\duration #(make-duration 2 1)
307 A tie connects two adjacent note heads of the same pitch. The tie in
308 effect extends the length of a note. A tie is entered with @code{~}.
310 @lilypond[fragment,verbatim,center]
311 e' ~ e' <c' e' g'> ~ <c' e' g'>
314 When ties are used with chords, all note heads whose pitches match are
315 connected. Ties are indicated using the tilde symbol `@code{~}'. If
316 you try to tie together chords which have no common pitches then no
317 ties will be created.
319 If you want less ties created for a chord, you can set
320 @code{Voice.sparseTies} to true. In this case, a single tie is used
321 for every tied chord.
322 @lilypond[fragment,verbatim,center]
323 \property Voice.sparseTies = ##t
324 <c' e' g'> ~ <c' e' g'>
327 In its meaning a tie is just a way of extending a note duration, similar
328 to the augmentation dot: the following example are two ways of notating
329 exactly the same concept.
331 @lilypond[fragment, singleline]
332 \time 3/4 c'2. c'2 ~ c'4
334 Ties should not be confused with slurs, which indicate articulation,
335 and phrasing slurs, which indicate musical phrasing.
337 See also @seeinternals{Tie}.
342 At present, the tie is represented as a separate event, temporally
343 located in between the notes. Tieing only a subset of the note heads
344 of a chord is not supported in a simple way. It can be achieved by
345 moving the tie-engraver into the Thread context and turning on and off
348 @node Automatic note splitting
349 @subsection Automatic note splitting
350 @c FIXME: This subsection doesn't belong in @ref{Note entry}.
352 There is a facility for automatically converting long notes to tied
353 notes. This is done by replacing the @code{Note_heads_engraver} by the
354 @code{Completion_heads_engraver}.
356 @lilypond[verbatim,center]
358 \notes\relative c'{ \time 2/4
359 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
363 \remove "Note_heads_engraver"
364 \consists "Completion_heads_engraver"
368 This engraver splits all running notes at the bar line, and inserts
369 ties. One of its uses is to debug complex scores: if the measures are
370 not entirely filled, then the ties exactly show how much each measure
375 Not all durations (especially those containing tuplets) can be
376 represented exactly; the engraver will not insert tuplets.
383 @cindex @code{\times}
385 Tuplets are made out of a music expression by multiplying all duration
388 @cindex @code{\times}
390 \times @var{fraction} @var{musicexpr}
393 The duration of @var{musicexpr} will be multiplied by the fraction.
394 In print, the fraction's denominator will be printed over the notes,
395 optionally with a bracket. The most common tuplet is the triplet in
396 which 3 notes have the length of 2, so the notes are 2/3 of
397 their written length:
399 @lilypond[fragment,verbatim,center]
400 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
403 The property @code{tupletSpannerDuration} specifies how long each bracket
404 should last. With this, you can make lots of tuplets while typing
405 @code{\times} only once, thus saving typing work.
407 @lilypond[fragment, relative, singleline, verbatim]
408 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
409 \times 2/3 { c'8 c c c c c }
412 The format of the number is determined by the property
413 @code{tupletNumberFormatFunction}. The default prints only the
414 denominator, but if you set it to the Scheme function
415 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
419 @cindex @code{tupletNumberFormatFunction}
420 @cindex tuplet formatting
422 See also @seeinternals{TupletBracket}.
426 Nested tuplets are not formatted automatically. In this case, outer
427 tuplet brackets should be moved automatically.
429 @node Easy Notation note heads
430 @subsection Easy Notation note heads
432 @cindex easy notation
435 A entirely different type of note head is the "easyplay" note head: a
436 note head that includes a note name. It is used in some publications by
437 Hal-Leonard Inc. music publishers.
439 @lilypond[singleline,verbatim]
440 \include "paper23.ly"
442 \notes { c'2 e'4 f' | g'1 }
443 \paper { \translator { \EasyNotation } }
447 Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
448 probably will want to print it with magnification to make it more
455 If you view the result with Xdvi, then staff lines will show through
456 the letters. Printing the postscript file obtained with ly2dvi does
457 produce the correct result.
460 @node Easier music entry
461 @section Easier music entry
467 * Skipping corrected music::
470 When entering music with LilyPond, it is easy to introduce errors. This
471 section deals with tricks and features that help you enter music, and
472 find and correct mistakes.
475 @node Relative octaves
476 @subsection Relative octaves
478 @cindex relative octave specification
480 Octaves are specified by adding @code{'} and @code{,} to pitch names.
481 When you copy existing music, it is easy to accidentally put a pitch in
482 the wrong octave and hard to find such an error. To prevent these
483 errors, LilyPond features octave entry.
485 @cindex @code{\relative}
487 \relative @var{startpitch} @var{musicexpr}
490 The octave of notes that appear in @var{musicexpr} are calculated as
491 follows: If no octave changing marks are used, the basic interval
492 between this and the last note is always taken to be a fourth or less
493 (This distance is determined without regarding alterations; a
494 @code{fisis} following a @code{ceses} will be put above the
497 The octave changing marks @code{'} and @code{,} can be added to raise or
498 lower the pitch by an extra octave. Upon entering relative mode, an
499 absolute starting pitch must be specified that will act as the
500 predecessor of the first note of @var{musicexpr}.
502 Entering music that changes octave frequently is easy in relative mode.
503 @lilypond[fragment,singleline,verbatim,center]
509 And octave changing marks are used for intervals greater than a fourth.
510 @lilypond[fragment,verbatim,center]
515 If the preceding item is a chord, the first note of the chord is used
516 to determine the first note of the next chord. However, other notes
517 within the second chord are determined by looking at the immediately
520 @lilypond[fragment,verbatim,center]
527 @cindex @code{\notes}
529 The pitch after the @code{\relative} contains a note name. To parse
530 the pitch as a note name, you have to be in note mode, so there must
531 be a surrounding @code{\notes} keyword (which is not
534 The relative conversion will not affect @code{\transpose},
535 @code{\chords} or @code{\relative} sections in its argument. If you
536 want to use relative within transposed music, you must place an
537 additional @code{\relative} inside the @code{\transpose}.
542 @subsection Bar check
546 @cindex @code{barCheckSynchronize}
550 Whenever a bar check is encountered during interpretation, a warning
551 message is issued if it doesn't fall at a measure boundary. This can
552 help you find errors in the input. Depending on the value of
553 @code{barCheckSynchronize}, the beginning of the measure will be
554 relocated, so this can also be used to shorten measures.
556 A bar check is entered using the bar symbol, @code{|}:
558 \time 3/4 c2 e4 | g2.
563 @cindex skipTypesetting
565 Failed bar checks are most often caused by entering incorrect
566 durations. Incorrect durations often completely garble up the score,
567 especially if it is polyphonic, so you should start correcting the score
568 by scanning for failed bar checks and incorrect durations. To speed up
569 this process, you can use @code{skipTypesetting} (See @ref{Skipping
572 @c . {Point and click}
573 @node Point and click
574 @subsection Point and click
576 Point and click lets you find notes in the input by clicking on them in
577 the Xdvi window. This makes it very easy to find input that causes some
578 error in the sheet music.
580 To use it, you need the following software
584 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
585 Xdvi} version 22.36 or newer.
587 Note that most @TeX{} distributions ship with xdvik, which is a
588 different and less well maintained program. To find out which xdvi you
589 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
590 @item Emacs. Emacs is an extensible text-editor It is available from
591 @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
595 Xdvi must be configured to find the @TeX{} fonts and music
596 fonts. Refer to the Xdvi documentation for more information.
598 To use point-and-click, add one of these lines to the top of your .ly
601 #(set! point-and-click line-location)
604 In the emacs startup file (usually @file{~/.emacs}), add the following
609 Make sure that the environment variable @code{XEDITOR} is set to
611 emacsclient --no-wait +%l %f
614 When viewing, Control-Mousebutton 1 will take you to the originating
615 spot in the @file{.ly} file. Control-Mousebutton 2 will show all
618 If you use Emacs version 21, then you can make emacs jump to the exact
619 spot (and not just the line) on a click, you must enable column
620 positioning. At the top of the @code{ly} file, replace the
621 @code{set!} line with the following line
623 #(set! point-and-click line-column-location)
625 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
627 If you correct large files with point-and-click, be sure to start
628 correcting at the end of the file. When you start at the top, and
629 insert one line, all following locations will be off by a line.
634 When you convert the @TeX{} file to PostScript using @code{dvips}, it
635 will complain about not finding @code{src:X:Y} files. These complaints
636 are harmless, and can be ignored.
638 @node Skipping corrected music
639 @subsection Skipping corrected music
641 The property @code{Score.skipTypesetting} can be used to switch on and
642 off typesetting completely during the interpretation phase. When
643 typesetting is switched off, the music is processed much more quickly.
644 You can use this to skip over the parts of a score that you have already
647 @lilypond[fragment,singleline,verbatim]
649 \property Score.skipTypesetting = ##t
651 \property Score.skipTypesetting = ##f
659 @section Staff notation
661 This section deals with music notation that occurs on staff level,
662 such as keys, clefs and time signatures.
664 @cindex Staff notation
676 @subsection Key signature
681 Setting or changing the key signature is done with the @code{\key}
684 @code{\key} @var{pitch} @var{type}
687 @cindex @code{\minor}
688 @cindex @code{\major}
689 @cindex @code{\minor}
690 @cindex @code{\ionian}
691 @cindex @code{\locrian}
692 @cindex @code{\aeolian}
693 @cindex @code{\mixolydian}
694 @cindex @code{\lydian}
695 @cindex @code{\phrygian}
696 @cindex @code{\dorian}
698 Here, @var{type} should be @code{\major} or @code{\minor} to get
699 @var{pitch}-major or @var{pitch}-minor, respectively.
700 The standard mode names @code{\ionian},
701 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
702 @code{\phrygian}, and @code{\dorian} are also defined.
704 This command sets the context property @code{Staff.keySignature}.
705 Non-standard key signatures can be specified by setting this property
708 The printed signature is a @internalsref{KeySignature} grob, typically
709 created in @internalsref{Staff} context.
711 @cindex @code{keySignature}
718 The clef can be set or changed with the @code{\clef} command:
719 @lilypond[fragment,verbatim]
720 \key f\major c''2 \clef alto g'2
723 Supported clef-names include
724 @c Moved standard clefs to the top /MB
726 @item treble, violin, G, G2
735 G clef on 1st line, so-called French violin clef
750 By adding @code{_8} or @code{^8} to the clef name, the clef is
751 transposed one octave down or up, respectively. Note that you have to
752 enclose @var{clefname} in quotes if you use underscores or digits in the
758 The grob for this symbol is @internalsref{Clef}.
761 This command is equivalent to setting @code{clefGlyph},
762 @code{clefPosition} (which controls the Y position of the clef),
763 @code{centralCPosition} and @code{clefOctavation}. A clef is created
764 when any of these properties are changed.
767 @c . {Time signature}
769 @subsection Time signature
770 @cindex Time signature
774 The time signature is set or changed by the @code{\time}
776 @lilypond[fragment,verbatim]
777 \time 2/4 c'2 \time 3/4 c'2.
780 The actual symbol that's printed can be customized with the @code{style}
781 property. Setting it to @code{#'()} uses fraction style for 4/4 and
785 The grob for this symbol is @internalsref{TimeSignature}. There are
786 many more options for its layout. They are selected through the
787 @code{style} grob property. See @file{input/test/time.ly} for more
790 This command sets the property @code{timeSignatureFraction},
791 @code{beatLength} and @code{measureLength}. The property
792 @code{timeSignatureFraction} determine where bar lines should be
793 inserted, and how automatic beams should be generated. Changing the
794 value of @code{timeSignatureFraction} also causes a time signature
795 symbol to be printed.
802 @cindex partial measure
803 @cindex measure, partial
804 @cindex shorten measures
805 @cindex @code{\partial}
807 Partial measures, for example in upbeats, are entered using the
808 @code{\partial} command:
809 @lilypond[fragment,verbatim]
810 \partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
813 The syntax for this command is
815 \partial @var{duration}
817 This is internally translated into
819 \property Score.measurePosition = -@var{length of duration}
822 The property @code{measurePosition} contains a rational number
823 indicating how much of the measure has passed at this point.
826 @node Unmetered music
827 @subsection Unmetered music
829 Bar lines and bar numbers are calculated automatically. For unmetered
830 music (e.g. cadenzas), this is not desirable. The commands
831 @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
834 @lilypond[fragment,relative,singleline,verbatim]
842 The property @code{Score.timing} can be used to switch off this
847 @subsection Bar lines
851 @cindex measure lines
854 Bar lines are inserted automatically, but if you need a special type
855 of barline, you can force one using the @code{\bar} command:
856 @lilypond[fragment,verbatim] c4 \bar "|:" c4
859 The following bar types are available
860 @lilypond[fragment, relative, singleline, verbatim]
872 You are encouraged to use @code{\repeat} for repetitions. See
875 In scores with many staffs, the barlines are automatically placed at
876 top level, and they are connected between different staffs of a
877 @internalsref{StaffGroup}:
878 @lilypond[fragment, verbatim]
879 < \context StaffGroup <
880 \context Staff = up { e'4 d'
883 \context Staff = down { \clef bass c4 g e g } >
884 \context Staff = pedal { \clef bass c2 c2 } >
887 The grobs that are created at @internalsref{Staff} level. The name is
888 @internalsref{BarLine}.
890 The command @code{\bar @var{bartype}} is a short cut for
891 doing @code{\property Score.whichBar = @var{bartype}}
892 Whenever @code{whichBar} is set to a string, a bar line of that type is
893 created. @code{whichBar} is usually set automatically: at the start of
894 a measure it is set to @code{defaultBarType}. The contents of
895 @code{repeatCommands} is used to override default measure bars.
897 @code{whichBar} can also be set directly, using @code{\property} or
898 @code{\bar }. These settings take precedence over the automatic
899 @code{whichBar} settings.
902 @cindex Bar_line_engraver
904 @cindex repeatCommands
905 @cindex defaultBarType
914 The easiest way to enter such fragments with more than one voice on a
915 staff is to split chords using the separator @code{\\}. You can use
916 it for small, short-lived voices (make a chord of voices) or for
919 @lilypond[verbatim,fragment]
920 \context Voice = VA \relative c'' {
921 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
925 The separator causes @internalsref{Voice} contexts to be instantiated,
926 bearing the names @code{"1"}, @code{"2"}, etc.
928 Sometimes, it is necessary to instantiate these contexts by hand: For
929 Instantiate a separate Voice context for each part, and use
930 @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
931 and horizontal shift for each part.
934 @lilypond[singleline, verbatim]
936 \context Staff < \context Voice = VA { \voiceOne cis2 b }
937 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
938 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
941 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
942 ties, slurs and stems, and set shift directions.
944 If you want more than four voices, you can also manually set
945 horizontal shifts and stem directions, as is shown in the following example:
946 @lilypond[fragment, verbatim]
947 \context Staff \notes\relative c''<
954 \context Voice=three {
955 \shiftOnn \stemUp ais
957 \context Voice=four {
958 \shiftOnnn \stemUp fis
964 Normally, note heads with a different number of dots are not merged, but
965 if you set the grob property @code{merge-differently-dotted}, they are:
966 @lilypond[verbatim,fragment,singleline]
969 \property Staff.NoteCollision \override
970 #'merge-differently-dotted = ##t
972 } \\ { [g'8. f16] [g'8. f'16] }
976 Similarly, you can merge half note heads with eighth notes, by setting
977 @code{merge-differently-headed}:
978 @lilypond[fragment, relative=2,verbatim]
981 \property Staff.NoteCollision
982 \override #'merge-differently-headed = ##t
983 c8 c4. } \\ { c2 c2 } >
986 LilyPond also vertically shifts rests that are opposite of a stem.
988 @lilypond[singleline,fragment,verbatim]
989 \context Voice < c''4 \\ r4 >
992 See also @internalsref{NoteCollision} and @internalsref{RestCollision}
996 Resolving collisions is a very intricate subject, and LilyPond only
997 handles a few situations. When it can not cope, you are advised to use
998 @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
999 rests to override typesetting decisions.
1004 Beams are used to group short notes into chunks that are aligned with
1005 the metrum. They are inserted automatically in most cases.
1007 @lilypond[fragment,verbatim, relative=2]
1008 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1011 If you're not satisfied with the automatic beaming, you can enter the
1012 beams explicitly. If you have beaming patterns that differ from the
1013 defaults, you can also set the patterns for automatic beamer.
1015 See also @internalsref{Beam}.
1018 @cindex Automatic beams
1019 @subsection Manual beams
1020 @cindex beams, manual
1024 In some cases it may be necessary to override LilyPond's automatic
1025 beaming algorithm. For example, the auto beamer will not beam over
1026 rests or bar lines, If you want that, specify the begin and end point
1027 manually using a @code{[} before the first beamed note and a @code{]}
1028 after the last note:
1030 @lilypond[fragment,relative,verbatim]
1032 r4 [r8 g' a r8] r8 [g | a] r8
1036 @cindex @code{stemLeftBeamCount}
1038 Normally, beaming patterns within a beam are determined automatically.
1039 When this mechanism fouls up, the properties
1040 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1041 be used to control the beam subdivision on a stem. If you set either
1042 property, its value will be used only once, and then it is erased.
1044 @lilypond[fragment,relative,verbatim]
1047 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1050 @cindex @code{stemRightBeamCount}
1053 The property @code{subdivideBeams} can be set in order to subdivide
1054 all 16th or shorter beams at beat positions. This accomplishes the
1055 same effect as twiddling with @code{stemLeftBeamCount} and
1056 @code{stemRightBeamCount}, but it take less typing.
1061 \property Voice.subdivideBeams = ##t
1063 [c32 c c c c c c c c c c c c c c c]
1064 \property Score.beatLength = #(make-moment 1 8)
1065 [c32 c c c c c c c c c c c c c c c]
1069 \notes \relative c' {
1071 \property Voice.subdivideBeams = ##t
1073 [c32 c c c c c c c c c c c c c c c]
1074 \property Score.beatLength = #(make-moment 1 8)
1075 [c32 c c c c c c c c c c c c c c c]
1079 @cindex subdivideBeams
1081 Kneed beams are inserted automatically, when a large gap between two
1082 adjacent beamed notes is detected. This behavior can be tuned through
1083 the grob property @code{auto-knee-gap}.
1085 @cindex beams, kneed
1087 @cindex auto-knee-gap
1091 @c TODO -> why this ref? Document?
1092 @cindex @code{neutral-direction}
1096 Auto knee beams can not be used together with hara kiri staffs.
1099 * Setting automatic beam behavior ::
1103 @no de Beam typography
1104 @sub section Beam typography
1106 One of the strong points of LilyPond is how beams are formatted. Beams
1107 are quantized, meaning that the left and right endpoints beams start
1108 exactly on staff lines. Without quantization, small wedges of white
1109 space appear between the beam and staff line, and this looks untidy.
1111 Beams are also slope-damped: melodies that go up or down should also
1112 have beams that go up or down, but the slope of the beams should be
1113 less than the slope of the notes themselves.
1115 Some beams should be horizontal. These are so-called concave beams.
1117 [TODO: some pictures.]
1120 @c . {Automatic beams}
1121 @node Setting automatic beam behavior
1122 @subsection Setting automatic beam behavior
1124 @cindex @code{autoBeamSettings}
1125 @cindex @code{(end * * * *)}
1126 @cindex @code{(begin * * * *)}
1127 @cindex automatic beams, tuning
1128 @cindex tuning automatic beaming
1130 In normal time signatures, automatic beams can start on any note but can
1131 only end in a few positions within the measure: beams can end on a beat,
1132 or at durations specified by the properties in
1133 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1134 are defined in @file{scm/auto-beam.scm}.
1136 The value of @code{autoBeamSettings} is changed using
1137 @code{\override} and unset using @code{\revert}:
1139 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1140 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1142 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1143 whether the rule applies to begin or end-points. The quantity
1144 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1145 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1146 signature (wildcards, `@code{* *}' may be entered to designate all time
1149 For example, if you want automatic beams to end on every quarter note,
1150 you can use the following:
1152 \property Voice.autoBeamSettings \override
1153 #'(end * * * *) = #(make-moment 1 4)
1155 Since the duration of a quarter note is 1/4 of a whole note, it is
1156 entered as @code{(make-moment 1 4)}.
1158 The same syntax can be used to specify beam starting points. In this
1159 example, automatic beams can only end on a dotted quarter note.
1161 \property Voice.autoBeamSettings \override
1162 #'(end * * * *) = #(make-moment 3 8)
1164 In 4/4 time signature, this means that automatic beams could end only on
1165 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1166 3/8 has passed within the measure).
1168 You can also restrict rules to specific time signatures. A rule that
1169 should only be applied in @var{N}/@var{M} time signature is formed by
1170 replacing the second asterisks by @var{N} and @var{M}. For example, a
1171 rule for 6/8 time exclusively looks like
1173 \property Voice.autoBeamSettings \override
1174 #'(begin * * 6 8) = ...
1177 If you want a rule to apply to certain types of beams, you can use the
1178 first pair of asterisks. Beams are classified according to the shortest
1179 note they contain. For a beam ending rule that only applies to beams
1180 with 32nd notes (and no shorter notes), you would use @code{(end 1
1184 @c Automatic beams can not be put on the last note in a score.
1186 If a score ends while an automatic beam has not been ended and is still
1187 accepting notes, this last beam will not be typeset at all.
1189 @cindex automatic beam generation
1191 @cindex @code{Voice.autoBeaming}
1194 For melodies that have lyrics, you may want to switch off
1195 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1201 It is not possible to specify beaming parameters for beams with mixed
1202 durations, that differ from the beaming parameters of all separate
1203 durations, i.e., you'll have to specify manual beams to get:
1204 @lilypond[fragment,singleline,relative]
1205 \property Voice.autoBeamSettings
1206 \override #'(end * * * *) = #(make-moment 3 8)
1207 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1210 It is not possible to specify beaming parameters that act differently in
1211 different parts of a measure. This means that it is not possible to use
1212 automatic beaming in irregular meters such as @code{5/8}.
1215 @section Accidentals
1217 This section describes how to change the way that LilyPond automatically
1218 inserts accidentals before the running notes.
1221 * Using the predefined accidental macros::
1222 * Defining your own accidental typesettings::
1225 @node Using the predefined accidental macros
1226 @subsection Using the predefined accidental macros
1227 The constructs for describing the accidental typesetting rules are
1228 quite hairy, so non-experts should stick to the macros defined in
1229 @file{ly/property-init.ly}.
1230 @cindex @file{property-init.ly}
1232 The normal way of using the macros is to enter the macro name right after the
1233 creation of the context in which the accidental typesetting described
1234 by the macro is to take effect. I.e. if you want to use
1235 piano-accidentals in a pianostaff then you issue
1236 @code{\pianoAccidentals} first thing after the creation of the piano
1240 \notes \relative c'' <
1241 \context Staff = sa @{ cis4 d e2 @}
1242 \context GrandStaff <
1244 \context Staff = sb @{ cis4 d e2 @}
1245 \context Staff = sc @{ es2 c @}
1247 \context Staff = sd @{ es2 c @}
1251 @lilypond[singleline]
1253 \notes \relative c'' <
1254 \context Staff = sa { cis4 d e2 }
1255 \context GrandStaff <
1257 \context Staff = sb { cis4 d e2 }
1258 \context Staff = sc { es2 c }
1260 \context Staff = sd { es2 c }
1265 minimumVerticalExtent = #'(-4.0 . 4.0)
1273 @item \defaultAccidentals
1274 @cindex @code{\defaultAccidentals}
1275 This is the default typesetting behaviour. It should correspond
1276 to 18th century common practice: Accidentals are
1277 remembered to the end of the measure in which they occur and
1278 only on their own octave.
1280 @item \voiceAccidentals
1281 @cindex @code{\voiceAccidentals}
1282 The normal behaviour is to remember the accidentals on
1284 This macro, however, typesets accidentals individually for each
1286 Apart from that the rule is similar to
1287 @code{\defaultAccidentals}.
1289 Warning: This leads to some weird and often unwanted results
1290 because accidentals from one voice DO NOT get cancelled in other
1292 @lilypond[singleline,relative,fragment,verbatim]
1295 \context Voice=va { \voiceOne es g }
1296 \context Voice=vb { \voiceTwo c, e }
1299 Hence you should only use @code{\voiceAccidentals}
1300 if the voices are to be read solely by
1301 individual musicians. if the staff should be readable also
1302 by one musician/conductor then you should use
1303 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1306 @item \modernAccidentals
1307 @cindex @code{\modernAccidentals}
1308 This rule should correspond to the common practice in the 20th
1310 The rule is a bit more complex than @code{\defaultAccidentals}:
1311 You get all the same accidentals, but temporary
1312 accidentals also get cancelled in other octaves. Further more,
1313 in the same octave, they also get cancelled in the following measure:
1314 @lilypond[singleline,fragment,verbatim]
1316 cis' c'' cis'2 | c'' c'
1319 @item \modernCautionaries
1320 @cindex @code{\modernCautionaries}
1321 This rule is similar to @code{\modernAccidentals}, but the
1322 ``extra'' accidentals (the ones not typeset by
1323 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1324 (i.e. in reduced size):
1325 @lilypond[singleline,fragment,verbatim]
1327 cis' c'' cis'2 | c'' c'
1330 @item \modernVoiceAccidentals
1331 @cindex @code{\modernVoiceAccidentals}
1332 Multivoice accidentals to be read both by musicians playing one voice
1333 and musicians playing all voices.
1335 Accidentals are typeset for each voice, but they ARE cancelled
1336 across voices in the same @internalsref{Staff}.
1338 @item \modernVoiceCautionaries
1339 @cindex @code{\modernVoiceCautionaries}
1340 The same as @code{\modernVoiceAccidentals}, but with the
1341 extra accidentals (the ones not typeset by
1342 @code{\voiceAccidentals}) typeset as cautionaries.
1343 Notice that even though all accidentals typeset by
1344 @code{\defaultAccidentals} ARE typeset by this macro then some
1345 of them are typeset as cautionaries.
1347 @item \pianoAccidentals
1348 @cindex @code{\pianoAccidentals}
1349 20th century practice for piano notation. Very similar to
1350 @code{\modernAccidentals} but accidentals also get cancelled
1351 across the staves in the same @internalsref{GrandStaff} or
1352 @internalsref{PianoStaff}.
1354 @item \pianoCautionaries
1355 @cindex @code{\pianoCautionaries}
1356 As @code{\pianoAccidentals} but with the extra accidentals
1357 typeset as cationaries.
1360 @cindex @code{\noResetKey}
1361 Same as @code{\defaultAccidentals} but with accidentals lasting
1362 ``forever'' and not only until the next measure:
1363 @lilypond[singleline,fragment,verbatim,relative]
1368 @item \forgetAccidentals
1369 @cindex @code{\forgetAccidentals}
1370 This is sort of the opposite of @code{\noResetKey}: Accidentals
1371 are not remembered at all - and hence all accidentals are
1372 typeset relative to the key signature, regardless of what was
1373 before in the music:
1374 @lilypond[singleline,fragment,verbatim,relative]
1376 \key d\major c4 c cis cis d d dis dis
1380 @node Defining your own accidental typesettings
1381 @subsection Defining your own accidental typesettings
1383 This section must be considered gurus-only, and hence it must be
1384 sufficient with a short description of the system and a reference to
1385 the internal documentation.
1387 The idea of the algorithm is to try several different rules and then
1388 use the rule that gives the highest number of accidentals.
1389 Each rule cosists of
1392 In which context is the rule applied. I.e. if context is
1393 @internalsref{Score} then all staves share accidentals, and if
1394 context is @internalsref{Staff} then all voices in the same
1395 staff share accidentals, but staves don't - like normally.
1397 Whether the accidental changes all octaves or only the current
1400 Over how many barlines the accidental lasts.
1401 If lazyness is @code{-1} then the accidental is forget
1402 immidiately, and if lazyness is @code{#t} then the accidental
1406 As described in the internal documentation of
1407 @reng{Accidental_engraver}, the properties @code{autoAccidentals} and
1408 @code{autoCautionaries} contain lists of rule descriptions. Notice
1409 that the contexts must be listed from in to out - that is
1410 @internalsref{Thread} before @internalsref{Voice},
1411 @internalsref{Voice} before @internalsref{Staff}, etc.
1412 see the macros in @file{ly/property-init.ly} for examples of how the
1417 Currently the simultaneous notes are considered to be entered in
1418 sequential mode. This means that in a chord the accidentals are
1419 typeset as if the notes in the chord happened one at a time - in the
1420 order in which they appear in the input file.
1422 Of course this is only a problem when you have simultainous notes
1423 which accidentals should depend on each other.
1424 Notice that the problem only occurs when using non-default accidentals
1425 - as the default accidentals only depend on other accidentals on the
1426 same staff and same pitch and hence cannot depend on other
1429 This example shows two examples of the same music giving different
1430 accidentals depending on the order in which the notes occur in the
1433 @lilypond[singleline,fragment,verbatim]
1434 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1435 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
1438 The only solution is to manually insert the problematic
1439 accidentals using @code{!} and @code{?}.
1441 @node Expressive marks
1442 @section Expressive marks
1457 A slur indicates that notes are to be played bound or @emph{legato}.
1458 They are entered using parentheses:
1459 @lilypond[fragment,verbatim,center]
1460 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1463 See also @seeinternals{Slur}.
1465 Slurs avoid crossing stems, and are generally attached to note heads.
1466 However, in some situations with beams, slurs may be attached to stem
1467 ends. If you want to override this layout you can do this through the
1468 grob-property @code{attachment} of @internalsref{Slur} in
1469 @internalsref{Voice} context It's value is a pair of symbols, specifying
1470 the attachment type of the left and right end points.
1472 @lilypond[fragment,relative,verbatim]
1474 \property Voice.Stem \set #'length = #5.5
1476 \property Voice.Slur \set #'attachment = #'(stem . stem)
1480 If a slur would strike through a stem or beam, the slur will be moved
1481 away upward or downward. If this happens, attaching the slur to the
1482 stems might look better:
1484 @lilypond[fragment,relative,verbatim]
1487 \property Voice.Slur \set #'attachment = #'(stem . stem)
1492 Similarly, the curvature of a slur is adjusted to stay clear of note
1493 heads and stems. When that would increase the curvature too much, the
1494 slur is reverted to its default shape. The threshold for this
1495 decision is in @internalsref{Slur}'s grob-property @code{beautiful}.
1496 It is loosely related to the enclosed area between the slur and the
1497 notes. Usually, the default setting works well, but in some cases you
1498 may prefer a curved slur when LilyPond decides for a vertically moved
1499 one. You can indicate this preference by increasing the
1500 @code{beautiful} value:
1502 @lilyp ond[verbatim,singleline,relative]
1504 c16( a' f' a a f a, )c,
1505 c( a' f' a a f d, )c
1506 \property Voice.Slur \override #'beautiful = #5.0
1507 c( a' f' a a f d, )c
1513 Producing nice slurs is a difficult problem, and LilyPond currently
1514 uses a simple, empiric method to produce slurs. In some cases, the
1515 results of this method are ugly.
1518 This is reflected by the
1519 @code{beautiful} property, which it is an arbitrary parameter in the
1520 slur formatter. Useful values can only be determined by trial and
1524 @cindex Adjusting slurs
1526 @node Phrasing slurs
1527 @subsection Phrasing slurs
1529 @cindex phrasing slurs
1530 @cindex phrasing marks
1532 A phrasing slur (or phrasing mark) connects chords and is used to
1533 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1536 @lilypond[fragment,verbatim,center,relative]
1537 \time 6/4 c' \( d () e f () e \) d
1540 Typographically, the phrasing slur behaves almost exactly like a normal
1541 slur. See also @seeinternals{PhrasingSlur}.
1545 @subsection Breath marks
1547 Breath marks are entered using @code{\breathe}. See also
1548 @seeinternals{BreathingSign}.
1550 @lilypond[fragment,relative]
1559 @cindex beats per minute
1560 @cindex metronome marking
1562 Metronome settings can be entered as follows:
1564 @cindex @code{\tempo}
1566 \tempo @var{duration} = @var{perminute}
1569 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1574 The tempo setting is not printed, but is only used in the MIDI
1575 output. You can trick lily into producing a metronome mark,
1576 though. Details are in @ref{Text markup}.
1581 @subsection Text spanners
1582 @cindex Text spanners
1584 Some textual indications, e.g. rallentando or accelerando, often extend
1585 over many measures. This is indicated by following the text with a
1586 dotted line. You can create such texts using text spanners. The syntax
1589 \spanrequest \start "text"
1590 \spanrequest \stop "text"
1592 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1593 in @internalsref{Voice} context). The string to be printed, as well as the
1594 style is set through grob properties.
1596 An application---or rather, a hack---is to fake octavation indications.
1597 @lilypond[fragment,relative,verbatim]
1598 \relative c' { a''' b c a
1599 \property Voice.TextSpanner \set #'type = #'dotted-line
1600 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1601 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1602 \property Staff.centralCPosition = #-13
1603 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1621 @subsection Articulations
1622 @cindex Articulations
1624 @cindex articulations
1628 A variety of symbols can appear above and below notes to indicate
1629 different characteristics of the performance. They are added to a note
1630 by adding a dash and the the character signifying the
1631 articulation. They are demonstrated here.
1632 @lilypond[singleline]
1634 \notes \context Voice {
1635 \property Voice.TextScript \set #'font-family = #'typewriter
1636 \property Voice.TextScript \set #'font-shape = #'upright
1642 c''4-^_"c-\\^{ }" s4
1647 The script is automatically placed, but if you need to force
1648 directions, you can use @code{_} to force them down, or @code{^} to
1650 @lilypond[fragment, verbatim]
1655 Other symbols can be added using the syntax
1656 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1657 using @code{^} and @code{_}.
1661 \property Score.LyricText \override #'font-family =#'typewriter
1662 \property Score.LyricText \override #'font-shape = #'upright
1663 \context Staff \notes {
1664 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1665 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1666 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1667 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1668 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1669 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1670 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1671 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1673 \context Lyrics \lyrics {
1674 accent__ marcato__ staccatissimo__ fermata
1675 stopped__ staccato__ tenuto__ upbow
1676 downbow__ lheel__ rheel__ ltoe
1677 rtoe__ turn__ open__ flageolet
1678 reverseturn__ trill__ prall__ mordent
1679 prallprall__ prallmordent__ uprall__ downprall
1680 upmordent__ downmordent__ pralldown__ prallup__
1681 lineprall__ thumb__ segno__ coda
1685 linewidth = 5.875\in
1694 Fingering instructions can also be entered in this shorthand. For
1695 finger changes, use markup texts:
1697 @lilypond[verbatim, singleline, fragment]
1698 c'4-1 c'4-2 c'4-3 c'4-4
1703 @cindex @code{\script}
1708 See also @seeinternals{Script} and @seeinternals{Fingering}.
1712 All of these note ornaments appear in the printed output but have no
1713 effect on the MIDI rendering of the music.
1715 Unfortunately, there is no support for adding fingering instructions or
1716 ornaments to individual note heads. Some hacks exist, though. See
1717 @file{input/test/script-horizontal.ly}.
1722 @subsection Text scripts
1723 @cindex Text scripts
1725 In addition, it is possible to place arbitrary strings of text or markup
1726 text (see @ref{Text markup}) above or below notes by using a string:
1729 By default, these indications do not influence the note spacing, but
1730 by using the command @code{\fatText}, the widths will be taken into
1733 @lilypond[fragment,singleline,verbatim] \relative c' {
1734 c4^"longtext" \fatText c4_"longlongtext" c4 }
1737 It is possible to use @TeX{} commands in the strings, but this should be
1738 avoided because it makes it impossible for LilyPond to compute the
1739 exact length of the string, which may lead to collisions. Also, @TeX{}
1740 commands won't work with direct PostScript output (see @ref{PostScript
1743 Text scripts are created in form of @internalsref{TextScript} grobs, in
1744 @internalsref{Voice} context.
1746 @ref{Text markup} describes how to change the font or access
1747 special symbols in text scripts.
1752 @subsection Grace notes
1756 @cindex @code{\grace}
1760 Grace notes are ornaments are written out ornaments
1761 @lilypond[relative=2,verbatim,ifragment]
1762 c4 \grace c16 c4 \grace { [c16 d16] } c4
1765 In normal notation, grace notes are supposed to take up no logical
1766 time in a measure. Such an idea is practical for normal notation, but
1767 is not strict enough to put it into a program. The model that LilyPond
1768 uses for grace notes internally is that all timing is done in two
1771 Every point in musical time consists of two rational numbers: one
1772 denotes the logical time, one denotes the grace timing. The above
1773 example is shown here with timing tuples.
1776 \score { \notes \relative c''{
1777 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1778 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1780 \paper { linewidth = 8.\cm }
1784 The advantage of this approach is that you can use almost any lilypond
1785 construction together with grace notes, for example slurs and clef
1786 changes may appear halfway in between grace notes:
1788 @lilypond[relative=2,verbatim,fragment]
1789 c4 \grace { [ c16 c, \clef bass c, b(] } )c4
1792 The placement of these grace notes is synchronized between different
1793 staffs, using this grace timing.
1795 @lilypond[relative=2,verbatim,fragment]
1796 < \context Staff = SA { e4 \grace { c16 d e f } e4 }
1797 \context Staff = SB { c4 \grace { g8 b } c4 } >
1801 The syntax is as follows.
1803 \grace @var{musicexpr}
1806 Unbeamed eighth notes and shorter by default have a slash through the
1809 @lilypond[fragment,verbatim]
1810 \relative c'' \context Voice {
1811 \grace c8 c4 \grace { [c16 c16] } c4
1813 \property Voice.Stem \override #'flag-style = #'()
1815 \property Voice.Stem \revert #'flag-style
1822 Grace note synchronization can also lead to surprises. Staff notation,
1823 such as key signatures, barlines, etc. are also synchronized. Take
1824 care when you mix staffs with grace notes and staffs without.
1826 @lilypond[relative=2,verbatim,fragment]
1827 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
1828 \context Staff = SB { c4 \bar "|:" d4 } >
1831 Grace sections should only be used within sequential music
1832 expressions. Nesting, juxtaposing, or ending sequential music with a
1833 grace section is not supported, and might produce crashes or other
1845 @subsection Glissando
1848 @cindex @code{\glissando}
1850 A glissando line can be requested by attaching a @code{\glissando} to
1853 @lilypond[fragment,relative,verbatim]
1859 Printing of an additional text (such as @emph{gliss.}) must be done
1860 manually. See also @seeinternals{Glissando}.
1866 @subsection Dynamics
1879 @cindex @code{\ffff}
1889 Absolute dynamic marks are specified using an identifier after a
1890 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1891 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1892 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1893 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1895 @lilypond[verbatim,singleline,fragment,relative]
1896 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1902 @cindex @code{\decr}
1903 @cindex @code{\rced}
1909 A crescendo mark is started with @code{\cr} and terminated with
1910 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1911 started with @code{\decr} and terminated with @code{\rced}. There are
1912 also shorthands for these marks. A crescendo can be started with
1913 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1914 can be terminated with @code{\!}. Note that @code{\!} must go before
1915 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1916 after the last note. Because these marks are bound to notes, if you
1917 want several marks during one note, you have to use spacer notes.
1919 @lilypond[fragment,verbatim,center]
1920 c'' \< \! c'' d'' \decr e'' \rced
1921 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1924 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1925 is an example how to do it:
1927 @lilypond[fragment,relative=2,verbatim]
1928 c4 \cresc c4 \endcresc c4
1935 You can also supply your own texts:
1936 @lilypond[fragment,relative,verbatim]
1938 \property Voice.crescendoText = "cresc. poco"
1939 \property Voice.crescendoSpanner = #'dashed-line
1946 Dynamics are grobs of @internalsref{DynamicText} and
1947 @internalsref{Hairpin}. Vertical positioning of these symbols is
1948 handled by the @internalsref{DynamicLineSpanner} grob. If you want to
1949 adjust padding or vertical direction of the dynamics, you must set
1950 properties for the @internalsref{DynamicLineSpanner} grob. Predefined
1951 identifiers to set the vertical direction are \dynamicUp and
1954 @cindex direction, of dynamics
1955 @cindex @code{\dynamicDown}
1956 @cindex @code{\dynamicUp}
1964 @cindex @code{\repeat}
1966 To specify repeats, use the @code{\repeat} keyword. Since repeats
1967 should work differently when played or printed, there are a few
1968 different variants of repeats.
1972 Repeated music is fully written (played) out. Useful for MIDI
1973 output, and entering repetitive music.
1976 This is the normal notation: Repeats are not written out, but
1977 alternative endings (voltas) are printed, left to right.
1980 Alternative endings are written stacked. This has limited use but may be
1981 used to typeset two lines of lyrics in songs with repeats, see
1982 @file{input/star-spangled-banner.ly}.
1988 Make beat or measure repeats. These look like percent signs.
1994 * Repeats and MIDI::
1995 * Manual repeat commands::
1997 * Tremolo subdivisions::
2002 @subsection Repeat syntax
2004 The syntax for repeats is
2007 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2010 If you have alternative endings, you may add
2011 @cindex @code{\alternative}
2013 \alternative @code{@{} @var{alternative1}
2015 @var{alternative3} @dots{} @code{@}}
2017 where each @var{alternative} is a music expression.
2019 Normal notation repeats are used like this:
2020 @lilypond[fragment,verbatim]
2022 \repeat volta 2 { c'4 d' e' f' }
2023 \repeat volta 2 { f' e' d' c' }
2026 With alternative endings:
2027 @lilypond[fragment,verbatim]
2029 \repeat volta 2 {c'4 d' e' f'}
2030 \alternative { {d'2 d'} {f' f} }
2033 Folded repeats look like this:
2036 @lilypond[fragment,verbatim]
2038 \repeat fold 2 {c'4 d' e' f'}
2039 \alternative { {d'2 d'} {f' f} }
2043 If you don't give enough alternatives for all of the repeats, then
2044 the first alternative is assumed to be repeated often enough to equal
2045 the specified number of repeats.
2047 @lilypond[fragment,verbatim]
2051 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2052 \alternative { { g4 g g } { a | a a a a | b2. } }
2057 @node Repeats and MIDI
2058 @subsection Repeats and MIDI
2060 @cindex expanding repeats
2062 For instructions on how to unfoldi repeats for MIDI output, see
2063 the example file @file{input/test/unfold-all-repeats.ly}.
2068 Notice that timing information is not remembered at the start of an
2069 alternative, so you have to reset timing information after a repeat,
2070 e.g. using a bar-check (See @ref{Bar check}), setting
2071 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
2072 are also not repeated.
2074 It is possible to nest @code{\repeat}s, although this probably is only
2075 meaningful for unfolded repeats.
2077 Folded repeats offer little more over simultaneous music.
2079 @node Manual repeat commands
2080 @subsection Manual repeat commands
2082 @cindex @code{repeatCommands}
2084 The property @code{repeatCommands} can be used to control the layout of
2085 repeats. Its value is a Scheme list of repeat commands, where each repeat
2093 @item (volta . @var{text})
2094 Print a volta bracket saying @var{text}.
2096 Stop a running volta bracket
2099 @lilypond[verbatim, fragment]
2101 \property Score.repeatCommands = #'((volta "93") end-repeat)
2103 \property Score.repeatCommands = #'((volta #f))
2108 Repeats brackets are @internalsref{VoltaBracket} grobs.
2110 @node Tremolo repeats
2111 @subsection Tremolo repeats
2112 @cindex tremolo beams
2114 To place tremolo marks between notes, use @code{\repeat} with tremolo
2116 @lilypond[verbatim,center,singleline]
2118 \context Voice \notes\relative c' {
2119 \repeat "tremolo" 8 { c16 d16 }
2120 \repeat "tremolo" 4 { c16 d16 }
2121 \repeat "tremolo" 2 { c16 d16 }
2122 \repeat "tremolo" 4 c16
2127 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
2128 @internalsref{StemTremolo}. The single stem tremolo @emph{must} be
2129 entered without @code{@{} and @code{@}}.
2133 Only powers of two and undotted notes are supported repeat counts.
2135 @node Tremolo subdivisions
2136 @subsection Tremolo subdivisions
2137 @cindex tremolo marks
2138 @cindex @code{tremoloFlags}
2140 Tremolo marks can be printed on a single note by adding
2141 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2142 A @var{length} value of 8 gives one line across the note stem. If the
2143 length is omitted, then then the last value (stored in
2144 @code{Voice.tremoloFlags}) is used.
2146 @lilypond[verbatim,fragment,center]
2147 c'2:8 c':32 | c': c': |
2153 Tremolos in this style do not carry over into the MIDI output.
2156 @node Measure repeats
2157 @subsection Measure repeats
2159 @cindex percent repeats
2160 @cindex measure repeats
2162 In the @code{percent} style, a note pattern can be repeated. It is
2163 printed once, and then the pattern is replaced with a special sign.
2164 Patterns of a one and two measures are replaced by percent-like signs,
2165 patterns that divide the measure length are replaced by slashes.
2167 @lilypond[verbatim,singleline]
2168 \context Voice { \repeat "percent" 4 { c'4 }
2169 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2173 The signs are represented by these grobs: @internalsref{RepeatSlash} and
2174 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
2178 You can not nest percent repeats, e.g. by filling in the first measure
2179 with slashes, and repeating that measure with percents.
2181 @node Rhythmic music
2182 @section Rhythmic music
2184 Sometimes you might want to show only the rhythm of a melody. This can
2185 be done with the rhythmic staff. All pitches of notes on such a staff
2186 are squashed, and the staff itself looks has a single staff line:
2188 @lilypond[fragment,relative,verbatim]
2189 \context RhythmicStaff {
2191 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2196 * Percussion staves::
2199 @node Percussion staves
2200 @subsection Percussion staves
2203 To typeset more than one piece of percussion to be played by the same
2204 musician one typically uses a multiline staff where each staff
2205 position refers to a specific piece of percussion.
2207 LilyPond is shipped with a bunch of scheme functions which allows you
2208 to do this fairly easily.
2210 The system is based on the general midi drum-pitches.
2211 In order to use the drum pitches you include
2212 @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
2213 variable @code{drum-pitch-names} - which definition can be read in
2214 @file{scm/drums.scm}. You see that each piece of percussion has a full
2215 name and an abbreviated name - and you may freely select whether to
2216 refer to the full name or the abbreviation in your music definition.
2218 To typeset the music on a staff you apply the scheme function
2219 @code{drums->paper} to the percussion music. This function takes a
2220 list of percussion instrument names, notehead scripts and staff
2221 positions (that is: pitches relative to the C-clef) and uses this to
2222 transform the input music by moving the pitch, changing the notehead
2223 and (optionally) adding a script:
2224 @lilypond[singleline,verbatim]
2225 \include "drumpitch-init.ly"
2226 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2227 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2229 \apply #(drums->paper 'drums) \context Staff <
2231 \context Voice = up { \voiceOne \up }
2232 \context Voice = down { \voiceTwo \down }
2237 In the above example the music was transformed using the list @code{'drums}.
2238 Currently the following lists are defined in @file{scm/drums.scm}:
2241 To typeset a typical drum kit on a five line staff.
2243 \include "drumpitch-init.ly"
2244 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2245 bd sn ss tomh tommh tomml toml tomfh tomfl }
2246 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2247 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2250 \apply #(drums->paper 'drums) \context Staff <
2254 \context Lyrics \nam
2259 \remove Bar_engraver
2260 \remove Time_signature_engraver
2261 minimumVerticalExtent = #'(-4.0 . 5.0)
2265 \remove Stem_engraver
2270 Notice that the scheme supports six different toms.
2271 If you are using fewer toms then you simply select the toms that produce
2272 the desired result - i.e. to get toms on the three middle lines you
2273 use @code{tommh}, @code{tomml} and @code{tomfh}.
2275 Because the general midi contain no rimshots we use the sidestick for
2276 this purpose instead.
2278 To typeset timbales on a two line staff.
2279 @lilypond[singleline]
2280 \include "drumpitch-init.ly"
2281 nam = \lyrics { timh ssh timl ssl cb }
2282 mus = \notes { timh ssh timl ssl cb s16 }
2285 \apply #(drums->paper 'timbales) \context Staff <
2289 \context Lyrics \nam
2294 \remove Bar_engraver
2295 \remove Time_signature_engraver
2296 StaffSymbol \override #'line-count = #2
2297 StaffSymbol \override #'staff-space = #2
2298 minimumVerticalExtent = #'(-3.0 . 4.0)
2302 \remove Stem_engraver
2309 To typeset congas on a two line staff.
2310 @lilypond[singleline]
2311 \include "drumpitch-init.ly"
2312 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2313 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2316 \apply #(drums->paper 'congas) \context Staff <
2320 \context Lyrics \nam
2325 \remove Bar_engraver
2326 \remove Time_signature_engraver
2327 StaffSymbol \override #'line-count = #2
2328 StaffSymbol \override #'staff-space = #2
2329 minimumVerticalExtent = #'(-3.0 . 4.0)
2333 \remove Stem_engraver
2339 To typeset bongos on a two line staff.
2340 @lilypond[singleline]
2341 \include "drumpitch-init.ly"
2342 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2343 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2346 \apply #(drums->paper 'bongos) \context Staff <
2350 \context Lyrics \nam
2355 \remove Bar_engraver
2356 \remove Time_signature_engraver
2357 StaffSymbol \override #'line-count = #2
2358 StaffSymbol \override #'staff-space = #2
2359 minimumVerticalExtent = #'(-3.0 . 4.0)
2363 \remove Stem_engraver
2369 To typeset all kinds of simple percussion on one line staves.
2370 @lilypond[singleline]
2371 \include "drumpitch-init.ly"
2372 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2373 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2376 \apply #(drums->paper 'percussion) \context Staff <
2380 \context Lyrics \nam
2385 \remove Bar_engraver
2386 \remove Time_signature_engraver
2387 StaffSymbol \override #'line-count = #1
2388 minimumVerticalExtent = #'(-2.0 . 3.0)
2392 \remove Stem_engraver
2399 If you don't like any of the predefined lists you can define your own
2400 list at the top of your file:
2402 @lilypond[singleline, verbatim]
2404 (bassdrum default #f ,(make-pitch -1 2 0))
2405 (snare default #f ,(make-pitch 0 1 0))
2406 (hihat cross #f ,(make-pitch 0 5 0))
2407 (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0))
2408 (lowtom diamond #f ,(make-pitch -1 6 0))
2410 \include "drumpitch-init.ly"
2411 up = \notes { hh8 hh hh hh hhp4 hhp }
2412 down = \notes { bd4 sn bd toml8 toml }
2414 \apply #(drums->paper 'mydrums) \context Staff <
2416 \context Voice = up { \voiceOne \up }
2417 \context Voice = down { \voiceTwo \down }
2422 To use a modified existing list instead of building your own from
2423 scratch you can append your modifications to the start of the existing
2427 #(define mydrums (append `(
2428 (bassdrum default #f ,(make-pitch -1 2 0))
2429 (lowtom diamond #f ,(make-pitch -1 6 0))
2433 @c FIXME: Too many levels of headers when using subsubsections.
2434 @c Perhaps junk subsection ``Percussion staves''
2435 @subsubsection Percussion staves with normal staves
2436 When you include @file{drumpitch-init.ly} then the default pitches
2437 are overridden so that you after the inclusion cannot use the common
2438 dutch pitch names anymore. Hence you might wan't to reinclude
2439 @file{nederlands.ly} after the drum-pattern-definitions:
2440 @lilypond[singleline,verbatim]
2441 \include "drumpitch-init.ly"
2442 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2443 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2444 \include "nederlands.ly"
2445 bass = \notes \transpose c, { a4. e8 r e g e }
2448 \apply #(drums->paper 'drums) \context Staff = drums <
2450 \context Voice = up { \voiceOne \up }
2451 \context Voice = down { \voiceTwo \down }
2453 \context Staff = bass { \clef "F_8" \bass }
2458 @subsubsection Percussion midi output
2459 In order to produce correct midi output you need to produce two score
2460 blocks - one for the paper and one for the midi.
2461 To use the percussion channel you set the property @code{instrument}
2462 to @code{'drums}. Because the drum-pitches themself are similar to the
2463 general midi pitches all you have to do is to insert the voices with
2464 none of the scheme functions to get the correct midi output:
2468 \apply #(drums->paper 'mydrums) \context Staff <
2470 \context Voice = up @{ \voiceOne \up @}
2471 \context Voice = down @{ \voiceTwo \down @}
2477 \property Staff.instrument = #'drums
2486 This scheme is to be considered a temporary implementation. Even
2487 though the scheme will probably keep on working then the future might
2488 bring some other way of typesetting drums, and probably
2489 there will be made no great efforts in keeping things downwards
2494 @section Piano music
2496 Piano music is an odd type of notation. Piano staves are two normal
2497 staves coupled with a brace. The staves are largely independent, but
2498 sometimes voices can cross between the two staves. The
2499 @internalsref{PianoStaff} is especially built to handle this cross-staffing
2500 behavior. In this section we discuss the @internalsref{PianoStaff} and some
2501 other pianistic peculiarities.
2504 * Automatic staff changes::
2505 * Manual staff switches::
2508 * Voice follower lines::
2512 @c . {Automatic staff changes}
2513 @node Automatic staff changes
2514 @subsection Automatic staff changes
2515 @cindex Automatic staff changes
2517 Voices can switch automatically between the top and the bottom
2518 staff. The syntax for this is
2520 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2522 The autochanger switches on basis of pitch (central C is the turning
2523 point), and it looks ahead skipping over rests to switch rests in
2524 advance. Here is a practical example:
2526 @lilypond[verbatim,singleline]
2527 \score { \notes \context PianoStaff <
2528 \context Staff = "up" {
2529 \autochange Staff \context Voice = VA < \relative c' {
2530 g4 a b c d r4 a g } > }
2531 \context Staff = "down" {
2536 Spacer rests are used to prevent the bottom staff from
2537 terminating too soon.
2540 @node Manual staff switches
2541 @subsection Manual staff switches
2543 @cindex manual staff switches
2544 @cindex staff switch, manual
2546 Voices can be switched between staves manually, using the following command:
2548 \translator Staff = @var{staffname} @var{music}
2550 The string @var{staffname} is the name of the staff. It switches the
2551 current voice from its current staff to the Staff called
2552 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2560 Piano pedal instruction can be expressed using
2561 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2562 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
2564 These identifiers are shorthands for spanner commands of the types
2565 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
2567 @lilypond[fragment,verbatim]
2568 c''4 \spanrequest \start "Sustain" c''4
2569 c''4 \spanrequest \stop "Sustain"
2572 The symbols that are printed can be modified by setting
2573 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2574 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
2575 @rgrob{SustainPedal}, for example, for more information.
2577 Pedals can also be indicated by a sequence of brackets, by setting the
2578 @code{pedal-type} property of SustainPedal grobs:
2580 @lilypond[fragment,verbatim]
2581 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2582 c''4 \sustainDown d''4 e''4 a'4
2583 \sustainUp \sustainDown
2584 f'4 g'4 a'4 \sustainUp
2587 A third style of pedal notation is a mixture of text and brackets,
2588 obtained by setting @code{pedal-type} to @code{mixed}:
2590 @lilypond[fragment,verbatim]
2591 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2592 c''4 \sustainDown d''4 e''4 c'4
2593 \sustainUp \sustainDown
2594 f'4 g'4 a'4 \sustainUp
2597 The default '*Ped' style for sustain and damper pedals corresponds to
2598 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2599 for a sostenuto pedal:
2601 @lilypond[fragment,verbatim]
2602 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2605 For fine-tuning of the appearance of a pedal bracket, the properties
2606 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2607 @code{PianoPedalBracket} grobs (see the detailed documentation of
2608 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2609 may be extended to the end of the note head.
2611 @lilypond[fragment,verbatim]
2612 \property Staff.PianoPedalBracket \override
2613 #'shorten-pair = #'(0 . -1.0)
2614 c''4 \sostenutoDown d''4 e''4 c'4
2615 f'4 g'4 a'4 \sostenutoUp
2622 @subsection Arpeggio
2625 @cindex broken arpeggio
2626 @cindex @code{\arpeggio}
2628 You can specify an arpeggio sign on a chord by attaching an
2629 @code{\arpeggio} to a note of the chord.
2632 @lilypond[fragment,relative,verbatim]
2633 \context Voice <c\arpeggio e g c>
2636 When an arpeggio crosses staves in piano music, you attach an arpeggio
2637 to the chords in both staves, and set
2638 @code{PianoStaff.connectArpeggios}.
2640 @lilypond[fragment,relative,verbatim]
2641 \context PianoStaff <
2642 \property PianoStaff.connectArpeggios = ##t
2643 \context Voice = one { <c'\arpeggio e g c> }
2644 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2648 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
2649 are @code{PianoStaff.Arpeggio}.
2651 To add an arrow head to explicitly specify the direction of the
2652 arpeggio, you should set the arpeggio grob property
2653 @code{arpeggio-direction}.
2655 @lilypond[fragment,relative,verbatim]
2657 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2659 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2664 A square bracket on the left indicates that the player should not
2665 arpeggiate the chord. To draw these brackets, set the
2666 @code{molecule-callback} property of @code{Arpeggio} or
2667 @code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
2668 @code{\arpeggio} statements within the chords as before.
2670 @lilypond[fragment,relative,verbatim]
2671 \context PianoStaff <
2672 \property PianoStaff.connectArpeggios = ##t
2673 \property PianoStaff.Arpeggio \override
2674 #'molecule-callback = \arpeggioBracket
2675 \context Voice = one { <c'\arpeggio e g c> }
2676 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2683 It is not possible to mix connected arpeggios and unconnected
2684 arpeggios in one PianoStaff at the same time.
2688 @node Voice follower lines
2689 @subsection Voice follower lines
2691 @cindex follow voice
2692 @cindex staff switching
2695 @cindex @code{followVoice}
2697 Whenever a voice switches to another staff a line connecting the notes
2698 can be printed automatically. This is enabled if the property
2699 @code{PianoStaff.followVoice} is set to true:
2701 @lilypond[fragment,relative,verbatim]
2702 \context PianoStaff <
2703 \property PianoStaff.followVoice = ##t
2704 \context Staff \context Voice {
2706 \translator Staff=two
2709 \context Staff=two {\clef bass \skip 1*2 }
2713 The associated grob is @internalsref{VoiceFollower}.
2719 Tablature notation is used music for plucked string instruments. It
2720 notates pitches not by using note heads, but by indicating on which
2721 string and fret a note must be played. LilyPond offers limited
2722 support for tablature, by abusing the fingering system.
2725 * Tablatures basic::
2726 * Non-guitar tablatures::
2727 * Tablature in addition to normal staff::
2730 @node Tablatures basic
2731 @subsection Tablatures basic
2732 @cindex Tablatures basic
2734 Tablature can be typeset with Lilypond by using the
2735 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
2736 tablature is a recent feature in Lilypond, most of the guitar special
2737 effects such as hammer, pull, bend are not yet supported.
2739 With the @internalsref{TabStaff}, the string number associated to a note
2740 is given though the fingering mechanism, e.g. @code{c4-3} for a C
2741 quarter on the third string. The string 1 is the lowest one, and the
2742 tuning defaults to the standard guitar tuning (with 6 strings).
2744 @lilypond[fragment,verbatim]
2747 \property Staff.Stem \override #'direction = #1
2756 @node Non-guitar tablatures
2757 @subsection Non-guitar tablatures
2758 @cindex Non-guitar tablatures
2760 There are many ways to customize Lilypond tablatures.
2762 First you can change the number of strings, by setting the number of
2763 lines in the @internalsref{TabStaff}. You can change the strings
2764 tuning. A string tuning is given as a Scheme list with one integer
2765 number for each string, the number being the pitch of an open string.
2767 Finally, it is possible to change the Scheme function to format the
2768 tablature note text. The default is @var{fret-number-tablature-format},
2769 which uses the fret number, but for some instruments that may not use
2770 this notation, just create your own tablature-format function. This
2771 function takes three argument: the string number, the string tuning and
2775 @node Tablature in addition to normal staff
2776 @subsection Tablature in addition to normal staff
2777 @cindex Tablature in addition to normal staff
2779 It is possible to typeset both tablature and a "normal" staff, as
2780 commonly done in many parts.
2782 A common trick for that is to put the notes in a variables, and to hide
2783 the fingering information (which correspond to the string number) for
2792 \context StaffGroup <
2794 % Hide fingering number
2795 \property Staff.Fingering \override #'transparent = ##t
2800 \property Staff.Stem \override #'direction = #1
2814 LilyPond has support for both entering and printing chords.
2815 @lilypond[verbatim,singleline]
2816 twoWays = \notes \transpose c'' {
2826 < \context ChordNames \twoWays
2827 \context Voice \twoWays > }
2830 This example also shows that the chord printing routines do not try to
2831 be intelligent. If you enter @code{f bes d}, it does not interpret
2832 this as an inversion.
2834 As you can see chords really are a set of pitches. They are internally
2835 stored as simultaneous music expressions. This means you can enter
2836 chords by name and print them as notes, enter them as notes and print
2837 them as chord names, or (the most common case) enter them by name, and
2842 * Printing named chords::
2847 @subsection Chords mode
2850 Chord mode is a mode where you can input sets of pitches using common
2851 names. It is introduced by the keyword @code{\chords}. It is similar
2852 to note mode, but words are also looked up in a chord modifier table
2853 (containing @code{maj}, @code{dim}, etc). Dashes and carets are used
2854 to indicate chord additions and subtractions, so articulation scripts
2855 can not be entered in Chord mode.
2857 Throughout these examples, chords have been shifted around the staff
2858 using @code{\transpose}.
2860 @lilypond[fragment,verbatim]
2864 c:9 c:9-.5+.7+ c:3-.5-
2874 The second type of modifier that may appear after the @code{:} is a
2875 named modifier. Named modifiers are listed in the file
2876 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2877 @code{min} which lower the 3rd half a step, `@code{aug}' which
2878 raises the 5th, `@code{dim}' which lowers the 5th,
2879 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2880 which replaces the 5th with a 4th.
2882 @lilypond[fragment,verbatim]
2885 c1:m c:min7 c:maj c:aug c:dim c:sus
2891 Chord subtractions are used to eliminate notes from a chord. The
2892 notes to be subtracted are listed after a @code{^} character,
2895 @lilypond[fragment,verbatim,center]
2904 Chord inversions can be specified by appending `@code{/}' and the name
2905 of a single note to a chord. In a chord inversion, the inverted note is
2906 transposed down until it is the lowest note in the chord. If the note
2907 is not in the chord, a warning will be printed.
2909 @lilypond[fragment,verbatim,center]
2919 Bass notes can be added by `@code{/+}' and
2920 the name of a single note to a chord. This has the effect of
2921 adding the specified note to the chord, lowered by an octave,
2922 so it becomes the lowest note in the chord.
2924 @lilypond[fragment,verbatim,center]
2933 The formal syntax for named chords is as follows:
2935 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2938 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2939 the chord duration in the usual notation. There are two kinds of
2940 modifiers. One type is formed by @emph{chord additions}. Additions are
2941 obtained by listing intervals separated by dots. An interval is written
2942 by its number with an optional @code{+} or @code{-} to indicate raising
2943 or lowering by half a step. Chord additions have two effects: they adds
2944 the specified interval and all lower odd numbered intervals to the
2945 chord, and they may lower or raise the specified interval.
2950 Implementation details are gory. For example @code{c:4} not only adds
2951 a fourth, but also removes the third.
2954 @c . {Printing named chords}
2955 @node Printing named chords
2956 @subsection Printing named chords
2958 @cindex printing chord names
2962 For displaying printed chord names, use the @internalsref{ChordNames} context.
2963 The chords may be entered either using the notation described above, or
2964 directly using simultaneous music.
2966 @lilypond[verbatim,singleline]
2968 \chords {a1 b c} <d f g> <e g b>
2972 \context ChordNames \scheme
2973 \context Staff \transpose c'' \scheme
2978 You can make the chord changes stand out by setting
2979 @code{ChordNames.chordChanges} to true. This will only display chord
2980 names when there's a change in the chords scheme and at the start of a
2985 c1:m c:m \break c:m c:m d
2989 \context ChordNames {
2990 \property ChordNames.chordChanges = ##t
2992 \context Staff \transpose c'' \scheme
2994 \paper{linewidth= 9.\cm}
2998 LilyPond examines chords specified as lists of notes to determine a name
2999 to give the chord. LilyPond will not try to identify chord inversions or
3000 an added bass note, which may result in strange chord names when chords
3001 are entered as a list of pitches:
3003 @lilypond[verbatim,center,singleline]
3012 \context ChordNames \scheme
3013 \context Staff \scheme
3019 By default, a chord name system proposed by Harald Banter (See
3020 @ref{Literature}) is used. The system is very regular and predictable.
3021 Typical American style chord names may be selected by setting the
3022 @code{style} property of the @code{ChordNames.ChordName} grob to
3023 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
3025 Routines that determine the names to be printed are written in Scheme,
3026 and may be customized by the user. The code can be found in
3027 @file{scm/chord-name.scm}. Here's an example showing the differences in
3031 @c maybe just junk verbatim option?
3032 @lilypond[verbatim,singleline]
3042 \context ChordNames = banter \scheme
3043 \context ChordNames = american {
3044 \property ChordNames.ChordName \override
3045 #'style = #'american \scheme }
3046 \context ChordNames = jazz {
3047 \property ChordNames.ChordName \override
3048 #'style = #'jazz \scheme }
3049 \context Staff \transpose c'' \scheme
3056 @section Writing parts
3058 Orchestral music involves some special notation, both in the full score,
3059 as in the individual parts. This section explains how to tackle common
3060 problems in orchestral music.
3067 * Instrument names::
3069 * Multi measure rests::
3070 * Automatic part combining::
3071 * Hara kiri staves::
3072 * Sound output for transposing instruments::
3075 @c . {Rehearsal marks}
3076 @node Rehearsal marks
3077 @subsection Rehearsal marks
3078 @cindex Rehearsal marks
3080 @cindex @code{\mark}
3082 To print a rehearsal mark, use the @code{\mark} command.
3083 @lilypond[fragment,verbatim]
3090 c1 \mark #'(music "scripts-segno")
3095 As you can see, the mark is incremented automatically if you use
3096 @code{\mark \default}. The value to use is stored in the property
3097 @code{rehearsalMark} is used and automatically incremented. The grob
3098 is @internalsref{RehearsalMark} in @internalsref{Score} context. See
3099 @code{input/test/boxed-molecule.ly} if you need boxes around the
3103 @subsection Bar numbers
3107 @cindex measure numbers
3108 @cindex currentBarNumber
3110 Bar numbers are printed by default at the start of the line. The
3111 number itself is a property that can be set by modifying the
3112 @code{currentBarNumber} property, i.e.
3114 \property Score.currentBarNumber = #217
3117 If you want boxed bar numbers, see the example file
3118 @code{input/test/boxed-molecule.ly}.
3120 See also @seeinternals{BarNumber}.
3124 Printing bar numbers at regular intervals is not implemented.
3125 Barnumbers can collide with the StaffGroup, if there is one at the
3126 top. To solve this, You have to twiddle with the
3127 @internalsref{padding} property of @internalsref{BarNumber} if your
3128 score starts with a @internalsref{StaffGroup}.
3130 @node Instrument names
3131 @subsection Instrument names
3133 In scores, the instrument name is printed before the staff. This can
3134 be done by setting @code{Staff.instrument} and
3135 @code{Staff.instr}. This will print a string before the start of the
3136 staff. For the first start, @code{instrument} is used, for the next
3137 ones @code{instr} is used.
3139 @lilypond[verbatim,singleline]
3140 \property Staff.instrument = "ploink " { c''4 }
3143 You can also use markup texts to construct more complicated instrument
3147 @lilypond[verbatim,singleline]
3149 '((font-relative-size . -2 ) (music "accidentals--1")))
3152 \property Staff.instrument = #`((kern . 0.5) (lines
3153 "2 Clarinetti" (columns " (B" ,text-flat ")")))
3161 When you put a name on a grand staff or piano staff the width of the
3162 brace is not taken into account. You must add extra spaces to the end of
3163 the name to avoid a collision.
3166 @subsection Transpose
3168 @cindex transposition of pitches
3169 @cindex @code{\transpose}
3171 A music expression can be transposed with @code{\transpose}. The syntax
3174 \transpose @var{pitch} @var{musicexpr}
3177 This means that middle C in @var{musicexpr} is transposed to
3180 @code{\transpose} distinguishes between enharmonic pitches: both
3181 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
3182 a tone. The first version will print sharps and the second version
3185 @lilypond[singleline, verbatim]
3186 mus =\notes { \key d \major cis d fis g }
3187 \score { \notes \context Staff {
3195 If you want to use both @code{\transpose} and @code{\relative}, then
3196 you must use @code{\transpose} first. @code{\relative} will have no
3197 effect music that appears inside a @code{\transpose}.
3199 @c . {Multi measure rests}
3200 @node Multi measure rests
3201 @subsection Multi measure rests
3202 @cindex Multi measure rests
3206 Multi measure rests are entered using `@code{R}'. It is specifically
3207 meant for full bar rests and for entering parts: the rest can expand to
3209 rests, or it can be printed as a single multimeasure rest This expansion
3210 is controlled by the property @code{Score.skipBars}. If this is set to true,
3211 Lily will not expand empty measures, and the appropriate number is added
3214 @lilypond[fragment,verbatim]
3215 \time 3/4 r2. | R2. | R2.*2
3216 \property Score.skipBars = ##t R2.*17 R2.*4
3219 Notice that the @code{R2.} is printed as a whole rest, centered in the
3222 @cindex whole rests for a full measure
3224 The grob for this object is @internalsref{MultiMeasureRest}.
3228 Currently, there is no way to automatically condense multiple rests
3229 into a single multimeasure rest. Multi measure rests do not take part
3232 @cindex condensing rests
3234 @node Automatic part combining
3235 @subsection Automatic part combining
3236 @cindex automatic part combining
3237 @cindex part combiner
3240 Automatic part combining is used to merge two parts of music onto a
3241 staff in an intelligent way. It is aimed primarily at typesetting
3242 orchestral scores. When the two parts are identical for a period of
3243 time, only one is shown. In places where the two parts differ, they
3244 are typeset as separate voices, and stem directions are set
3245 automatically. Also, solo and @emph{a due} parts can be identified
3248 The syntax for part combining is
3251 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3253 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3254 combined into one context of type @var{context}. The music expressions
3255 must be interpreted by contexts whose names should start with @code{one}
3258 The most useful function of the part combiner is to combine parts into
3259 one voice, as common for wind parts in orchestral scores:
3261 @lilypond[verbatim,singleline,fragment]
3263 \context Voice=one \partcombine Voice
3264 \context Thread=one \relative c'' {
3267 \context Thread=two \relative c'' {
3273 Notice that the first @code{g} appears only once, although it was
3274 specified twice (once in each part). Stem, slur and tie directions are
3275 set automatically, depending whether there is a solo or unisono. The
3276 first part (with context called @code{one}) always gets up stems, and
3277 `solo', while the second (called @code{two}) always gets down stems and
3280 If you just want the merging parts, and not the textual markings, you
3281 may set the property @var{soloADue} to false.
3283 @lilypond[verbatim,singleline,fragment]
3285 \property Staff.soloADue = ##f
3286 \context Voice=one \partcombine Voice
3287 \context Thread=one \relative c'' {
3290 \context Thread=two \relative c'' {
3296 There are a number of other properties that you can use to tweak the
3297 behavior of part combining, refer to the automatically generated
3298 documentation of @reng{Thread_devnull_engraver} and
3299 @reng{Voice_devnull_engraver}. Look at the documentation of the
3300 responsible engravers, @code{Thread_devnull_engraver},
3301 @code{Voice_devnull_engraver} and @code{A2_engraver}.
3305 In @code{soloADue} mode, when the two voices play the same notes on and
3306 off, the part combiner may typeset @code{a2} more than once in a
3309 @lilypond[fragment,singleline]
3311 \context Voice=one \partcombine Voice
3312 \context Thread=one \relative c'' {
3315 \context Thread=two \relative c'' {
3321 @cindex @code{Thread_devnull_engraver}
3322 @cindex @code{Voice_engraver}
3323 @cindex @code{A2_engraver}
3325 @node Hara kiri staves
3326 @subsection Hara kiri staves
3328 In orchestral scores, staff lines that only have rests are usually removed.
3329 This saves some space. LilyPond also supports this through the hara
3330 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
3331 the Japanese Samourai warriors.} staff. This staff commits suicide when
3332 it finds itself to be empty after the line-breaking process. It will
3333 not disappear when it contains normal rests, you must use multi measure
3336 The hara kiri staff is specialized version of the @internalsref{Staff}
3337 context. It is available as the context identifier
3338 @code{\HaraKiriStaffContext}. Observe how the second staff in this
3339 example disappears in the second line.
3343 \notes \relative c' <
3344 \context Staff = SA { e4 f g a \break c1 }
3345 \context Staff = SB { c4 d e f \break R1 }
3349 \translator { \HaraKiriStaffContext }
3355 @node Sound output for transposing instruments
3356 @subsection Sound output for transposing instruments
3358 When you want to make a MIDI file from a score containing transposed
3359 and untransposed instruments, you have to instruct LilyPond the pitch
3360 offset (in semitones) for the transposed instruments. This is done
3361 using the @code{transposing} property. It does not affect printed
3364 @cindex @code{transposing}
3367 \property Staff.instrument = #"Cl. in B-flat"
3368 \property Staff.transposing = #-2
3374 @node Ancient notation
3375 @section Ancient notation
3378 * Ancient note heads::
3385 @node Ancient note heads
3386 @subsection Ancient note heads
3388 To get a longa note head, you have to use mensural note heads. This
3389 is accomplished by setting the @code{style} property of the
3390 NoteHead grob to @code{mensural}. There is also a note head style
3391 @code{baroque} which gives mensural note heads for @code{\longa} and
3392 @code{\breve} but standard note heads for shorter notes.
3394 @lilypond[fragment,singleline,verbatim]
3395 \property Voice.NoteHead \set #'style = #'mensural
3396 \property Voice.NoteHead \set #'font-family = #'ancient
3401 @subsection Custodes
3406 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
3407 staff context symbol that appears at the end of a staff line. It
3408 anticipates the pitch of the first note(s) of the following line and
3409 thus helps the player or singer to manage line breaks during
3410 performance, thus enhancing readability of a score.
3415 \property Staff.Custos \set #'style = #'mensural
3420 \consists Custos_engraver
3426 Custodes were frequently used in music notation until the 17th century.
3427 There were different appearances for different notation styles.
3428 Nowadays, they have survived only in special forms of musical notation
3429 such as via the @emph{editio vaticana} dating back to the beginning of
3432 For typesetting custodes, just put a @code{Custos_engraver} into the
3433 @internalsref{Staff} context when declaring the @code{\paper} block. In this
3434 block, you can also globally control the appearance of the custos symbol
3435 by setting the custos @code{style} property. Currently supported styles
3436 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
3443 \consists Custos_engraver
3444 Custos \override #'style = #'mensural
3449 The property can also be set locally, for example in a @code{\notes}
3454 \property Staff.Custos \override #'style = #'vaticana
3455 c'1 d' e' d' \break c' d' e' d'
3460 @subsection Ancient clefs
3462 LilyPond supports a variety of clefs, many of them ancient. These can
3463 be selected from the @code{ancient} font family, by setting
3464 @code{Staff.clefGlyph}) to one of the following values
3473 @item clefs-vaticana_do
3474 Editio Vaticana style do clef
3475 @item clefs-vaticana_fa
3476 Editio Vaticana style fa clef
3477 @item clefs-medicaea_do
3478 Editio Medicaea style do clef
3479 @item clefs-medicaea_fa
3480 Editio Medicaea style fa clef
3481 @item clefs-mensural1_c
3482 modern style mensural C clef
3483 @item clefs-mensural2_c
3484 historic style small mensural C clef
3485 @item clefs-mensural3_c
3486 historic style big mensural C clef
3487 @item clefs-mensural1_f
3488 historic style traditional mensural F clef
3489 @item clefs-mensural2_f
3490 historic style new mensural F clef
3491 @item clefs-mensural_g
3492 historic style mensural G clef
3493 @item clefs-hufnagel_do
3494 historic style hufnagel do clef
3495 @item clefs-hufnagel_fa
3496 historic style hufnagel fa clef
3497 @item clefs-hufnagel_do_fa
3498 historic style hufnagel combined do/fa clef
3499 @item clefs-percussion
3500 modern style percussion clef
3503 @emph{Modern style} means ``as is typeset in current editions.''
3504 @emph{Historic style} means ``as was typeset or written in contemporary
3505 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
3508 @cindex Vaticana, Editio
3509 @cindex Medicaea, Editio
3510 @cindex hufnagel clefs
3514 @subsection Figured bass
3516 @cindex Basso continuo
3518 LilyPond has limited support for figured bass:
3520 @lilypond[verbatim,fragment]
3522 \context FiguredBass
3527 \context Voice { c4 g8 }
3531 The support for figured bass consists of two parts: there is an input
3532 mode, introduced by @code{\figures}, where you can enter bass figures
3533 as numbers, and there is a context called @internalsref{FiguredBass}
3534 that takes care of making @internalsref{BassFigure} grobs.
3536 In figures input mode, a group of bass figures is delimited by
3537 @code{<} and @code{>}. The duration is entered after the @code{>}.
3542 \context FiguredBass
3546 Accidentals are added to the numbers if you alterate them by
3547 appending @code{-}, @code{!} and @code{+}.
3553 \context FiguredBass
3554 \figures { <4- 6+ 7!> }
3557 Spaces or dashes may be inserted by using @code{_}. Brackets are
3558 introduced with @code{[} and @code{]}.
3564 \context FiguredBass
3565 \figures { < [4 6] 8 [_ 12]> }
3568 Although the support for figured bass may superficially resemble chord
3569 support, it works much simpler: in figured bass simply stores the
3570 numbers, and then prints the numbers you entered. There is no
3571 conversion to pitches, and no realizations of the bass are played in
3575 @c . {Tuning output}
3577 @section Tuning output
3579 LilyPond tries to take as much formatting as possible out of your
3580 hands. Nevertheless, there are situations where it needs some help, or
3581 where you want to override its decisions. In this section we discuss
3582 ways to do just that.
3584 Formatting is internally done by manipulating so called grobs (graphic
3585 objects). Each grob carries with it a set of properties (grob
3586 properties) specific to that object. For example, a stem grob has
3587 properties that specify its direction, length and thickness.
3589 The most direct way of tuning the output is by altering the values of
3590 these properties. There are two ways of doing that: first, you can
3591 temporarily change the definition of a certain type of grob, thus
3592 affecting a whole set of objects. Second, you can select one specific
3593 object, and set a grob property in that object.
3596 * Tuning groups of grobs ::
3597 * Tuning per grob ::
3602 @node Tuning groups of grobs
3603 @subsection Tuning groups of grobs
3605 @cindex grob description
3609 A grob definition is a Scheme association list, that is stored in a
3610 context property. By assigning to that property (using plain
3611 @code{\property}), you can change the resulting grobs.
3613 @lilypond[verbatim, fragment]
3614 c'4 \property Voice.Stem = #'()
3617 The @code{\property} assignment effectively empties the definition of
3618 the Stem object. One of the effects is that the recipe of how it should be
3619 printed is erased, with the effect of rendering it invisible. The above
3620 assignment is available as a standard identifier, for the case that you
3624 \property Voice.Stem = \turnOff
3631 This mechanism is fairly crude, since you can only set, but not modify,
3632 the definition of a grob. For this reason, there is a more advanced
3635 The definition of a grob is actually a list of default grob
3636 properties. For example, the definition of the Stem grob (available in
3637 @file{scm/grob-description.scm}), defines the following values for
3642 (beamed-lengths . (0.0 2.5 2.0 1.5))
3643 (Y-extent-callback . ,Stem::height)
3647 You can add a property on top of the existing definition, or remove a
3648 property, thus overriding the system defaults:
3650 c'4 \property Voice.Stem \override #'thickness = #4.0
3651 c'4 \property Voice.Stem \revert #'thickness
3654 You should balance @code{\override} and @code{\revert}. If that's too
3655 much work, you can use the @code{\set} shorthand. It performs a revert
3656 followed by an override. The following example gives exactly the same
3657 result as the previous one.
3659 c'4 \property Voice.Stem \set #'thickness = #4.0
3660 c'4 \property Voice.Stem \set #'thickness = #0.8
3663 If you use @code{\set}, you must explicitly restore the default.
3666 Formally the syntax for these constructions is
3668 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
3669 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
3670 \property @var{context}.@var{grobname} \revert @var{symbol}
3672 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
3673 and @var{grobname} are strings and @var{value} is a Scheme expression.
3676 If you revert a setting which was not set in the first place, then it
3677 has no effect. However, if the setting was set as a system default, it
3678 may remove the default value, and this may give surprising results,
3679 including crashes. In other words, @code{\override} and @code{\revert},
3680 must be carefully balanced.
3682 These are examples of correct nesting of @code{\override}, @code{\set},
3685 A clumsy but correct form:
3687 \override \revert \override \revert \override \revert
3690 Shorter version of the same:
3692 \override \set \set \revert
3695 A short form, using only @code{\set}. This requires you to know the
3698 \set \set \set \set @var{to default value}
3701 If there is no default (i.e. by default, the grob property is unset),
3704 \set \set \set \revert
3707 For the digirati, the grob description is an Scheme association
3708 list. Since a Scheme list is a singly linked list, we can treat it as a
3709 stack, and @code{\override} and @code{\revert} are just push and pop
3710 operations. This pushing and popping is also used for overriding
3711 automatic beaming settings.
3715 LilyPond will hang or crash if @var{value} contains cyclic references.
3716 The backend is not very strict in type-checking grob properties. If you
3717 @code{\revert} properties that are expected to be set by default,
3721 @cindex adjusting staff symbol
3722 @cindex StaffSymbol, using \property
3723 @cindex staff lines, setting number of
3725 Some grobs are created at the moment that their context is created. An
3726 example of such a grob is the staff itself (i.e. the horizontal lines).
3727 You can not change the appearance of the staff symbol by manipulating
3728 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
3729 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
3730 created before any @code{\override} is effective. You can deal with this
3731 either overriding properties in a @code{\translator} definition, or by
3732 using @code{\outputproperty}.
3737 @node Tuning per grob
3738 @subsection Tuning per grob
3740 @cindex \outputproperty
3742 A second way of tuning grobs is the more arcane @code{\outputproperty}
3743 feature. The syntax is as follows:
3745 \outputproperty @var{predicate} @var{symbol} = @var{value}
3747 Here @code{predicate} is a Scheme function taking a grob argument, and
3748 returning a boolean. This statement is processed by the
3749 @code{Output_property_engraver}. It instructs the engraver to feed all
3750 grobs that it sees to @var{predicate}. Whenever the predicate returns
3751 true, the grob property @var{symbol} will be set to @var{value}.
3753 You will need to combine this statement with @code{\context} to select
3754 the appropriate context to apply this to.
3756 Here are some random examples.
3759 In the following example, all note heads occurring at current staff
3760 level, are shifted up and right by setting their @code{extra-offset}
3763 @lilypond[fragment,verbatim,singleline]
3765 \context Staff \outputproperty
3766 #(make-type-checker 'note-head-interface)
3767 #'extra-offset = #'(0.5 . 0.75)
3771 @cindex @code{extra-offset}
3773 In this example, the predicate checks the @code{text} grob property, to
3774 shift only the `m.d.' text, but not the fingering instruction "2".
3775 @lilypond[verbatim,singleline]
3776 #(define (make-text-checker text)
3777 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3780 \notes\relative c''' {
3781 \property Voice.Stem \set #'direction = #1
3782 \outputproperty #(make-text-checker "m.d.")
3783 #'extra-offset = #'(-3.5 . -4.5)
3791 If possible, avoid this feature: the semantics are not very clean, and
3792 the syntax and semantics are up for rewrite.
3797 @node Font selection
3798 @subsection Font selection
3800 Most graphics in LilyPond are composed of characters of fonts. You can
3801 alter the characteristics of the font by setting certain grob
3802 properties. The mechanism that is used for this resembles La@TeX{}'s New
3803 Font Selection Scheme. Within this scheme, a font is entirely
3804 characterized by its font name.
3806 For each grob that uses fonts (in other words, each grob that supports
3807 @code{font-interface}) a font-name must be selected before it can be
3808 printed. The font name is selected by looking at a number of grob
3813 A symbol indicating the general class of the typeface. Supported are
3814 @code{roman} (Computer Modern), @code{braces} (for piano staff
3815 braces), @code{music} (the standard music font), @code{ancient} (the
3816 ancient notation font) @code{dynamic} (font for dynamic signs) and
3820 A symbol indicating the shape of the font, there are typically several
3821 font shapes available for each font family. Choices are @code{italic},
3822 @code{caps} and @code{upright}
3825 A symbol indicating the series of the font. There are typically several
3826 font series for each font family and shape. Choices are @code{medium}
3829 @item font-relative-size
3830 A number indicating the size relative the standard size. For example,
3831 with 20pt staff height, relative size -1 corresponds to 16pt staff
3832 height, and relative size +1 corresponds to 23 pt staff height.
3834 @item font-design-size
3835 A number indicating the design size of the font.
3837 This is a feature of the Computer Modern Font: each point size has a
3838 slightly different design. Smaller design sizes are relatively wider,
3839 which enhances readability.
3842 The name of the font, as a string, e.g. @code{"cmr12"}. This overrides
3843 all other font-qualifiers.
3844 You may use this to use special fonts, which are not a part of the
3845 style sheet, or which have special encodings.
3850 The font is selected by taking the first font that satisfies all
3851 qualifiers specified. You can override any of these fields through
3852 @code{\override} and @code{\revert}. The special value @code{*} matches
3853 any value for that qualifier. The value @code{*} is needed to
3854 override default settings which are always present.
3857 \property Lyrics.LyricText \override #'font-series = #'bold
3858 \property Lyrics.LyricText \override #'font-shape = #'*
3861 @cindex @code{font-style}
3863 There are also pre-cooked font selection qualifiers. These are selected
3864 through the grob property @code{font-style}. For example, the style
3865 @code{finger} selects family @code{number} and relative size @code{-3}.
3866 Styles available include @code{volta}, @code{finger}, @code{tuplet},
3867 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
3870 The style sheets and tables for selecting fonts are located in
3871 @file{scm/font.scm}. Refer to this file for more information.
3873 The size of the font may be scaled with the grob property
3874 @code{font-magnification}. For example, @code{2.0} blows up all
3875 letters by a factor 2 in both directions.
3879 Relative size is not linked to any real size.
3881 There is no style sheet provided for other fonts besides the @TeX{}
3882 family, and the style sheet can not be modified easiyl.
3884 @cindex font selection
3885 @cindex font magnification
3886 @cindex @code{font-interface}
3890 @subsection Text markup
3894 LilyPond has an internal mechanism to typeset texts. You can
3895 form text markup expressions by composing scheme expressions
3896 in the following way.
3898 @lilypond[verbatim, singleline]
3903 c^#'(italic "italic")
3904 d_#'((bold italic) "ff")
3906 f_#'(lines "one" (bold "two"))
3907 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3911 Normally, the Scheme markup text is stored in the @code{text} property
3912 of a grob. Formally, it is defined as follows:
3915 text: string | (head? text+)
3916 head: markup | (markup+)
3917 markup-item: property | abbrev
3918 property: (@var{key} . @var{value})
3919 abbrev: @code{columns lines roman music bold italic named super sub}
3920 @code{overstrike text finger volta timesig mmrest mark script}
3921 @code{large Large dynamic}
3924 The markup is broken down and converted into a list of grob properties,
3925 which are prepended to the property list. The @var{key}-@var{value}
3926 pair is a grob property. A list of properties available is included in
3927 the generated documentation for @rint{Text_interface}.
3929 The following abbreviations are defined:
3932 horizontal mode: set all text on one line (default)
3934 vertical mode: set every text on a new line
3938 selects the Feta font (the standard font for music notation glyphs),
3939 and uses named lookup
3946 lookup by character name
3948 plain text lookup (by character value)
3954 the next text or character overstrikes this one
3956 select fingering number fontstyle
3958 select volta number fontstyle
3960 select time signature number fontstyle
3962 select multi measure rest number fontstyle
3964 select mark number fontstyle
3966 select scriptsize roman fontstyle
3968 select large roman fontstyle
3970 select Large roman fontstyle
3972 select dynamics fontstyle
3976 @cindex metronome mark
3978 One practical application of complicated markup is to fake a metronome
3982 #(define note '(columns
3983 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3984 #(define eight-note `(columns ,note ((kern . -0.1)
3985 (music ((raise . 3.5) "flags-u3")))))
3986 #(define dotted-eight-note
3987 `(columns ,eight-note (music "dots-dot")))
3990 \notes\relative c'' {
3991 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3997 TextScript \override #'font-shape = #'upright
4005 The syntax and semantics of markup texts are not clean, and both
4006 syntax and semantics are slated for a rewrite.
4009 @section Global layout
4011 The global layout determined by three factors: the page layout, the
4012 line breaks and the spacing. These all influence each other: The
4013 choice of spacing determines how densely each system of music is set,
4014 whree line breaks breaks are chosen, and thus ultimately how many
4015 pages a piece of music takes. In this section we will explain how the
4016 lilypond spacing engine works, and how you can tune its results.
4018 Globally spoken, this procedure happens in three steps: first,
4019 flexible distances (``springs'') are chosen, based on durations. All
4020 possible line breaking combination are tried, and the one with the
4021 best results---a layout that has uniform density and requires as
4022 little stretching or cramping as possible---is chosen. When the score
4023 is processed by @TeX{}, page are filled with systems, and page breaks
4024 are chosen whenever the page gets full.
4036 The spacing engine translates differences in durations into
4037 stretchable distances (``springs'') of differing lengths. Longer
4038 durations get more space, shorter durations get less. The basis for
4039 assigning spaces to durations, is that the shortest durations get a
4040 fixed amount of space, and the longer durations get more: doubling a
4041 duration adds a fixed amount of space to the note.
4043 For example, the following piece contains lots of half, quarter and
4044 8th notes, the eighth note is followed by 1 note head width. The The
4045 quarter note is followed by 2 NHW, the half by 3 NHW, etc.
4046 @lilypond[fragment, verbatim, relative=1]
4047 c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
4050 These two amounts of space are @code{shortest-duration-space}
4051 @code{spacing-increment}, grob properties of
4052 @internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
4053 set to 1.2, which is the width of a note head, and
4054 @code{shortest-duration-space} is set to 2.0, meaning that the
4055 shortest note gets 2 noteheads of space. For normal notes, this space
4056 is always counted from the left edge of the symbol, so the short notes
4057 in a score is generally followed by one note head width of space.
4059 If one would follow the above procedure exactly, then adding a single
4060 32th note to a score that uses 8th and 16th notes, would widen up the
4061 entire score a lot. The shortest note is no longer a 16th, but a 64th,
4062 thus adding 2 noteheads of space to every note. To prevent this, the
4063 shortest duration for spacing is not the shortest note in the score,
4064 but the most commonly found shortest note. Notes that are even
4065 shorter this are followed by a space that is proportonial to their
4066 duration relative to the common shortest note. So if we were to add
4067 only a few 16th notes to the example above, they would be followed by
4070 @lilypond[fragment, verbatim, relative=1]
4071 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
4074 The most common shortest duration is determined as follows: in every
4075 measure, the shortest duration is determined. The most common short
4076 duration, is taken as the basis for the spacing, with the stipulation
4077 that this shortest duration should always be equal to or shorter than
4078 1/8th note. The shortest duration is printed when you run lilypond
4079 with @code{--verbose}. These durations may also be customized. If you
4080 set the @code{common-shortest-duration} in
4081 @internalsref{SpacingSpanner}, then this sets the base duration for
4082 spacing. The maximum duration for this base (normally 1/8th), is set
4083 through @code{base-shortest-duration}.
4085 @cindex @code{common-shortest-duration}
4086 @cindex @code{base-shortest-duration}
4087 @cindex @code{stem-spacing-correction}
4088 @cindex @code{spacing}
4090 In the introduction it was explained that stem directions influence
4091 spacing. This is controlled with @code{stem-spacing-correction} in
4092 @internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the
4093 same property for controlling the stem/barline spacing. In the
4094 following example shows these corrections, once with default settings,
4095 and once with exaggerated corrections.
4101 \property Staff.NoteSpacing \override #'stem-spacing-correction
4103 \property Staff.StaffSpacing \override #'stem-spacing-correction
4108 \paper { linewidth = -1. } }
4115 Spacing is determined on a score wide basis. If you have a score that
4116 changes its character (measured in durations) half way during the
4117 score, the part containing the longer durations will be spaced too
4120 Generating optically pleasing spacing is black magic. LilyPond tries
4121 to deal with a number of frequent cases. Here is an example that is
4122 not handled correctly, due to the combination of chord collisions and
4127 \context PianoStaff \notes \transpose c''' <
4128 \context Staff = up { s1 }
4129 \context Staff = down { [c8 c \translator Staff=up <c d> c
4130 \translator Staff=down c c c] }
4132 \paper { linewidth = -1 }
4139 @subsection Font size
4140 @cindex font size, setting
4141 @cindex staff size, setting
4142 @cindex @code{paper} file
4144 The Feta font provides musical symbols at six different sizes. These
4145 fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and 26
4146 point. The point size of a font is the height of the five lines in a
4147 staff when displayed in the font.
4149 Definitions for these sizes are the files @file{paperSZ.ly}, where
4150 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
4151 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
4152 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
4153 @code{paperTwentysix} are defined respectively. The default
4154 @code{\paper} block is also set. These files should be imported at toplevel, i.e.
4156 \include "paper26.ly"
4160 The font definitions are generated using a Scheme function. For more
4161 details, see the file @file{scm/font.scm}.
4166 @subsection Line breaking
4169 @cindex breaking lines
4171 Line breaks are normally computed automatically. They are chosen such
4172 that it looks neither cramped nor loose, and that consecutive lines have
4175 Occasionally you might want to override the automatic breaks; you can
4176 do this by specifying @code{\break}. This will force a line break at
4177 this point. Line breaks can only occur at places where there are bar
4178 lines. If you want to have a line break where there is no bar line,
4179 you can force an invisible bar line by entering @code{\bar
4180 ""}. Similarly, @code{\noBreak} forbids a line break at a certain
4183 If you want linebreaks at regular intervals, you can use the following:
4185 < \repeat 7 unfold @{ s1 * 4 \break @}
4189 This makes the following 28 measures (assuming 4/4 time) be broken every
4193 @subsection Page layout
4196 @cindex breaking pages
4198 @cindex @code{indent}
4199 @cindex @code{linewidth}
4201 The most basic settings influencing the spacing are @code{linewidth}
4202 and @code{indent}, both set in the @code{\paper} block. They control
4203 the indentation of the first line of music, and the lengths of the
4204 lines. If @code{linewidth} set to a negative value, a single
4205 unjustified line is produced. A similar effect for scores that are
4206 longer than one line, can be produced by setting @code{raggedright} to
4207 true in the @code{\paper} block.
4211 The page layout process happens outside lilypond. Ly2dvi sets page
4212 layout instructions. Ly2dvi responds to the following variables in the
4213 @code{\paper} block. The variable @code{textheight} sets the total
4214 height of the music on each page. The spacing between systems is
4215 controlled with @code{interscoreline}, its default is 16pt.
4216 The distance between the score lines will stretch in order to fill the
4217 full page @code{interscorelinefill} is set to a positive number. In
4218 that case @code{interscoreline} specifies the minimum spacing.
4220 @cindex @code{textheight}
4221 @cindex @code{interscoreline}
4222 @cindex @code{interscorelinefill}
4224 Page breaks are normally computed by @TeX{}, so they are not under
4225 direct control of LilyPond. However, you can insert a commands into
4226 the @file{.tex} output to instruct @TeX{} where to break pages. You
4227 can insert a @code{\newpage} from within lilypond. This is done by
4228 setting the @code{between-systems-strings} on the
4229 @internalsref{NonMusicalPaperColumn} where the system is broken.
4233 @cindex @code{papersize}
4235 To change the paper size, you must first set the
4236 @code{papersize} paper variable variable. Set it to
4237 the strings @code{a4}, @code{letter}, or @code{legal}. After this
4238 specification, you must set the font as described above. If you want
4239 the default font, then use the 20 point font.
4242 \paper@{ papersize = "a4" @}
4243 \include "paper16.ly"
4246 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
4247 will set the paper variables @code{hsize} and @code{vsize} (used by
4248 Lilypond and @code{ly2dvi})
4258 LilyPond can produce MIDI output. The performance lacks lots of
4259 interesting effects, such as swing, articulation, slurring, etc., but it
4260 is good enough for proof-hearing the music you have entered. Ties,
4261 dynamics and tempo changes are interpreted.
4263 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4264 levels. Dynamic marks translate to a fixed fraction of the available
4265 MIDI volume range, crescendi and decrescendi make the the volume vary
4266 linearly between their two extremities. The fractions be adjusted by
4267 overriding the @code{absolute-volume-alist} defined in
4268 @file{scm/midi.scm}.
4270 For each type of musical instrument (that MIDI supports), a volume range
4271 can be defined. This gives you basic equalizer control, which can
4272 enhance the quality of the MIDI output remarkably. You can add
4273 instruments and ranges or change the default settings by overriding the
4274 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4276 Both loudness controls are combined to produce the final MIDI volume.
4282 * MIDI instrument names::
4287 @subsection MIDI block
4291 The MIDI block is analogous to the paper block, but it is somewhat
4292 simpler. The @code{\midi} block can contain:
4296 @item a @code{\tempo} definition
4297 @item context definitions
4300 Assignments in the @code{\midi} block are not allowed.
4304 @cindex context definition
4306 Context definitions follow precisely the same syntax as within the
4307 \paper block. Translation modules for sound are called performers.
4308 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
4311 @node MIDI instrument names
4312 @subsection MIDI instrument names
4314 @cindex instrument names
4315 @cindex @code{Staff.midiInstrument}
4316 @cindex @code{Staff.instrument}
4318 The MIDI instrument name is set by the @code{Staff.midiInstrument}
4319 property or, if that property is not set, the @code{Staff.instrument}
4320 property. The instrument name should be chosen from the list in
4321 @ref{MIDI instruments}.
4325 If the selected string does not exactly match, then LilyPond uses the
4326 default (Grand Piano). It is not possible to select an instrument by